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.
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...
Foreigners Everywhere is a series of neon signs in several different languages...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...