Film & Video (Film & Video)

In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action. Also characteristic of his work, the scene takes place in front of a mirror, suggesting the kind of personal self-reflection that one is capable of – both good and evil. The video makes clear cinematographic reference to the ‘alter-ego’ transformation in Mamoulian’s Dr. Jekyll and Mr. Hyde, and to the “You looking at me?” sequence performed in front of a mirror by Robert De Niro in Scorsese’s Taxi Driver which also inspired Gordon’s through a looking glass ( 1999).

Photography (Photography)

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. An emptiness (some are burned letting appear a white or mirror background or a mirror) replaces the eyes, giving the impression of a blind eye deprived of all expression. Paradoxically, the work looks at us all the more intensely.

Film & Video (Film & Video)

Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle. As suggested by the work’s title, each of the hands assumes a character with a distinct personality, as if we were witnessing a lovers’ quarrel and embrace, or the embodiment of opposing forces of an internal struggle. Gordon has previously created performance-based works depicting his own body or parts of it—arms, hands, fingers, eyes—usually enacting simple, repetitive movements.

Photography (Photography)

Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures. Continuing his fascination with failed modernist utopias, Douglas depicts Michigan Central Station as a monolithic, almost prison-like structure lording over a desolate landscape. Once the hub of industrial transportation, the station is now devoid of any human activity and lies fallow, surrounded by train-less tracks and vegetation-less ground.

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)

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)

The Caste Portraits Series by Leah Gordon investigates the practice of grading skin color from black to white, which marked the extent of racial mixing in 18th century Haiti. Médéric Moreau de St Mery (1750-1819), a French créole slave owner and freemason living in Saint Domingue (now Haiti), created a taxonomy of race classifying skin color from black to white using names derived from mythology, natural history, and bestial miscegenation. His Description topographique, physique, civile, politique et historique de la partie française de l’isle Saint-Domingue (1789) hierarchizes 128 possible combinations of black-white miscegenation into nine categories (the sacatra, the griffe, the marabout, the mulâtre, the quarteron, the métis, the mamelouk, the quarteronné, and the sang-melé).

This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006). The video is based on Edgar Allen Poe’s 1838 novel The Narrative of Arthur Gordon Pym of Nantucket. The painting, derived from an image from a different, preexisting work, represents the artist’s continued interest in realizing particular subject matter in alternative forms, thereby imbuing it with new meanings and interpretations.

Film & Video (Film & Video)

This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006). The video is based on Edgar Allen Poe’s 1838 novel The Narrative of Arthur Gordon Pym of Nantucket . The painting, derived from an image from a different, preexisting work, represents the artist’s continued interest in realizing particular subject matter in alternative forms, thereby imbuing it with new meanings and interpretations.

Drawing & Print (Drawing & Print)

The three Maiko s were included in Ron Terada’s 2008 exhibition, Voight–Kampf , at Catriona Jeffries gallery. More ambitious in size and subject matter, this show with its complex video installation marked a new path for Terada’s work. Voight-Kampf is based on a scene from Ridley Scott’s 1982 movie Blade Runner in which a giant advertising billboard in the midst of a dystopian city of Los Angeles in the future displays a geisha eating candy.

Wallace says of his Heroes in the Street series, “The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense forest of symbols of the modern city, can achieve the status of the heroic.” The hero in Study for my Heroes in the Street (Stan) is the photoconceptual artist Stan Douglas, who is depicted here (and also included in the Kadist Collection) as an archetypal figure restlessly drifting the streets of the modern world. Patches of canvas cover parts of this otherwise representational photograph and ask the viewer to consider the role that editing and play in our perception of the urban landscape and modernity.

Film & Video (Film & Video)

Anne Imhof’s video work Untitled (Wave) creates resonances between the feminine, adoration, and immateriality, while also referring to the history of art and aesthetics, in particular the concept of the sublime. Starring Imhof’s partner and collaborator Eliza Douglas, the film depicts a woman, naked from the waist up, dressed simply in tracksuit trousers, long black hair, feet dipped in the ocean water. The woman bears a long whip, while she looks out at the horizon and the waves lick at her bare feet.

