In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second. In a way, this work both examines the construction of history and the history of the influential magazine, which was founded in 1923. In addition to the play on “time”—one of Thomson’s ongoing obsessions—this piece highlights and continues the artist’s encyclopedic impulse, also seen in The White Album (2008), to record the history of the spaces he inhabits.
Mungo Thomson is a Los Angeles-based conceptual artist whose challenging works reveal a fascination with time, space, music, and perceptual phenomena in general. It has been pointed out that Thomson’s work privileges backgrounds: material (the white walls), institutional (the gallery), and historical.
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
While his works can function as abstract, they are very much rooted in physicality and the possibilities that are inherent in the materials themselves...
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
Miljohn Ruperto’s high-definition video Janus takes its name from the two-faced Roman god of duality and transitions, of beginnings and endings, gates and doorways...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
After being cast, the resulting resin block used in JCA-25-SC was cut into thin slices obtaining a series of rectangular shapes that resemble ceramic tiles...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
The 10 $1 bills that make up From a Whisper to a Scream (2012) read like instructions in origami...
Blindseye Arranger (Max) (2013) features a greyscale arrangement of rudimentary shapes layered atop one another like a dense cluster of wood block prints, the juxtaposition of sharp lines and acute angles creating an abstracted field of rectangular and triangulated forms composed as if in a cubist landscape...
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock...
Will Rogan’s video Eraser (2014) shows a hearse parked in a clearing amidst leaf barren trees...
This untitled work from 2012 is a print originally made as part of the Wattis Institute for Contemporary Art’s artist limited edition series...
Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
In her 2011 webcam video, Sickhands , Cortright poses before her in-computer camera, as her hands, hair, and body begin waving and rippling vertically across the screen, distorted by software effects...
Reborn, 2010 is a three-channel video by Desiree Holman that questions ideas of motherhood and the maternal instinct...
Her 2016 video installation quotes the sitcom-as-form and also draws from a 1907 comedic short, Laughing Gas...
Tania Libre is a film by Lynn Hershman Leeson centered around renowned artist Tania Bruguera and her experience as a political artist and activist under the repressive government of her native Cuba...
In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...