Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition. The title of the series is translated from the Khmer phrase Tuol Sleng , which literally means a poisonous hill or a place on a mound to keep those who bear or supply guilt, and the photographs came from the Tuol Sleng Genocide Museum in Cambodia, a former prison where at least 200,000 Cambodians were executed during the reign of the Khmer Rouge between 1975 and 1979. In this particular image, three men stand against the backdrop of what looks like a prison interior. Their identities are unknown. The ghostly, illuminated space creates a strange effect of time traveling, transporting viewers back to the historical event depicted. The men’s gazes seem to tell stories that have been buried in collective memory. For Lê, the act of appropriating, recycling, and remixing imagery is a means of rescuing both images and the memories embedded within them.
Dinh Q. Lê’s artistic practice centers on his lived experience of political and social conditions in his native Vietnam; he and his family fled the country via Thailand in 1979 and immigrated to the United States. Lê interweaves the experiences that helped shape his identity with Vietnamese national mythologies, collective memories, and expanded cultural histories. Incorporating imagery from a variety of sources, such as archival photographs, documentaries, Hollywood films, and Vietnamese iconography, Lê’s investigations raise critical questions about the distribution, reception, and consumption of images, and how images inform national identity.
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person...
Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
One Universe, One God, One Nation was inspired by Hannah Arendt’s analysis of space exploration and by the astrological horoscope of Chinese political and military leader Chiang Kai-shek (1887-1975)...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....