11H x 14W inches each
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California. Taken outside Palmdale, Littlerock, Pearlblossom, Victorville, and Barstow, towns where the population does not exceed 20,000, Ruppersberg’s trip follows the outskirts of Los Angeles. As with many of his other photographic series, the artist here inserted into each view a constant element that disturbs the otherwise quiet scenes: a hand holding an open magazine. By pairing each road sign with magazines as diverse as Playboy , Look , Hulk comics, Arizona Highways or Rona Barrett’s Hollywood , Ruppersberg teases the viewer to find a connection between the two.
Like many of his peers in the 1960s, Allen Ruppersberg recognized art as existing not in the isolated realm of aesthetics, but as a practice with a clear political and critical potential, one inextricably immersed in an economic system. Ruppersberg took as source material diverse items stemming from a distinct American form of popular culture of the mid-twentieth century. However, it was perhaps his particular use of everyday rituals to explore different cultural mythologies and narratives that separated him from many conceptual artists of his generation. For a period between the late 1960s and early 1970s, Ruppersberg developed several series of photographs that privileged a certain kind of neutrality, stillness, and emptiness that resembled the seemingly authorless images of mass-produced postcards or calendars. But in his works the artist often hid distinct clues, like an unopened newspaper left on an unmade bed in a hotel room. In this series Ruppersberg was also interested in the suggestion of narrative or uncanny storytelling through the juxtaposition or sequential arrangement of images.
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
Video: Catherine Opie on photographing leading British artists | Blog | Royal Academy of Arts Catherine Opie in the RA Collection Gallery Video: Catherine Opie on photographing leading British artists Read more Become a Friend Video: Catherine Opie on photographing leading British artists Published 8 September 2023 Catherine Opie discusses her portraits of David Hockney, Anish Kapoor, Gillian Wearing, Isaac Julien and Lynette Yiadom-Boakye, featured in our free display in the Collection Gallery...
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Beyond the White Walls , with a commentary written and spoken by Jeremy Deller, is often wryly amusing...
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Trevor Paglen’s ongoing research focuses on artificial intelligence and machine vision, i.e...
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Matthew Buckingham presents a narrative directly connected with a highly symbolic site in the United States, the Mount Rushmore Memorial*...
Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
In Stong Sory Vegetables , Laure Prouvost explains that she woke up one morning and that some vegetables had fallen from the sky on her bed, making a hole in her ceiling...