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Oil
© » KADIST

Sam Contis

Photography (Photography)

Sam Contis’s photographs explore the relationship of bodies to landscape, and the shifting nature of gender identity and expression. Oil is part of a photographic series Contis made at Deep Springs College, one of the United States’s last all-male institutions of higher learning, located in a remote desert valley on the California–Nevada border. Oil features a hand in front of an open hood of a car, checking the oil.

Teomama
© » KADIST

Alicia Smith

Film & Video (Film & Video)

The title of Alicia Smith’s video work, Teomama , means “God Carrier” in the Aztec language of Nahuatl. It was the name given to medicine men and women who carried the bones of Huitzilopochtli—the god of war, sun, and human sacrifice in ancient Mexico, and the national deity of the Aztecs. Of the many legends featuring Huitzilopochtli, the origin story of Tenochtitlan (present day Mexico City) is perhaps one of the most well-known.

Los Abuelos
© » KADIST

Manuel Solano

Painting (Painting)

Since Manuel Solano became blind, they developed a technique that relies on audio descriptions that allow for an assistant to place pins and threads on a grid that guides the artist’s hands through the surface. In Los Abuelos , the artist works with a canvas the size of their body, allowing intense interaction with the wet paint. This kind of tactility creates a complex entanglement of color masses alternating sharp and blurred details, giving the image an erratic and affective atmosphere just as our fond memories often appear to us.

Ventana indiscreta (Rear Window)
© » KADIST

Karen Lamassonne

Painting (Painting)

Ventana indiscreta (Rear Window) by Karen Lamassonne takes its title from Hitchcock’s renowned 1954 classic. The painting is part of Lamassinne’s Homenaje a Cali [Homage to Cali] series, developed by the artist in 1989 in a nostalgic attempt to immortalize Cali at a time in which violence from drug trafficking had rendered it unlivable, and the generation that Lamassone had lived it up with had all but dispersed. Lamassone had formally established in Cali around the middle of the decade at a time in which the hangover from the 1971 Pan-American Games and an artistic effervescence had transformed it from a provincial sleepy town into a newly discovered urban (and sexual) labyrinth, one that was fit for the artist’s own explorations around its representation.

The subtle rules the dense
© » KADIST

Phoebe Collings-James

Sculpture (Sculpture)

The Subtle Rules the Dense is a series of masks/torsos/body plates that Phoebe Collings-James cast from mannequins and then worked by hand. The resulting objects lie ambiguously between a representation of a human torso and a shamanistic mask. The work is reminiscent of Yoruba and Makonde body masks that portray pregnant forms, as well as Roman armor with nipple rings.

Figura Nocturna II
© » KADIST

Antonio Obá

Painting (Painting)

Figura Noturna II by Antônio Obá depicts a dark figure, surrounded by a halo of light set against an even darker background. He has one eye open, which stares intensely at the viewer. The image relates to a theme recurrent in the artist’s practice: the figure lying awake at night.

Untitled
© » KADIST

James "Yaya" Hough

Drawing & Print (Drawing & Print)

This untitled ink and pencil drawing by James “Yaya” Hough is made on what the artist calls “institutional paper”, or the state-issued forms that monitor the daily activities of prisoners, of which, each detainee is generally required to fill out in triplicate. The form used for this drawing details a weekly menu for the prisoners. Hough’s drawing depicts three grimacing figures, riding atop the back of a larger, female figure on all fours.

SPORT/ Becky Blast
© » KADIST

Karla Kaplun

Drawing & Print (Drawing & Print)

Studying the body in movement, this series of drawings depart from Karla Kaplun’s work A ztec BLAST® Workout (AWB) . Taking the form of a fitness training program, this work critically explores issues of cultural appropriation, focusing on the traditional “Conchero” Aztec dance. The Concheros dance—also known as the Chichimecas, Aztecas and Mexicas—is an important traditional dance and ceremony which has been performed in Mexico since early in the country’s colonial period.

Power
© » KADIST

Amapola Prada

Film & Video (Film & Video)

n the opening scene of the video Power (La Fuerza) we see a mature woman asleep in a dark room. Prada slowly becomes visible as she crawls into the bed and affectionately positioning her body next to the sleeping figure. Prada then proceeds to undress the woman’s chest and ‘feed’ from her breast.

