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...
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...
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
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...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...
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...
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Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...
The fashion designer is selling off all the art inside his West Village townhouse at Sotheby’s New York to make way for a new collection....
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...
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...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California...
Miljohn Ruperto’s research-based multidisciplinary practice often deals with possession, re-enactment, mythology and archives...
Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California...