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. Douglas’s preoccupation with obsolete sites like this seems less concerned with revisiting or memorializing them than in reviewing the conditions of their failure.
Stan Douglas makes videos and photographs that draw on the legacy of modernism to explore the cultural, social, and political history of the twentieth century. This is evident in his reference to large-scale housing works and other public projects. It also surfaces, perhaps more unexpectedly, in his connections to that period’s cultural production, like the great “auteur” filmmakers and authors, whose grand and utopic artistic projects now seem impoverished.
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
Miljohn Ruperto’s research-based multidisciplinary practice often deals with possession, re-enactment, mythology and archives...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
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...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
A Portrait: Covering and Cleaning is an installation of six black-and-white video projections...
Peasant Sensation Passing Through Flesh – 3 consists of a massage chair fixed to a wall...
Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
Ben Shaffer’s Ben Deroy (2007) is part performance, part self-portrait, and part spiritual vision...
Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
Acting Exercise: Demon Possession is a video by Miljohn Ruperto that addresses notions of performativity, the self, and collective truth...
The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...