152.4 x 114.3 cm
Xaviera Simmons often employs her own body and collected materials in the service of her photographs and performances. Not to be mistaken as mere portraiture, however, Simmons’ works are explorations of the Black body in relation to landscape and other dimensions of non-linear space and time. Concealing and flattening her subjects with costumes and collage-like, abstract pictorial devices, the artist arranges archival photographs, printed textiles, and anthropological artifacts in configurations that highlight the power of visual culture to shape contemporary understandings of the self. Dressed in wax-printed broadcloth, the subject of Sundown (Number Twenty) holds a photograph from the Jim Crow era in her left hand and an African mask in her right. The busy backdrop of tropical flora reinforces problematic associations of fantasy and exoticism suggested by the masked figure. Simultaneously concealing and replacing her own image, Simmons allows her individual identity to dissolve into the cultural constructs and histories that each artefact and image holds.
Artist Xaviera Simmons’s diverse body of work is committed to multiplicity. Eschewing linear notions of history, her approach to investigating themes such as the shifting notions surrounding landscape and the conditions of African American female experience are cyclical in nature. Her studio practice demonstrates a fidelity to no single artistic modality or creative process; rather, Simmons’ interdisciplinary pursuits are in constant, active flux. Encompassing installation, photography, performance, and sound and video works, her evolving approach to artmaking is emblematic of the plurality of cultural experience and the myriad ways in which identity is constructed in contemporary culture.
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...
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...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
For Sentimentite Agnieszka Kurant collaborated with Justin Lane, CEO and Co-Founder of CulturePulse, to gather global sentiment data that has been harvested from millions of Twitter and Reddit posts related to 100 seismic events in recent history...
Miljohn Ruperto’s research-based multidisciplinary practice often deals with possession, re-enactment, mythology and archives...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
San Pedro is a seaside city, part of the Los Angeles Harbor, sitting on the edge of a channel...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
Lockhart’s film Lunch Break investigates the present state of American labor, through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
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 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...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
Miljohn Ruperto’s high-definition video Janus takes its name from the two-faced Roman god of duality and transitions, of beginnings and endings, gates and doorways...