Rocket

The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...

This work presents the image of an immolated monk engraved on a baseball bat...

The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...

For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...

Long Long Live (2013) takes the viewer to the setting of the Oasis Villa on Green Island, once a reform and re-education prison to house political prisoners during Taiwan’s martial law period...

The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...

The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...

In 8 Ball Surfboard (1995),Alexis Smith combines her long-term interests in California culture and conceptual assemblage...

Conrad Ruiz loves to paint subjects related to the “boy zone”: video games, weapons, games, science fiction, fantasy, and special effects...

Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...

The 10 $1 bills that make up From a Whisper to a Scream (2012) read like instructions in origami...

Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...

Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...

Sun’s animated film 21 Ke (21 Grams) is based on the 1907 research by the American physician Dr...

Biennale, Dog is an appropriation of the posters made to promote biennial art exhibitions...

Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...

The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...

In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...

The artist describes the work as “very performative video-pieces but they take on a more sculptural feel...