Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco. These rather austere collages were created by simply cutting and inverting the text from existing information signs. In Sign #2 , for example, the original image that presumably carried the message “NO RIDERS” was placed upside down. By cutting out some of the syllables and inverting and rearranging them, the message was rendered unreadable. By maintaining the overall integrity of the signs and their most legible visual characteristics (luminescent color, bold font, size and rectangular format), Copeland’s collages obscure language in favor of a “delirious optical disorientation.”
Bjorn Copeland (along with his brother Eric) is an original member of Black Dice, an experimental/noise band associated with the thriving musical movement around the Rhode Island School of Design (RISD) in the late 1990s. Not surprisingly, Copeland’s visual practice is connected to that music scene, most obviously in his use of psychedelic designs associated with concert flyers which deploy hypnotic, almost acid-driven pop referents in a certain “op” manner. In many of his recent assemblages and collages, Copeland reuses discarded products, accumulated and found debris, as well as product packaging. As with his music, he rearranges and re-composes these preexisting structures, building complicated and intricate abstract patterns that aim to disorient and play with the viewer’s perception.
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
In 8 Ball Surfboard (1995),Alexis Smith combines her long-term interests in California culture and conceptual assemblage...
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
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...
A Portrait: Covering and Cleaning is an installation of six black-and-white video projections...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...
A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...
In 1977, as an already-established artist best known for his films, Bruce Conner began to photograph punk rock shows at Mabuhay Gardens, a San Francisco club and music venue...
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...
Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...