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...
A Portrait: Covering and Cleaning is an installation of six black-and-white video projections...
The video “Shangri-La” refers to the mythical city of James Hilton’s novel “Lost Horizon” written in 1933 and is exemplified in a film by Frank Capra which speaks of eternal youth in a city of happiness...
While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala...
Though the title might suggest an Adonis, Jeffry Mitchell’s The Swimmer (2012) is a squat, jolly man with a protuberant belly...
Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain...
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...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore...
Barbara Kasten’s Studio Construct 51 depicts an abstract still life: a greyscale photograph of clear translucent panes assembled into geometric forms, the hard lines of their edges converging and bisecting at various points...
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...
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...
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...
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...