In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon. The object and its ground both glow, but the chapel-shape is crisp and simple, reminiscent of a piece of cut paper. Like many of Therrien’s early pieces, this abstraction slips into representation and the visual and spiritual power of the image is emphasized by the strong central placement of the chapel.
Robert Therrien’s work assumes a variety of forms that transform objects through visual similarity, graphic reduction, or shifts in scale. His art, accordingly, seems embedded in the structures of experience. Therrien’s work inserts itself between the viewing subject and the external and objectified world. We see the Platonic forms of objects and shifts in scale, reminding us of our perspective and embodied engagement with the world.
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
In 1940 Rivera came to San Francisco for what would be his last mural project in the city, Pan-American Unity ...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
Tanaka’s unique understanding of objects and materials is reflected in the four photographs that document his Process of Blowing Flour ...
Oliver Laric’s video Versions is part of an ongoing body of work that has continued to evolve and mutate over time...
With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...
Untitled (Construction) recalls the series of glass cubes that gained Bell international recognition in the 1960s...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
Gabriel Orozco often documents found situations in the natural or urban landscape...
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...
Untitled is a work on paper by Martin Kippenberger comprised of several seemingly disparate elements: cut-out images of a group of dancers, a japanese ceramic vase, and a pair of legs, are all combined with gestural, hand-drawn traces and additional elements such as a candy wrapper from a hotel in Monte Carlo and a statistical form from a federal government office in Wiesbaden, Germany...
In Dilemma: Three Way Fork in the Road , Wang references Peking opera in a re-interpretation of traditional text...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...