Film & Video (Film & Video)

Jibade-Khalil Huffman’s work brings together spoken and written language, photography, vintage television and computer animation to pay homage to African-American popular culture. Figuration (B) is a mediatic dumpster dive through the not-yet-historical past, its fantasia of purloined images flowing to an interruptive, channel-surfing logic. A stream of TV clips, commercials, news segments, video memes, and movie scenes—at times run backwards, doubled, or layered over other clips—incorporate archival and pop cultural sources layered with a soundtrack constructed of found and made sources to make something akin to a video mixtape.

Film & Video (Film & Video)

Emmanuel van der Auwera visited Miami at the end of 2017 and was working on a project relating to school shootings. Two months later, on 14 February 2018, 19 year old Nicolas Cruz killed 17 people and injured 17 others in a shooting at the Marjory Stoneman Douglas High School in Parkland, Florida. Van de Auwera began to follow videos uploaded to the Periscope App, a live broadcasting channel that closed in March 2021, downloading them and creating a bank of data that would otherwise disappear, as material on Periscope was self-deleting after a short period of time.

Installation (Installation)

You have given the world your songs by Francisca Benítez is a poem in American Sign Language (ASL). It employs ten handshapes arranged in a numbering sequence from 1 to 10. This visual rhyme sequence is standard in Deaf poetry, as is the Tenth in Latin American popular oral/written poetry traditions.

Installation (Installation)

Open Casket IX is an installation by Indira Allegra that combines traditional materials of memorial—tombstones, mausoleums, and caskets—with contemporary expressions of grief. The work is a memorial for people who have lost loved ones to police violence. It is part of Allegra’s Open Casket series, which is concerned with the need to recognize grieving as a collective responsibility, rather than an individual misfortune to be shouldered by one affected person or family.

Film & Video (Film & Video)

Miljohn Ruperto’s silent video work Appearance of Isabel Rosario Cooper is an archive of ghosts. The video’s title figure, a Filipina actress, vaudeville dancer and singer who played racialized, peripheral roles in Hollywood in the 1940s and 1950s, flits in and out of a montage of scenes. Ruperto digitally modified the 16mm film by blurring the background and all of the figures in each scene except for Cooper herself.

Drawing & Print (Drawing & Print)

These two images come from the series called “State of Control” which Kilpper made in the building formerly occupied by the Stasi in Berlin. As a symbol of the past there could be none more powerful than this. By carving into its floor, Kilpper laid bare its history by making images of its occupants and political figures associated with that period of history.

Drawing & Print (Drawing & Print)

These two images come from the series called “State of Control” which Kilpper made in the building formerly occupied by the Stasi in Berlin. As a symbol of the past there could be none more powerful than this. By carving into its floor, Kilpper laid bare its history by making images of its occupants and political figures associated with that period of history.

Photography (Photography)

Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California. The photograph is framed upside down; these “inverted trees” follow Graham’s early experiments with the camera lucida, a room-sized pinhole camera that dates back to ancient times and which he has used to photograph trees from various regions. Through these works Graham looks back at the history of photography while making the viewers aware of their own retinal experience.

Photography (Photography)

Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California. The photograph is framed upside down; these “inverted trees” follow Graham’s early experiments with the camera lucida, a room-size pinhole camera that dates back to ancient times. Through these works Graham looks back at the history of photography while making the viewer aware of his or her own retinal experience.

The five drawings included in the 101 Collection are representative of Pettibon’s characteristic cartoonish style. The images in them allude to his ever-recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. However, it is worth noting that this formal quality of his work is not exhausted in the simple illustration.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.

Painting (Painting)

Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification. A full story seems present but is not fully within the viewer’s grasp. Here, Pettibon draws a connection between legal restrictions on free speech and the power of an elite on Wall Street.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.