4 panels; 24.5H x 72W inches
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure. Each is pictured four times: a photograph of the plant, a photograph of its shadow, a drawing of the plant, and a drawing of its shadow. Instead of lending structure to disparate entities, this system serves a counterintuitive purpose, dissolving the object. Just as meaning can be drained from a word through relentless repetition, Gaines’s thorough application of an invented representational system undermines the thing-ness of the simplest thing. Here, the artist effectively questions a concept as vast as objective truth by presenting an alternate theory of an object as ordinary as a houseplant
Charles Gaines orchestrates opportunities for aesthetic judgments, often turning mundane objects and spaces into newly indeterminate propositions. By adhering to self-defined processes, he explores the structures by which we make meaning, supplanting objective claims with the infinitely interpretable. Gaines is currently based in Los Angeles, where he teaches at California Institute of the Arts. He is influenced by John Cage, and like Cage’s, his work has served as a seminal guidepost for a younger generation of concept-oriented image makers.
Consuegra’s Colombia is a mirror made in the shape of the artist’s home country—a silhouette that has an important resonance for the artist...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
The 10 $1 bills that make up From a Whisper to a Scream (2012) read like instructions in origami...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
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...
White Minority , is typical of Capistran’s sampling of high art genres and living subcultures in which the artist subsumes an object’s high art pedigree within a vernacular art form...
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
Nicolas Paris studied architecture and worked as an elementary school teacher before he decided to become an artist...
Blindseye Arranger (Max) (2013) features a greyscale arrangement of rudimentary shapes layered atop one another like a dense cluster of wood block prints, the juxtaposition of sharp lines and acute angles creating an abstracted field of rectangular and triangulated forms composed as if in a cubist landscape...