Working primarily in sculpture and work on paper, Nathan Mabry was trained as a ceramicist and his monumental-scale sculptures are cast from clay models and found objects. Mabry’s works-on-paper assemble imagery across historical time, “crashing” multiple aesthetics and cultural motifs together, to make a blended trans-cultural aesthetic, infused with American hybridity. There’s a dose of the uncanny in his work; the creepy ability for certain figures or faces to create a feeling of embodied presence.
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
Bruce Conner is best known for his experimental films, but throughout his career he also worked with pen, ink, and paper to create drawings ranging from psychedelic patterns to repetitious inkblot compositions...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
In the video installation A Gust of Wind , Zhang continues to explore notions of perspective and melds them seamlessly with a veiled but incisive social critique...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
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...
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....
Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
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...
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
Choke documents the artist filming a wrestler “choking out” his teammate until he is unconscious...
Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
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...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
Though the title might suggest an Adonis, Jeffry Mitchell’s The Swimmer (2012) is a squat, jolly man with a protuberant belly...