The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources. Growing up in an African-American community in Los Angeles, Capistran has long been influenced by hip-hop culture. The photographs in this print document him surreptitiously breakdancing on Carl Andre’s iconic lead floor piece after the guards at the Los Angeles County Museum of Art have left the gallery. Each of the twenty-five frames depicts a classic breakdance move. Wearing a working-class outfit, Capistran intentionally emphasizes the vernacular aspect of this art form and his personal engagement challenges the hierarchy between street culture and high art.
Born in Guadalajara, Mexico, and raised in South Central Los Angeles, Juan Capistran was undocumented until midway through grade school. As a teenager he gravitated toward graffiti, punk rock, reggae, house music, and DJ culture as tools for crafting a hybrid identity. His work has diverse influences, from Malcolm X to Led Zeppelin and Richard Serra, and it quotes keenly and democratically, from gang colors to minimalist forms.
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...
Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...
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...
Last Postcards is a series of three small double-sided paintings on plywood in which Biernoff imagines the last communications from explorers lost in the wilderness...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
Blind 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...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
In her recent work, Biernoff is interested in investigating fictions and fantasies embedded in the remnants of consumer culture (for example magazines) or through ephemera such as postcards and old photographs...
Chris Johanson’s paintings, sculptures, and installations break down everyday scenes and commonplace dramas into colorful forms; the darkest sides of humanity are invoked with humor...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...