32H x 60W x 12D inches
The 10 $1 bills that make up From a Whisper to a Scream (2012) read like instructions in origami. From left to right, each bill is progressively folded up, step by step, into the shape of a gun. Both a scream and a whisper are capable of conveying the same content, if at drastically different decibels, the artist proposes. The folded guns suggest that United States currency carries with it an implicit violence. Though ordinarily barely audible, Capistran’s lucid permutations make that violence loud and clear. From a Whisper to a Scream is also the title of a 1987 horror film (also called The Offspring ), in which a historian describes a series of gruesome murders that take place in a small town, the seeming center of an incomprehensibly evil force. In this case, the treacherous power is shown to be ubiquitous—the foundation of an economy that permeates everything and leaves no one untouched.
Born in Guadalajara, Mexico, and raised in South Central Los Angeles, Juan Capistran was undocumented until midway through grade school. As a teenager he gravitated toward graffiti, punk rock, reggae, house music, and DJ culture as tools for crafting a hybrid identity. His work has diverse influences, from Malcolm X to Led Zeppelin and Richard Serra, and it quotes keenly and democratically, from gang colors to minimalist forms.
The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
Long Long Live (2013) takes the viewer to the setting of the Oasis Villa on Green Island, once a reform and re-education prison to house political prisoners during Taiwan’s martial law period...
Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
This work presents the image of an immolated monk engraved on a baseball bat...
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
Will Rogan’s video Eraser (2014) shows a hearse parked in a clearing amidst leaf barren trees...
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
Oliver Laric’s video Versions is part of an ongoing body of work that has continued to evolve and mutate over time...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...