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2014 - Drawing & Print (Drawing & Print)
Hank Willis Thomas
Employing the visual language and terminology of mass media, and appropriating symbols and images from popular culture, Hank Willis Thomas’ work seeks to question and subvert established definitions and positions with regards to personal identity and the narrative of race. Working across installation, photography, video, and media work, Thomas maintains his photo conceptualist roots, primarily taking source material from found photographs and archives. These images form the basis from which the artist seeks to uncover the fallacies that history claims as truth. His work illustrates how the way history is represented and consumed reinforces generalizations surrounding identity, gender, race and ethnicity, and that as an artist he has an opportunity to expose or to revise those histories from the points of view of the oppressed.
Colors:
Related works featuring themes of: » Advertising and Brands, » Cultural Commentary, » Contemporary Conceptualism, » Cultural Identity, » Mass Media, » Appropriation Art, » Racial Identity, » Collective History, » Color Photography, » American
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Glenn Ligon
2000Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
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Douglas Gordon
2002Blind 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...
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Carlos Amorales
2014Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
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Walead Beshty
2011Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
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Pascal Shirley
2006Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
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Du Zhenjun
2010The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
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Wong Wai Yin
2008In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
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Adrian Wong
2012Untitled (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...
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Mungo Thomson
2008The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
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Wong Wai Yin
2021Drawn 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...
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Carlos Amorales
2007This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
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Carlos Amorales
2005Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...
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Carlos Amorales
2006This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
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Pascal Shirley
2006Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...
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Walead Beshty
2012Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
© » KADIST
Mungo Thomson
2010In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...