Restaurant, Canton, Ohio

2011 - Photography (Photography)

William E. Jones

year born: 1962
gender: male
nationality: American

In Restaurant, Canton, Ohio (2011), a convenience store offers food, liquor, and Coca Cola to an empty street. A series of boarded-up storefronts marred by peeling paint conveys a sense of the pre- or post-apocalyptic—the hush just before or after a disaster. The reds, pinks, and oranges of the buildings give off warmth, but the absence of human activity makes the glow eerie and strange. Once a booming steel town, Canton is now struggling, and many of its buildings have been neglected for decades. While the location of William E. Jones’s photograph is specific, we can’t help extrapolating to imagine any Main Street, USA, that has been left to atrophy in the wake of big industry gone bust.


Los Angeles-based artist and filmmaker William E. Jones appropriates vintage film material that he rearranges into new compositions. Often concerned with the way gay imagery was depicted in 1970s and 1980s, Jones’s early films explore the complex configuration of homosexual identity with a rather nostalgic and romanticized gaze. Though fashioned in the same way, his later pieces look more directly at pornography and the appearance of fetish in popular culture.


Colors:



Related artist(s) to: William E. Jones » Claire Fontaine, » Hank Willis Thomas, » Aurélien Froment, » Jens Hoffmann, » Rachel Harrison, » Roe Ethridge, » San Francisco, » Books Conference, » Boris Groys, » Bruce Nauman

Foreigners Everywhere (Italian)
© » KADIST

Claire Fontaine

2006

Foreigners Everywhere is a series of neon signs in several different languages...

dbqp
© » KADIST

Aurélien Froment

2008

dbqp is a photographic series in which the artist handles an enlargement of the plate with three cutout windows which was used for L’Archipel (The Archipelago) in collaboration with Pierre Leguillon...

Théâtre de Poche
© » KADIST

Aurélien Froment

2008

The Théâtre de poche video is inspired by Arthur Lloyd / “Human Card Index”, a magician who was famous for being able to take out of his pockets any image requested by his spectators...

South Africa Righteous Space
© » KADIST

Hank Willis Thomas

2014

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....

Black Hands, White Cotton
© » KADIST

Hank Willis Thomas

2014

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...

I Am A Man
© » KADIST

Hank Willis Thomas

2013

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
© » KADIST

Hank Willis Thomas

2012

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
© » KADIST

Hank Willis Thomas

2012

Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...

Black Imitates White
© » KADIST

Hank Willis Thomas

2012

Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...

I am the Greatest
© » KADIST

Hank Willis Thomas

2012

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...