Untitled (Rolled up)

In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...

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...

The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...

A vehicle without light is a group of more personal photographs...

This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances...

Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...

Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...

In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...

This work is meditative and fragile...

White Minority , is typical of Capistran’s sampling of high art genres and living subcultures in which the artist subsumes an object’s high art pedigree within a vernacular art form...

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...

Charles Avery has been constructing a narrative in his work since 2004...

In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...

Wagon Wheel is a work with a fundamental dynamism that derives both from the rotating movement of the elements suspended on poles and the kicking of the legs of the figure...

The four-channel video installation Same Old Crowd departs from the documentation of an unknown city and takes place in an ambiguous temporal and spatial frame...

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...

The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...

In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...