Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely. Meant to hang from the ceiling, Bowers’ neon is further weighed down by long wind chimes made of aluminum pipes and wooden wind catchers that drip unsteadily from their anchors. Poetic but frantic in its juxtapositions, Bowers’ work captures a certain paradoxical energy that echoes the current political climate—it is hopeful but hindered, cacophonous but well intentioned, uncertain but ominous.
Socially engaged and politically outspoken, Los Angeles-based artist Andrea Bowers builds her work around issues of social justice and advocacy. Her artistic practice often uses political protests and movements as sources of inspiration and content, as she draws isolated figures holding picket signs with delicate attention, or replicates the archive of a cause in the space of the gallery. Labor movements, women’s rights rallies, anti-war protests, and immigration demonstrations, past and present, are among the myriad moments of political action that Bowers draws upon in her works.
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...
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...
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...
Reeder’s works often start with language—and his Pasta Paintings are no different...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...
Produced 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...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...
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...
In 1940 Rivera came to San Francisco for what would be his last mural project in the city, Pan-American Unity ...
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...
In 2012, former Guatemalan President José Efran Ros Montt was charged with genocide and crimes against humanity; Regina José Galindo’s video Tierra is a chilling reimagining of the atrocities recounted during his trial...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...