The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources. Growing up in an African-American community in Los Angeles, Capistran has long been influenced by hip-hop culture. The photographs in this print document him surreptitiously breakdancing on Carl Andre’s iconic lead floor piece after the guards at the Los Angeles County Museum of Art have left the gallery. Each of the twenty-five frames depicts a classic breakdance move. Wearing a working-class outfit, Capistran intentionally emphasizes the vernacular aspect of this art form and his personal engagement challenges the hierarchy between street culture and high art.
Born in Guadalajara, Mexico, and raised in South Central Los Angeles, Juan Capistran was undocumented until midway through grade school. As a teenager he gravitated toward graffiti, punk rock, reggae, house music, and DJ culture as tools for crafting a hybrid identity. His work has diverse influences, from Malcolm X to Led Zeppelin and Richard Serra, and it quotes keenly and democratically, from gang colors to minimalist forms.
White Minority , is typical of Capistran’s sampling of high art genres and living subcultures in which the artist subsumes an object’s high art pedigree within a vernacular art form...
Long Long Live (2013) takes the viewer to the setting of the Oasis Villa on Green Island, once a reform and re-education prison to house political prisoners during Taiwan’s martial law period...
Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel...
In her recent work, Biernoff is interested in investigating fictions and fantasies embedded in the remnants of consumer culture (for example magazines) or through ephemera such as postcards and old photographs...
In 8 Ball Surfboard (1995),Alexis Smith combines her long-term interests in California culture and conceptual assemblage...
Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Chris Johanson’s Untitled (Painting of a Man Leaving in Boat) (2010) pictures a canoe drifting toward an off-kilter horizon line, which demarcates the cobalt sea from the cerulean sky...
Blind 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...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...