Photography (Photography)

LaToya Ruby Frazier is an artist and a militant; her photos combine intimate views of her relation with her parents and grandparents with the history of the Afro-American community of Braddock, Pennsylvania, where she grew up and where her family still live. She reports upon the decline of this steel-producing town, which was once prosperous and where the local population today is devastated by poverty, unemployment and health problems linked to pollution. The town has currently closed the hospital which increases unemployment and makes access to treatment complicated for the residents of one of the most polluted towns in the USA.

Painting (Painting)

The depiction of the female figure in the sculptures remains an economic, canny composition of geometric abstractions in a Modernist spirit. Yet rather than provide us with the layers of information found in her wall reliefs, the sculptures exclusively frame space. In place of the tactile surfaces that can be carved into and drawn on, the sculptures’ outlines provide multiple perspectives on to their surroundings, and additionally unto themselves.

Drawing & Print (Drawing & Print)

The year 2016 is organized like a telephone book; the data corresponding to the contributions are classified in alphabetical order by the name of the donor. With this database as well as other types of information, the 900-page book presents a material representation of the scale of the cross over between cultural philanthropy and the financing of political campaigns in America. It also provides an unprecedented resource for discovering the political leaning of the museum sector.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints (five of which are included in the Kadist Art Foundation’s collection), Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints (five of which are included in the Kadist Art Foundation’s collection), Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints (five of which are included in the Kadist Art Foundation’s collection), Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints (five of which are included in the Kadist Art Foundation’s collection), Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints, Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.