Movement
© » KADIST

Amapola Prada

Film & Video (Film & Video)

In Amapola Prada’s work Movement, we see three spotlit, female bodies lying inert in a darkened room, alongside three dressed, standing figures holding long, wooden spoons. Looking over the static bodies, the standing figures place their spoons in-between the women’s legs and begin moving them in circular, rowing-like motion, like the oars of a boat. The psycho-sexually charged nature of Movement is illustrative of Prada’s dream-like works, which often relate to the subconscious and other internal processes with which we express desires, tensions, and latent emotions.

Tissue II
© » KADIST

Nathan Lewis

Drawing & Print (Drawing & Print)

Nathan Lewis has always made figurative and abstract drawings, which are related to anatomical textures and patterns he encountered when working as an ICU nurse. Hence the title of this work, Tissue II , is a spare and elegant work, in which the artist combines hand sculpted paper with embossment and frottage for the first time in his practice. The effect recalls African weaving and skin embellishment, but also reflects the influence of his former job as an intensive-care nurse, seeking to heal the most damaged.

Quilted Figure
© » KADIST

Ruby Sky Stiler

Painting (Painting)

The depiction of the female figure in the sculptures remains an economic, canny composition of geometric abstractions in a Modernist spirit. Yet rather than provide us with the layers of information found in her wall reliefs, the sculptures exclusively frame space. In place of the tactile surfaces that can be carved into and drawn on, the sculptures’ outlines provide multiple perspectives on to their surroundings, and additionally unto themselves.

Secrets Between Her and Her Shadow 10
© » KADIST

Maryam Hoseini

Painting (Painting)

Secrets Between Her and Her Shadow 10 by Maryam Hoseini is from a series of paintings of the same title that are inspired by the story Layla and Majnun – an Arabic love story about Majnun, a 7th century Bedouin poet, and his lover, Layla. Hoseini’s compositions are visually inspired by the illustrations accompanying the Khamsa of Nizami , a manuscript of five poems, including Layla and Majnun , produced by the Persian poet Nizami in the 1590s. Unlike the original tale, Hoseini’s paintings focus entirely on Layla, any male characters are purposefully erased from this narrative.

Yea High (sweetpreparator)
© » KADIST

Shahryar Nashat

Sculpture (Sculpture)

Employing both the High Modernist technique of abstraction and monochronism, as in the work of Lucio Fontana and Yves Klein, and bodily states of fetishization, Yea High (sweetpreparator) reworks the art historical canon of movement and the body to consider flesh as a physical construction of man-made matter. In the work, the artist uses perspiration as a medium on the surface, combing the man-made and the organic. The pink of the surface reflects the artist’s interest in reframing the way we understand the permeability of human skin.

Untitled
© » KADIST

James "Yaya" Hough

Drawing & Print (Drawing & Print)

This untitled ink and pencil drawing by James “Yaya” Hough is made on what the artist calls “institutional paper”, or the state-issued forms that monitor the daily activities of prisoners, of which, each detainee is generally required to fill out in triplicate. This drawing uses a pink form on which an inmate can list telephone contacts for approval. The drawing depicts two uniformed figures, with backwards feet, berating a figure on a toilet.

shores shored (Working Title)
© » KADIST

Michael Dean

Sculpture (Sculpture)

The sculpture shores shored (Working Title) makes reference to the human form. The two sides of the sculpture are distinctively different, with the rear showing an anamorphic-corrugated structure, the front suggesting the human form, making perhaps an unconscious reference to Giacometti or Barnett Newman. But whereas their work suggests immanence, Michael Dean refuses any notion of transcendence, remaining rooted in presentness .

Ofrenda
© » KADIST

Elyla

Installation (Installation)

Ofrenda [Offering] by Elyla includes a single-channel video and the mask used in the performance. The video is a recorded action of the artist, who appears removing a sieve mask that was pinned to the skin of their face, leaving a trail of blood that falls on their naked, mud-covered body. Worn in El Baile de las Negras , a colorful dance performed by men dressed as women, the mask originates from Indigenous celebrations in Monimbó, Nicaragua.

Alka domo
© » KADIST

Seba Calfuqueo

Film & Video (Film & Video)

Alka domo by Seba Calfuqueo is a performative video work that recontextualizes a story about Caupolicán, the Mapuche toki (meaning symbol of strength and perseverance in the face of adversity). Caupolicán was elected military leader by the Mapuche people of Chile after successfully completing the challenge of holding a log on his shoulders for two days. Caupolicán led the Mapuche army in the first uprising against the Spanish conquistadors from 1553 to 1558.

