Dimensions variable
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race.
Employing the visual language and terminology of mass media, and appropriating symbols and images from popular culture, Hank Willis Thomas’ work seeks to question and subvert established definitions and positions with regards to personal identity and the narrative of race. Working across installation, photography, video, and media work, Thomas maintains his photo conceptualist roots, primarily taking source material from found photographs and archives. These images form the basis from which the artist seeks to uncover the fallacies that history claims as truth. His work illustrates how the way history is represented and consumed reinforces generalizations surrounding identity, gender, race and ethnicity, and that as an artist he has an opportunity to expose or to revise those histories from the points of view of the oppressed.
Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
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...
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...
Interested in role-play and videogames, Ana María Millán developed workshops with different communities in order to create characters and scenarios for her animations, often in collaboration with a choreographer...
The series Belle Époque of the Tropics by Noara Quintana has as its background the history of the rubber industrialization in North of Brazil...
Filmed underwater, this is the third video in Nguyen-Hatsushiba’s “Memorial Project” series which began in 2001...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
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...
Foreigners Everywhere is a series of neon signs in several different languages...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
For Immersion , Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations...
Collier Schorr’s prints upend conventions of portrait photography by challenging what it means to “document” a subject...