Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines. Houck transforms these simple outputs physically, folding, lighting, photographing, and re-printing them, only to fold, photograph, and re-print again. An MFA graduate from UCLA, John Houck works primarily in the medium of photography and specializes in still-life vignettes. To make his works, Houck arranges an object on a sheet of paper, photographs, and prints it, then places that print back into a new composition, repeating the process again and again until arriving at an aggregate image. The layers appear to be digitally altered, but he does not utilize any postproduction interventions. But Houck is not a purist by any means; he is significantly influenced by his professional experience as a computer programmer, and his artistic methodology mirrors a kind of algorithmic code. By referencing a conventional artistic genre through an iterative and contingent process, Houck offers up photography as a mode of thought.
An MFA graduate from UCLA, John Houck works primarily in the medium of photography and specializes in still-life vignettes. To make his works, Houck arranges an object on a sheet of paper, photographs, and prints it, then places that print back into a new composition, repeating the process again and again until arriving at an aggregate image. The layers appear to be digitally altered, but he does not utilize any postproduction interventions. But Houck is not a purist by any means; he is significantly influenced by his professional experience as a computer programmer, and his artistic methodology mirrors a kind of algorithmic code. By referencing a conventional artistic genre through an iterative and contingent process, Houck offers up photography as a mode of thought.
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
Dorsky’s pieces included in the Kadist Collection are small still photographs from twelve of his most important films...
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...
Conrad Ruiz loves to paint subjects related to the “boy zone”: video games, weapons, games, science fiction, fantasy, and special effects...
Calle’s drawings all inhabit received forms but alter them to call attention to specific qualities...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
Central Station, Alignment, and Argument are “situation portraits” that present whimsical characters within distorted and troubling worlds...
Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...
Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...
Rojas’s two pieces in the Kadist Collection— Untitled (four-legged…) and Untitled (Bird’s Eyes) —are representative of her pictorial style which uses bold colorful blocks of paint and female and animal characters...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
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...
Choke documents the artist filming a wrestler “choking out” his teammate until he is unconscious...
LAB (2013) conjures the body as the trace of a sooty hand appears, spectrally, on a crumpled paper towel...
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...