Untitled
© » KADIST

Sung Hwan Kim

Drawing & Print (Drawing & Print)

This untitled drawing was part of Sung Hwan Kim’s solo exhibition Sung Hwan Kim: A Still Window From Two or More Places , which took place in tranzitdisplay in Prague, Czech Republic in 2010. tranzit.cz is part of a network working independently in Austria, the Czech Republic, Hungary, Slovak Republic, and Romania since 2002. Such doodle-like drawings are often crucial components of Kim’s performances. The imagery of faces, heads, snakes, and serpentine paths are recurring motifs in the artist’s drawing practice.

Beben
© » KADIST

Julian Abraham

Photography (Photography)

In 2015, while in residence at the Jatiwangi Art Factory (JaF) located in the village of Jatisura in Jatiwangi, West Java, Indonesia, Togar initiated the Jatiwangi Cup in which the artist, together with communities in the area, established an annual bodybuilding contest. The area is renowned for its roof tile factories, and the cup aims to celebrate the factory worker’s physiques, sculpted by intense, daily, physical labor. Togar based the idea of the cup on the simple notion of collectivity.

After the Finish Line
© » KADIST

Adelita Husni-Bey

Film & Video (Film & Video)

After the Finish Line is a recent film by Adelita Husni-Bey produced for the exhibition Movement Break at Kadist-SF in 2015. It was developed in collaboration with a group of teenage athletes who have experienced injury as a result of their respective sporting activities. Through radical pedagogical practice, a process that attempts to de-individualize feelings of failure, the artist and the athletes recorded their experiences, discussing the meaning and trappings of competition — and in particular, from where desires for success stem.

XXX…I walk along carefully, very carefully, as if I were on ice that might crack at any moment.
© » KADIST

Jiri Kovanda

Photography (Photography)

Kovanda’s ‘discreet’ actions (leaving a discussion in a rush, bumping into passers-by in the street, making a pile of rubbish and scattering it, looking at the sun until tears come…) are always documented according to the same format: a piece of A4 paper, a concise typewritten text, and sometimes a photograph taken by someone else. This action, walking abnormally slowly, questions the place of the individual within the space of a city with regards to social habits. Kovanda places himself slightly outside the regulated rhythm of the city walking.

Drawing for SOTSB II
© » KADIST

Anne Imhof

Drawing & Print (Drawing & Print)

“School of the seven Bells (SOTSB)” is based on a series of hands games in which an object is passed from hand to hand. The performance is a reference to the film by Robert Bresson, “Pickpocket”, where a group of pickpocketers play with their victims. The artwork, through the actions of the hands, is an interrogation into space and time, questioning the relationship between public and private space, the establishment of communication through the body and visual exchange and gestures between aggression and sensuality.

Lengüitas sagradas (Blessed Little Tongues)
© » KADIST

Juliana Góngora

Installation (Installation)

Lengüitas sagradas (Blessed Little Tongues) by Juliana Góngora is the result of a careful creative job between Juliana Góngora and the Koreguaje community and their workshop Masipai. During several months, the artist and the community leaders Juven Piranga and Yinela Piranga kept an essential communication to materialize one hundred miniature bags, knitted with cumare and containing tiger chocho and rattle seeds inside. Each ‘little tongue’ has been knitted using the colors that identify the clans that form the artisans of the Masipai group (wise people).

Deferral Archive #1
© » KADIST

siren eun young jung

Drawing & Print (Drawing & Print)

Deferral Archive is one of the archival extensions of siren eun young jung’s Yeoseong Gukgeuk Project (2008-), a decade-long ethnographic research project into the diminishing genre of Korean traditional theater known as Yeoseong Gukgeuk . The genre, which was popular in the 1950s-60s, has since been forgotten, without ever being established as either a traditional or modern form of Korean theater. The most distinctive formal trait of Yeoseong Gukgeuk is that the theater performers are exclusively women.

Blood Sugar
© » KADIST

Cheryl Donegan

Film & Video (Film & Video)

Fashion is the focus of Blood Sugar , which consists of a video projected onto a vintage vinyl jacket set at torso height on a dressmaker’s dummy. As suggested by the work’s title, Cheryl Donegan uses the body as a metaphor, relating the continuous cycle and recycle of images that characterizes consumer fashion culture to the flow of sugar in our blood. Formally, the work borrows strategies from conceptual art, and specifically video art from the 1960s and 1970s—such as the use of repetition, patterns, found materials, and a DIY, low-tech aesthetic—and combines it with contemporary cultural forms, in this case, the world of fashion.

