As suggested by its title, Pipe Opening (2002) depicts a hole in a wood wall exposed by the removal of a pipe. In contrast to his signature immense tableaux, Pipe Opening is a direct but modest document of a “real” scene that Wall “encountered by chance” in daily life. However factual, the image indicates certain enigmatic significance, allowing multiple interpretations. Wall encourages the viewer to engage with the scenario to imagine the before and the after of the moment. Compared to his earlier work, Wall’s photographs appear to be straight-up snapshots, exhibiting less manipulative details. The fictional details are not conveyed through obvious arrangements but due to the very nature of photographs: What they record is always an incomplete view of the world.
Internationally renowned photoconceptualist Jeff Wall is famous for his large-format lightboxes whose subject matter ranges from figurative portraiture to urban environment to mundane objects to elaborately constructed scenes. Hovering between documentary realism and fictional storytelling, and between photographs and films, Wall’s works are experienced rather than looked at.
Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...
Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
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....
Welling employs simple materials like crumpled aluminum foil, wrinkled fabric and pastry dough and directly exposes them as photograms, playing with the image in the process of revealing it...
Ben Shaffer’s Ben Deroy (2007) is part performance, part self-portrait, and part spiritual vision...
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The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Wallace says of his Heroes in the Street series, “The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense forest of symbols of the modern city, can achieve the status of the heroic.” The hero in Study for my Heroes in the Street (Stan) is the photoconceptual artist Stan Douglas, who is depicted here (and also included in the Kadist Collection) as an archetypal figure restlessly drifting the streets of the modern world...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...