Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U. S. naval shipbuilding company—in Maine. Gary Gilpatrick, Insulator (2008) belongs to a group of portrait-like photographs of the shipyard’s workers lunchboxes. Created over the period of a year, Lockhart’s film and accompanying still photographs are intended as an exploration of the social spaces inside this kind of workplace.
From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany. Here, Garaicoa’s interest in vernacular Cuban architecture shifts towards the European context: a series of twelve nineteenth-century French engravings have been reworked into delicate paper models. Here, the two-dimensional old-school architectural renderings have become the foundation for new hollow three-dimensional structures.
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame. This visual seal refers to the disastrous aftermath of Hurricane Katrina in 2005 in which rescue workers spray painted the doors of the houses they searched giving the date, the team and the number of bodies found. Excerpt (Sealed) (Brown) is a multilayered collage with contradictory imagery—from New Orleans debris to the American eagle and a theater curtain.
A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory. Using long shots and atypical settings, Lu Chunsheng enigmatically refers to a distant history while conveying the sense of dislocation wrought by successive stages of modernization. The combination of elaborate landscape shots from the suburbs of Shanghai and Lu’s signature style of spare and minimally crafted acting offers a surreal view of human behavior in spaces marked by the hulking remnants of China’s extraordinary development.
Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other. Gonzales-Torres’ original work was a personal allusion to his own partner’s increasingly debilitating HIV-related illness, which grapples with the existential tension of coexistence in the face of death. Cerith Wyn Evans’s piece takes the same concept, and adds a third clock, moving from the intimacy of a monogamous relationship to suggest a more expansive, or possibly polyamorous alternative.
Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos. When it comes her turn to “perform,” Bornstein displays mundane and disposable—but elaborately archived or framed—consumer objects such as coffee lids, plastic straws, candy wrappers, and product labels. Through the medium of public broadcasting, then, she makes visual the frequently overlooked but massive cultural penetration of advertising, and its proliferation of “throwaway culture” via images.
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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. Gupta created each map by superimposing 100 separate drawings of each country. The project investigates modern notions of the nation-state, national identity, and borders by looking at countries in which boundaries are contested and the history of the land far precedes such ideas.
This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris. If Yto Barrada was initially interested in the architectural heritage of the city, today the core of her research focuses on risks around landscape and its heritage. The iris, found bordering the city, carries the name of the city, and is an emblem of Tangier.
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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. Using a found photograph depicting a passionate crowd of African Americans—their attitude suggesting the fervor of a civil-rights era audience— Intentionally Left Blanc reverts in its exposed, “positive” format to an image in which select faces are whitened out and erased, the exact inverse of the same view in its “negative” condition. This dialectic of light and dark re-emerges when we view the same faces again, only this time black and featureless, a scattering of disembodied heads amidst a sea of white.
In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes. The artist has said that the appropriation of popular imagery is a way for him to take pictures without a camera and to register the things that happen in the everyday as visual essays that evidence the fragility of the world.
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell. In the video, a woman, dressed in black with a white over shirt, stands in front of a long blackboard. The classroom’s rear walls and floor are covered in taut white fabric, given the room the sinister appearance of a sanitarium or a crime scene.
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. The path of the fox, from galleries containing 16th, 17th and 18th century portraits of historic figures from British history hung on plush walls, is circuitous and seemingly random. The fox tracks back and forth, sometimes inspecting the gallery furniture, often walking through the middle of the room but sometimes around its perimeter until eventually it climbs on top of a showcase, covered in fabric where he settles down to sleep.
Custom-built for a silent film star in 1934 in Santa Monica, the Sten-Frenke House is an idiosyncratic icon. Designed by the architect Richard Neutra, its gray glass, white expanses, and simple forms exude austerity. Luisa Lambri’s photograph Untitled (Sten-Frenke House #04) (2007)recalls the unembellished elegance of the structure while also alluding to modernist painting; the image is less a picture than an abstract expanse that conveys its own flatness.
John Houck’s multi-layered photographic compositions immortalize nostalgic objects from the artist’s childhood, manipulated in the studio and in post-production into unreal still-life arrangements. Stamp -X, Stamp -Y consists of a careful collage of uneven scraps of paper. On their versos, these fragments of blue, white, and manila papers hold the artist’s childhood stamp collection; turned as they are, these shards of envelope become planes of colors that Houck manipulates in a vaguely grid-like fashion.
San Pedro is a seaside city, part of the Los Angeles Harbor, sitting on the edge of a channel. California Stories: Attempt to correlate social class with elevation above main harbor channel (San Pedro, July 1975) (1973–2011) is a series of coupled gelatin silver prints that show the artist using his hand to measure the elevation of various pieces of real estate, ranging from a manicured mansion to a ramshackle beach house. A direct equation becomes evident between the social strata these homes represent and the height at which the artist holds his hand.
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7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve. In the foreground of the album’s cover, a drawing of an empty, round vessel is framed underneath the text “POP IN”, suggesting an invitation to listen to the record, a nod to pop music, or perhaps a literal proposal to enter the vessel or the work. In the background, partly hidden by the round form, Kippenberger’s hand-drawn self portrait glares back at the viewer.
Negligee (2013) serves as an example of this tension, with its artful angle and play with shadow and light upon the sensual subject, rendering the image ambiguous. Like much of Burton’s work, Negligee reflects both his experience as a commercial photographer and his interest in the voyeurism, desire, vulnerability, and power of the photographic act.
Dash shapes, manipulates, and molds the materials herself, as the works becomes something of a physical archive. Through these delicate and time-consuming processes, the artist’s bodily interaction with the material becomes clear, with marks of its making and traces of the artist’s hand embedded in the surface of her quiet compositions.
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors. The artwork belongs to Yee’s series Picturing Power (2013) that deals with the destabilizing impacts of neo-colonialism and globalization on Southeast Asia’s history. Yee approaches the aesthetics and politics of the ethnographic gaze with both irony and humanity, challenging the modes of seeing inherent to the British colonization of Malaysia.
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Blalock resists the immediacy that we have come to expect from photography—that each photograph should communicate its message without delay. Within the dark obscurity of three, three, three (2013), he frustrates and complicates this conditioned response to the photographic medium, questioning the photograph’s purpose.
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. Against authorship and the commodification of art, he never gives titles or dates to his works which have infinite edition possibilities. This mise en scène of found kitchenware also exists with a rounder and flatter plain modern white porcelain teapot.
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner. An emptiness (some are burned letting appear a white or mirror background or a mirror) replaces the eyes, giving the impression of a blind eye deprived of all expression. Paradoxically, the work looks at us all the more intensely.
Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July. I traveled to Mali for three weeks and took some photographs related to my work. They are very different, but there are links as the graveyard of Timbuktu, which I discovered during the trip.
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California. The photograph is framed upside down; these “inverted trees” follow Graham’s early experiments with the camera lucida, a room-size pinhole camera that dates back to ancient times. Through these works Graham looks back at the history of photography while making the viewer aware of his or her own retinal experience.
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The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive. In Person with Pillow: Desire, Lust, Fate , a woman’s facial expression is obscured by such void, leaving only her posture to suggest her emotional state. The two images stacked above the woman can be read as comic-style thought bubbles, intimating that she has lust, desire, and fate on her mind.
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. I am the Greatest presents the famous quote by Mohammad Ali to think about his important presence in the African American community. In dialogue with the painting I am a Man, also in the Kadist collection, this assertion that begins the same way takes the line from the protest poster several steps further.
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911. “Bread for all, and Roses, too’—a slogan of the women in the West,” is Oppenheim’s opening line, alluding to the workers’ goal for wages and conditions that would allow them to do more than simply survive. Thomas’ painting includes several black, white, brown, yellow, and red raised fists—clenched and high in the air in the internationally recognized symbol of solidarity, resistance, and unity.
Pascal Shirley’s photographs portray a California of beaches, music festivals, families, and hipsters wandering through the hills...
Video: Catherine Opie on photographing leading British artists | Blog | Royal Academy of Arts Catherine Opie in the RA Collection Gallery Video: Catherine Opie on photographing leading British artists Read more Become a Friend Video: Catherine Opie on photographing leading British artists Published 8 September 2023 Catherine Opie discusses her portraits of David Hockney, Anish Kapoor, Gillian Wearing, Isaac Julien and Lynette Yiadom-Boakye, featured in our free display in the Collection Gallery...
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...
San Pedro is a seaside city, part of the Los Angeles Harbor, sitting on the edge of a channel...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon...
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...
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...
Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings...
Drawing & Print
7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve...
Drawing & Print
Untitled is a work on paper by Martin Kippenberger comprised of several seemingly disparate elements: cut-out images of a group of dancers, a japanese ceramic vase, and a pair of legs, are all combined with gestural, hand-drawn traces and additional elements such as a candy wrapper from a hotel in Monte Carlo and a statistical form from a federal government office in Wiesbaden, Germany...
Drawing & Print
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California...
Gabriel Orozco often documents found situations in the natural or urban landscape...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos...
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
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...
Drawing & Print
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...
Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California...
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...
A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...
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...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
Drawing & Print
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
603 Football Field presents a soccer game played inside a small student apartment in Shanghai...
Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
Custom-built for a silent film star in 1934 in Santa Monica, the Sten-Frenke House is an idiosyncratic icon...
This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
To explore the boundaries between artwork and audience, Gimhongsok created a series of sculptural performances in which a person wearing an animal costume poses in the gallery...
Untitled is a black-and-white photograph of a wave just before it breaks as seen from the distance of an overlook...
Lynn Hershman Leeson’s genre-bending documentary Strange Culture tells the story of how one man’s personal tragedy turns into persecution by a paranoid, conservative, and overzealous government...
Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
The artist describes the work as “very performative video-pieces but they take on a more sculptural feel...
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes...
Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...
Barbara Kasten’s Studio Construct 51 depicts an abstract still life: a greyscale photograph of clear translucent panes assembled into geometric forms, the hard lines of their edges converging and bisecting at various points...
Lockhart’s film Lunch Break investigates the present state of American labor, through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
Drawing & Print
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
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...
Braga’s video work Provisão (2009) opens with a still shot of a clearing in a forest, shoots of grass emerging from a muddy brown patch of seemingly dry and barren earth...
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
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...
Ammo Bunker (2009) is a multipart installation that includes large-scale wall prints and an architectural model...
In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall...
From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany...
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
Seven family members and a cat all squeezed into the small five-room house, where Motoyuki Daifu grew up in Yokohama...
Drawing & Print
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
Black Curl (CMY/Five Magnet: Irvine, California, March 25, 2010, Fujicolor Cyrstal Archive Super Type C, EM No 165-021, 05910) is a visually compelling photogram...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
Dorsky’s pieces included in the Kadist Collection are small still photographs from twelve of his most important films...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia...
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...
Compositions such as Tree on Keystone (2011) become hyperreal versions of their real-world equivalents...
Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
Drawing & Print
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...
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...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
In Eniko Mihalik (2012), the camera captures a glimpse of the eponymous Hungarian model as seen through a rearview mirror...
Drawing & Print
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
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...
Peasant Sensation Passing Through Flesh – 3 consists of a massage chair fixed to a wall...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
The black-and-white photograph Men (055, 065) (2012) depicts two similarly built young men – young and slim, with dark tousled hair and a square jaw line – seated aside one another in identical outfits...
Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...
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...
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...
John Houck’s multi-layered photographic compositions immortalize nostalgic objects from the artist’s childhood, manipulated in the studio and in post-production into unreal still-life arrangements...
Negligee (2013) serves as an example of this tension, with its artful angle and play with shadow and light upon the sensual subject, rendering the image ambiguous...
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...
Drawing & Print
Blalock resists the immediacy that we have come to expect from photography—that each photograph should communicate its message without delay...
Baby Shoes, Never Worn is part of photographer John Houck’s series of restrained still-life photographs capturing objects from his childhood...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...
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...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
John Houck’s brown- , sienna- and golden-toned composition, Untitled #185, 65, 535 combinations of a 2×2 grid, 16 colors , features densely packed lines of color moving diagonally across the creased page...
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
Drawing & Print
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...
Drawing & Print
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...
Drawing & Print
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Starting with Bruce Nauman’s iconic artwork, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) , Mungo Thomson’s neon sign is one of a series that replaces Nauman’s quixotic mini-manifesto with aphorisms from ‘recovery’ culture, especially those made popular by alcoholics anonymous...
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....
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...
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...
Using the seminal 1958 film Vertigo as a launchpad, Lynn Hershman Leeson explores the blurred lines between fact and fantasy in VertiGhost , a film commissioned by the Fine Arts Museums in San Francisco...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Wolfgang Tillmans initiated the ongoing series Faltenwurf in 1989, representing compositions of unused clothing, with special attention paid to the ways in which they drape and fold...
Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...
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...
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
7-headed Lalandau Hat by Yee I-Lann is an intricately woven sculpture evoking the ceremonial headdress worn by Murut men in Borneo...