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.
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...
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...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...
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...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...
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...
In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...
Wallace says of his Heroes in the Street series, “The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense forest of symbols of the modern city, can achieve the status of the heroic.” The hero in Study for my Heroes in the Street (Stan) is the photoconceptual artist Stan Douglas, who is depicted here (and also included in the Kadist Collection) as an archetypal figure restlessly drifting the streets of the modern world...