Barry McGee’s Untitled is a collection of roughly fifty, framed photographs, paintings, and text pieces clustered together in corner. Its tiled effect can perhaps be seen as a vertical Carl Andre work and also bears some resemblance to another work in the Kadist Collection, Jedediah Caesar’s JCA-25-SC. McGee’s installation also echoes the votive altars in the chapels he visited during his residency in Brazil in 1993. One almost expects to see candles lit below the work honoring the dead or loved ones in crisis. This is appropriate since the individual elements in Untitled depict and honor the disenfranchised, outcasts, and sometimes ghosts of San Francisco street life.
San Francisco-based artist Barry McGee graduated from the San Francisco Art Institute in 1991 with a concentration in painting and printmaking and is considered a central figure in the Mission School movement. His work is heavily influenced by graffiti, comic books, skateboard culture, green culture, and social activism and usually reflects, with a pessimistic view, upon the urban environment that surrounds him. McGee’s large-scale painting installations often take a particular iconography in which a background of abstract, acid-colored patterns is overlayed with text and figures.
Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...
Chris Johanson’s paintings, sculptures, and installations break down everyday scenes and commonplace dramas into colorful forms; the darkest sides of humanity are invoked with humor...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
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...
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...
The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
A painting reminiscent of a certain “naive primitivism,” Untitled (Colors) and Untitled (Ghost) are representative of McCarthy’s work...
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...
The 10 $1 bills that make up From a Whisper to a Scream (2012) read like instructions in origami...
In 8 Ball Surfboard (1995),Alexis Smith combines her long-term interests in California culture and conceptual assemblage...
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...
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
In Captain X , Star Trek’s Captain Kirk, played by William Shatner, is limply draped over a large boulder in what looks like a hostile alien environment...
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...
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...
Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification...