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Gary Gilpatrick, Insulator
© » KADIST

Sharon Lockhart

Photography (Photography)

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)
© » KADIST

Carlos Garaicoa

Sculpture (Sculpture)

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.

Excerpt (Sealed) (Brown)
© » KADIST

Stephen G. Rhodes

Photography (Photography)

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.

History of Chemistry I
© » KADIST

Lu Chunsheng

Film & Video (Film & Video)

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)
© » KADIST

Cerith Wyn Evans

Sculpture (Sculpture)

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
© » KADIST

Jennifer Bornstein

Film & Video (Film & Video)

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.

100 Hand drawn maps of my country, India
© » KADIST

Shilpa Gupta

Drawing & Print (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. 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.

Iris Tingitana Oxalis
© » KADIST

Yto Barrada

Photography (Photography)

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.

Intentionally Left Blanc
© » KADIST

Hank Willis Thomas

Drawing & Print (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. 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.

Vulnerabilia
© » KADIST

Jonathan Hernández

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
© » KADIST

Araya Rasdjarmrearnsook

Film & Video (Film & Video)

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
© » KADIST

Francis Alÿs

Film & Video (Film & Video)

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.

Untitled (Sten-Frenke House #04)
© » KADIST

Luisa Lambri

Photography (Photography)

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.

Stamp -X, Stamp -Y
© » KADIST

John Houck

Photography (Photography)

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.

California Stories Attempt to correlate social class with elevation above main harbor channel (San Pedro, July 1975)
© » KADIST

Allan Sekula

Photography (Photography)

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.

7″ Single 'Pop In'
© » KADIST

Martin Kippenberger

Drawing & Print (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. 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
© » KADIST

Jeff Burton

Photography (Photography)

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.

Untitled
© » KADIST

N. Dash

Sculpture (Sculpture)

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.

Wherein one nods with political sympathy and says I understand you better than you understand yourself, I’m just here to help you help yourself
© » KADIST

Yee I-Lann

Photography (Photography)

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.

three, three, three
© » KADIST

Lucas Blalock

Drawing & Print (Drawing & Print)

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.

Teapot with shadow
© » KADIST

Hans-Peter Feldmann

Installation (Installation)

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 (Mirror)
© » KADIST

Douglas Gordon

Photography (Photography)

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.

Cemetery #1
© » KADIST

Gabriel Orozco

Photography (Photography)

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
© » KADIST

Rodney Graham

Photography (Photography)

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.

Person with Pillow: Desire, Lust, Fate
© » KADIST

John Baldessari

Drawing & Print (Drawing & Print)

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.

I am the Greatest
© » KADIST

Hank Willis Thomas

Painting (Painting)

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
© » KADIST

Hank Willis Thomas

Painting (Painting)

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.

Hank Willis Thomas

Catherine Opie

John Houck

Mungo Thomson

Paul McCarthy

Gabriel Orozco

Lynn Hershman Leeson

Shilpa Gupta

Paul Kos

Walead Beshty

John Baldessari

Yee I-Lann

Martin Kippenberger

Hans-Peter Feldmann

Du Zhenjun

Wong Hoy Cheong

Daniel Joseph Martinez

Luisa Lambri

Douglas Gordon

Elad Lassry

Enrique Ramirez

Sharon Lockhart

Pascal Shirley

Pascal Shirley’s photographs portray a California of beaches, music festivals, families, and hipsters wandering through the hills...

Yan Xing

Lu Chunsheng

Clarissa Tossin

Jeff Burton

Jiang Zhi

Cerith Wyn Evans

Rodney Graham

Catherine Opie
© » ROYAL ACADEMY

about 7 months ago (10/05/2023)

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...