12H x 9W inches
In 1940 Rivera came to San Francisco for what would be his last mural project in the city, Pan-American Unity . Currently housed at City College of San Francisco as a permanent installation, for a time it was in storage and not on public display. During the same period, he created the charcoal sketchentitled Shasta (1940), of large construction machinery that the artist saw near the Mount Shasta dam. He noted the dam and construction equipment as playing a role also in the lives of those living in South Americas.
Diego Rivera was one of the most important artists of the 20th century. He lived and worked for most of his life in Mexico, although he also traveled extensively to such places as Russia, America, France, and Spain. He was (twice) married to the (also extremely famous) Mexican painter Frida Kahlo. Rivera catalyzed the Mexican mural movement in the early part of the century, pushing the national art into a new, socially aware era. He is most famous for his large-scale murals, frescoes, and artistic collaborations that spoke to labor issues, unions, and political radicalism.
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Gabriel Orozco often documents found situations in the natural or urban landscape...
The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind...
The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...
The video Interrupted Passage presents a performance Morales staged in the former home of Mariano Guadalupe Vallejo, a mid-nineteenth-century Mexican general serving in California...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...
Hand Palm Echo 1 is a digital animation based on Christine Sun Kim’s staircase mural at The Drawing Center in New York (10 March – 22 May, 2022)...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...
Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
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 his posters, prints, and installations, Erick Beltrán employs the language and tools of graphic design, linguistics, typography, and variations in alphabetical forms across cultures; he is specifically interested in how language and meaning form structures that can be misconstrued as universal...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
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...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...