11H x 20W inches
In 1970, Ruscha began a series of paintings made from stains. He experimented with a variety of materials (gun powder, dust, blood, among many others) to leave surface traces of different objects. The resulting images are negative shapes amidst blurry environments like Splinters and Seconal in which a grey surface is imprinted with the materials mentioned in the title. The reference to the sedative Seconal, moves the drawing’s obscure form from the abstract to the hallucinatory.
Ed Ruscha’s work often uses the city of Los Angeles to look at the banality of urban life. He is known for his early conceptual works like the seminal 1962 Twenty-Six Gas Stations (1962) in which he photographed twenty-six gas stations to map of his journey between Los Angeles and Oklahoma. Often drawing material from mass media and playing with language, Ruscha’s works assume the form of painting, drawing, photography, as well as publications.
Comprised of fifty-one photographic postcards, Antin’s 100 Boots is an epic visual narrative in which 100 black rubber boots stand in for a fictional “hero” making a “trip” from California to New York City...
A photograph of a tin box full of marijuana simply titled Green Box, speaks to the constantly changing status of the substance–once taboo or illicit, now a symbol of a growing industry in Northern California...
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...
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...
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 ...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces...
Commissioned by the San Francisco Museum of Modern Art and riffing on the “I Want You” army recruitment campaigns of the 1930s and 1940s, Labat asked Bay Area residents to interpret the slogan and make their own demands of the public in a series of live performance auditions...
Her 2016 video installation quotes the sitcom-as-form and also draws from a 1907 comedic short, Laughing Gas...
In Jackass (2008) by Ari Marcopoulos, his two sons, Cairo and Ethan, are pictured relaxing in a disheveled bedroom in their Sonoma home...
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...
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....
As a visual activist for the rights of Lesbian, gay, bisexual, transgender, queer and intersex (LBGTQI), Muholi’s photographs radically transgress the conventional perception of lesbian and transgender communities in South Africa...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Starting with Bruce Nauman’s iconic artwork, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) , Mungo Thomson’s neon sign is one of a series that replaces Nauman’s quixotic mini-manifesto with aphorisms from ‘recovery’ culture, especially those made popular by alcoholics anonymous...
As a visual activist for the rights of Lesbian, gay, bisexual, transgender, queer and intersex (LBGTQI), Muholi’s photographs radically transgress the conventional perception of lesbian and transgender communities in South Africa...
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...