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...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...
The Nightwatch , which is an ironic reference to the celebrated painting by Rembrandt, follows the course of a fox wandering among the celebrated collections of the National Portrait Gallery in London...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...
Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...