35.8H x 49.6W x 49.6D inches
Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain. Because individual movement through the maze echoes the movement of neurons and a larger aggregated whole, visitors can be seen to enact a model of sociality and public space that both embodies and metaphorizes social consciousness. Capote’s model shows not just the proposed structure, but features figurines as well, to illustrate the possible scale and interactivity of the final piece.
Yoan Capote’s sculptural work often resembles but alters common forms, such as shoes, ladders, and furniture. Many of Capote’s pieces deal with Cuba and its relationship to the United States, referring to economic and cultural ties. His work also has a strong erotic element, depicting desire both between the countries and embodied sexuality. This facet of Capote’s work combines with and changes the minimalist forms that his pieces often assume, subverting their spareness.
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...
Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself...
Reborn, 2010 is a three-channel video by Desiree Holman that questions ideas of motherhood and the maternal instinct...
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...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
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 of rusted nails, nuts and bolts as shrapnel sandwiched between a fried Chicken burger highlights the contrast between decadence and destruction...
White Corner (2006) is a video installation, projected on two protruding perpendicular walls...
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...
Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
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...
The series West (Flag 1), West (Flag 3), and West (Flag 6) continues da Cunha’s ongoing exploration of the form’s various vertical, horizontal, and diagonal stripes...
The application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle...
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 Laissez-Faire (Rainbow Flag) da Cunha has turned a beach towel into both a painting and a flag...