Monteverdi Ici
© » KADIST

Laure Prouvost

Film & Video (Film & Video)

Monteverdi Ici by Laure Prouvost is a non-narrative video work that depicts the back of the artist’s naked body standing, with her back towards the camera in a field. Her bare arms gesture outwards and forwards, as if her movements are influencing the wild flowers billowing in the foreground. Alternating between the artist’s body and imagery of leaves, flowers, cats, and caterpillars, Prouvost speaks directly to the viewer, stating: “The world behind that field would be here, the world would enter through here”.

siren eun young jung

With a practice deeply engaged with feminism and LGBT rights issues, siren eun young jung reveals the subversive power of traditional culture, one unknown in the Korean modernization period, and provides unique perspectives and documentation of important communities...

James "Yaya" Hough

Working in ballpoint pen, pencil, and watercolor, often on the backs of bureaucratic prison forms, James “Yaya” Hough’s work conveys the burdens of incarcerated life, revealing not only the brutal reach of the carceral system, but laying bare its affects...

Zanele Muholi

Laure Prouvost

Laure Prouvost is a multi-disciplinary artist best known for her films and immersive large-scale multi-media installations, in which she plays with words and their meanings in non-linear ways...

Amapola Prada

As the daughter of an actor, Amapola Prada recalls frequently attending the theater as a child and noticing that she never saw herself (her body or reality) represented...

Nontawat Numbenchapol

Nontawat Numbenchapol is primarily known as a film director and television screenwriter, widely recognized for his documentary work...

Kubra Khademi

Afghani artist Kubra Khademi uses her practice to explore her experiences as both a refugee and as a woman...

Danielle Dean

Danielle Dean creates videos that use appropriated language from archives of advertisements, political speeches, newscasts, and pop culture to create dialogues to investigate capitalism, post-colonialism, and patriarchy...

Nidhal Chamekh

Based between his native Tunis and Paris, Nidhal Chamekh’s work is an investigation into history as a point of access to our contemporary times...

Karla Kaplun

Karla Kaplun’s practice centers on micro-utopias, the construction and functioning of collective memory, as well as mechanisms of political and economic power and control...

John Wood and Paul Harrison

John Wood and Paul Harrison have been working collaboratively since 1993, producing single screen and installation-based video works...

Julian Abraham

Julian Abraham “Togar” is an artist, musician, and pseudo-scientist...

Sung Hwan Kim

In his practice, Sung Hwan Kim assumes the role of director, editor, performer, composer, narrator, and poet...

Sin Wai Kin

Through performance, moving image, writing, and print, artist Sin Wai Kin (formerly known as Victoria Sin) uses speculative fiction to interrupt normative processes of desire, identification, and objectification...

Shahryar Nashat

The work of Shahryar Nashat (b...

Seba Calfuqueo

Seba Calfuqueo is an artist of Mapuche origin whose work critically reflects on the social, cultural, and political status of the Mapuche people in contemporary Chilean society...

Tenzing Rigdol

Tenzing Rigdol is a contemporary Tibetan artist whose work ranges from painting, sculpture, drawing and collage, to digital, video installation, performance art and site-specific pieces...

Ashmina Ranjit

Ashmina Ranjit is Nepal’s leading figure in the conceptual and performance fields, as well as an emblematic voice in South Asian feminist art making and activism...

Wynnie Mynerva Mendoza Ortiz

Wynnie Mynerva is a non-binary artist based in Lima whose pictorial and performative practice is developed in close collaboration with the transgender and queer communities where they belong...

Jumana Manna

Jumana Manna is a Berlin-based artist whose work revolves around the body, national identity, and historical narratives...

Lynn Hershman Leeson

Bo Wang

Through new media, installation, and video and film, Bo Wang’s practice embodies sociopolitical and cultural subjects in contemporary China and beyond...

Ruth Patir

Ruth Patir works with video and performances that complicate facile separations of public and private spheres...

Peter Hujar

Before American photographer Peter Hujar passed away from AIDS in 1987, he was a part of a group of New York-based artists, writers, and musicians who defined the downtown scene in the 1970s...

Rometti Costales

Rometti Costales is an artistic collaboration between Julia Rometti and Victor Costales that began in 2007...

Carolina Saquel Martinez

Caroline Saquel was born in Chile and now lives and works in Paris...

Li Shuang

Raised in rural south-eastern China in the 1990s, Li Shuang grew up consuming popular media such as YouTube, MySpace, knock off Nintendo consoles, pirated video games, and dakou CDs...

Alicia Smith

Alicia Smith is a Xicana artist and activist whose work thoughtfully engages with the subjects of indigeneity, colonialism, the environment, and the female body...

Lenora de Barros

Lenora de Barros studied linguistics and started her artistic career in the 1970s...