40H x 56.5 inches
The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture. In the background, the steel pillars creates a division of space implying a separation the two men according to their geographic regions of origin or residence, their vocations, their ethnicities, and their attitudes toward war. Yet, the mirrored body language of the two characters also suggests their reconciliation into a dialogue perhaps characterized by the protagonists’ physical and spiritual conversation. This photograph translates the artist’s ambivalence about military action. But this ambivalence becomes intrinsically complicated through LÊ’s rich use of color renders the kaleidoscopic shifts of terrain and sudden intrusion of beauty, atmosphere and psychology within her observations if the military at work. The heightened aesthetics qualities become unsettling, precisely because they counter the horrific violence that we expect from wartime imagery, as well as our collective historical memory of such extreme traumas as the Vietnam War. LÊ’s image, by extension, adds a disconcertingly glossy veneer to a moment of stasis, as if to suggest that war and military intervention are defined just as much by the quiet moments in between battle as they are by violence itself.
An-My LÊ arrived in the United Sates in 1975 as a war refugee from Vietnam. LÊ is a prolific photographer whose work blurs presumed boundaries between documentary and portrait photography. Her more recent work displays a rich use of color and an aesthetic beauty that belies the horrific imagery associated with violent combat. In such, her photographs also challenge the limits of reportage by suggesting that all representation is, on some level, fabricated for the camera and that the underlying narratives that we as viewers presume are never exactly what they seem.
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...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Zanele Muholi’s Potent Portrait of South Africa’s Queer Community | AnOther As their new exhibition opens in San Francisco, Zanele Muholi talks about their powerful photos of queer survivors of hate crimes, couples in everyday moments, and self-portraits referencing history February 02, 2024 Text Emily Steer Zanele Muholi creates potent portraits...
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...
This untitled print by Wade Guyton depicts an iteration of elements that are characteristic of the artist’s work...
A new wave: spate of UK exhibitions signal growing recognition for Inuit and Sámi art Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Exhibitions news A new wave: spate of UK exhibitions signal growing recognition for Inuit and Sámi art Shows in London, Southampton and St Ives are introducing a wider audience to the work of artists from the far north Alexander Morrison 7 February 2024 Share Pia Arke's Krabbe 1906/Jensen 1947 is an example of how the artist blended “the personal with the political” Courtesy and © Pia Arke Estate Two years on from the last major milestone, the push for representation of art from the far north appears to have reached another...
Down the Fast Food Chain of Desire in "The Reunification of the Two Koreas" Thinking and Talking about Arts and Culture in Southeast Asia Articles Crispian Chan, crispi photography November 27, 2018 By Teo Xiao Ting Click here to open the Twine in a new tab (if you’re reading this on a mobile browser, or otherwise have trouble viewing the Twine.) The Reunification of the Two Koreas by TheatreWorks was originally written in French by Joël Pommerat...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Um Al Dhabaab (Mother of Fog) by Farah Al Qasimi addresses the myth of Al Qasimi tribe-instigated piracy in the Gulf, perpetuated by the British Empire and upheld by contemporary western academia...
In Onde quer que voce esteja (2011) Accinelli sets up a row of cardboard shipping tubes of varying heights and inscribes on them in black ink the words of the title, which translates in English as “Wherever you may be.” The words, while legible, seem like fragmented lines and shapes—almost but not quite a deconstruction of the text...