Sculpture (Sculpture)

Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other. Gonzales-Torres’ original work was a personal allusion to his own partner’s increasingly debilitating HIV-related illness, which grapples with the existential tension of coexistence in the face of death. Cerith Wyn Evans’s piece takes the same concept, and adds a third clock, moving from the intimacy of a monogamous relationship to suggest a more expansive, or possibly polyamorous alternative.

Sculpture (Sculpture)

Eclipse

Photography (Photography)

His series, The Golden State, harkens back to his early career and his photographic training. Using a still camera to compose the fifty images of the series, Jones turns his lens on the vernacular architecture of California’s southern region, looking at the iconic and idiosyncratic spaces that define a region. William E. Jones is a filmmaker, writer, and artist whose interests lie in the circulation of images—images that are broadcast, images that are hidden, and images that become imbedded in our collective consciousness.

Film & Video (Film & Video)

Killed is a video projection in which William E. Jones appropriated and edited, in a rapid sequence, a selection from the more than 68,000 censored or discarded films produced by the Farm Security Administration’s photographers between 1935 and 1943. Roy Emerson Stryker, the then director of the program, was in charge of what he called “killing” negatives by punching holes in them to render them unusable. Killed continues Jones’s use of discarded film footage seen in his video created from vintage 1970s and 1980s gay porn that was included in the 2008 Whitney Biennial.

Photography (Photography)

Washington D. C. Constitution Ave. is a silver gelatin print from the series American Surveillance , a ten-year-long project where Richard Gordon photographed surveillance cameras across USA. In the image, a woman and a child walk along Constitutional Avenue as a surveillance camera on the street post directs its gaze towards them. The otherwise quiet image then becomes an exercise of resistance: together with the other images from the series, Gordon’s photograph documents the changes that have taken place in architecture, civic life, especially in a post 9/11 experience of public space.

Photography (Photography)

San Francisco, Moscone Center is a silver gelatin print from the series American Surveillance , a ten-year-long project where Richard Gordon photographed surveillance cameras across USA. In the image’s foreground we see the silhouette of a man, darkened and in contrast to the bright streetscape unfolding behind him. To the left, an American flag flutters in the wind, saluting the skyscrapers—among them the iconic architecture of the San Francisco Museum of Modern Art.

Photography (Photography)

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. These scenes are tangibly atmospheric, visually alluring and often deeply disquieting. Never anchored precisely in time or place, these and the other narratives of Beneath the Roses are rather located in the dystopic landscape of the anxious American imagination.