Dr. N Song belongs Ozawa’s body of work The Return of Dr. N in which he follows a humorous fictional character based upon the historical figure Dr. Hideyo Noguchi who researched yellow fever in Ghana in 1927. Though Dr. Noguchi was known for his unruly temper and behavior and many of his discoveries were erroneous, he was widely revered in Japanese society. Ozawa’s Dr. N story explores links between Japan and Africa, past and present, fact and fiction, through the commissioned work of Ghanaian painters and musicians working in popular African styles.
Ozawa Tsuyoshi is a Japanese conceptual artist who constructs satirical takes on history. He often draws upon 1970s and 1980s Japanese history—the time of his childhood and Japan’s rapid economic growth. He co-founded with Chen Shaoxiong and Gimhongsok the artist collective “Xijing Men,” meaning people who come from the fictitious state of Xijing. Each of the artists consider historical events through images, installations, and performances.
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
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...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
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...
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....
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...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
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...