Subject, Silver, Prism
2011 - Sculpture (Sculpture)
Brian Jungen
There are several elements to Subject, Silver, Prism . Silver ink is applied to blocks of black foam. A simple stand, reminiscent of cheap furniture, supports a drum constructed from deer hide stretched over plastic cooking bowls and held taut by the hide and twine. The tightness of the drum and the stiffness of its table offset the floppy softness of the black foam. The semantic and visual echo between the pots-and-pans drums of suburban children and the deer hide and wood drums of First Nations people are literally bound together in this piece.
Brian Jungen’s works create complex interrelationships between global consumer commodities and traditional First Nations objects. He often physically reworks brand-name products into forms associated with First Nations material culture, such as masks and teepees. More than a simple critique of American-European imperialism, Jungen’s hybrids are irreducible to either trajectory or even a one-way process of influence.
Colors:
Other related works, blended automatically
© » KADIST
Geoffrey Farmer
2009Ongoing 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...
© » KADIST
Mark Leckey
2004In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
© » KADIST
Hank Willis Thomas
2013The 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...
© » KADIST
Hank Willis Thomas
2012Like 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...
© » KADIST
Jeffry Mitchell
2012Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
© » KADIST
Gareth Moore
2006Uncertain Pilgrimage is an ongoing project in which Moore draws from his unplanned travels in recent years...
© » KADIST
Mungo Thomson
2008The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
© » KADIST
Hank Willis Thomas
2012Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
© » KADIST
Hank Willis Thomas
2014Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
© » KADIST
Stan Douglas
1997Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...
© » KADIST
Hank Willis Thomas
2012Intentionally 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...
© » KADIST
Mungo Thomson
2010In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
© » KADIST
Douglas Gordon
2002Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
© » KADIST
Ian Wallace
2000Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...