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)...
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...
Do ut des (2009) is part of an ongoing series of books that Castillo Deball has altered with perforations, starting from the front page and working inward, forming symmetrical patterns when each spread is opened...
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...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...
Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...
Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
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...
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)...
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....
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...