243.84 x 121.92 cm
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. This composition is stuck to a metal plate by a series of button magnets, with interjecting phrases on them. The juxtaposition between the mysogynistic, almost puritan poetry that stripes across the bottom and the powerful crouching pose that the femme demon assumes inverts the hegemonic text , instead creating a space of alterity. The semi-deconstructed book-cover, denotes the seepage of this potential ontological reality (contained within this unwritten book) into the world, allowing Juliana Huxtable’s creation an added layer of possibility.
Writer, artist, performer, and DJ Juliana Huxtable explores intersectional identity through her multidisciplinary practice, which seamlessly blurs the lines that typically separate methods of artistic production. Her work draws from her life experiences, as well as marginalized internet communities, oftentimes featuring hybrid humanoid forms that deeply probe representation of selfhood. In their self-consciously constructed visual ontologies, Huxtable develops a double edged practice that is, on the one hand, a critique of systemic sexist and misogynist power structures, body disassociation and dysmorphia, and on the other, a world-making that frames the radical potential of new technology. Avoiding concrete conclusions, these potentialities become propositions and provocations with which the audience must grapple.
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...
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...
The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...
Chris Johanson’s paintings, sculptures, and installations break down everyday scenes and commonplace dramas into colorful forms; the darkest sides of humanity are invoked with humor...
In Tapitapultas (2012), Donna Conlon and Jonathan Harker comment on mass consumerism and pollution by way of a game they invented...
Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
La Sombra (The Shadow) is a video of Regina Jose Galindo performing with a moving Leopard tank...
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...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Welling employs simple materials like crumpled aluminum foil, wrinkled fabric and pastry dough and directly exposes them as photograms, playing with the image in the process of revealing it...
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...
Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
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...