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...
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...
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...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
In 1940 Rivera came to San Francisco for what would be his last mural project in the city, Pan-American Unity ...
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...
La Sombra (The Shadow) is a video of Regina Jose Galindo performing with a moving Leopard tank...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
Ben Shaffer’s Ben Deroy (2007) is part performance, part self-portrait, and part spiritual vision...
Lynn Hershman Leeson’s genre-bending documentary Strange Culture tells the story of how one man’s personal tragedy turns into persecution by a paranoid, conservative, and overzealous government...
Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...
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...
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...
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...