In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point. Calling up the unknown intimacies of these objects, McMillian upends their usual orientation, placing them directly on the wall to serve as paintings, rather than covers. Layering over the repurposed textiles with hardware store paint, McMillian transforms the sheets into canvases, creating abstract landscapes on top of the traces of human bodies intact in the fabric. His vibrant red composition from 2013 slips and drips from its edges onto the floor, with figure and ground evoking different scales of representation—the zoomed out, depopulated landscape created by the paint, and the human-scaled intimacy of the bedsheets.
Rodney McMillian works in many modes, creating sculptures, paintings, videos, performances, and installations that speak to the lived experiences of individuals and communities in the United States. Interested in the points at which larger systems and histories cross over into the personal, McMillian’s work seeks to address issues of race, gender, power, and class.
In Up All Night, Waiting for the Chelsea Hotel Magic to Spark My Creativity Mario García Torres constructs and documents a hypothetical scene, situating himself within a lineage of artists and creatives that used to congregate at the historic hotel...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
Drawn 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...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
The black-and-white photograph Men (055, 065) (2012) depicts two similarly built young men – young and slim, with dark tousled hair and a square jaw line – seated aside one another in identical outfits...
Drawn 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...
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...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...