Curated by Abdellah Karroum, the exhibition will feature Neshat's existing and newly produced works, including
the major photographic series, The Book of Kings (2012) as well as a selection of video installations commenting on the historical, cultural and political realities that she has focused on for over 30 years.
Not exact matches
This exhibition affords a fascinating look at the output of some of South Africa's
major artists, and will also showcase from our Johannesburg spaces works not yet shown in Cape Town, including Kudzanai Chiurai's Revelations, a
series of
photographic tableaux exploring politics and power in Africa, new wood sculptures by Willem Boshoff, and a selection of drawings, linocut graphics and sculpture by William Kentridge.
Each instantiation features new works, and in Beijing these will include a
major installation by Sudarshan Shetty, a Bharti Kher triptych, a new
photographic series by Dayanita Singh from her House of Love book project, and video work by Ayisha Abraham and Hetain Patel.
This publication brings together three
major bodies of work: the
photographic and video works produced under the fictional collective name The Atlas Group; various
series of seemingly «straight» photography of his native Beirut titled Sweet Talk: Commissions (Beirut); and his most recent project, Scratching on Things I Could Disavow: A History of Art in the Arab World.
The exhibition will feature other
major works from Shonibare, including Revolution Kid (Calf), 2012;
photographic series Fake Death, 2011 and Climate Shit Drawing, 2009.
While Moulène has already had
major international solo shows, for example in 2005 at the Jeu de Paume in Paris and in 2011 at Dia: Beacon, the reception of his work in Germany has been limited until now, being represented for example in numerous group shows with his
photographic series «Objets de grève» (Strike Objects).
LaToya Ruby Frazier has made this question a subject in her work since she began her
photographic series, The Notion of Family (2001 — 14), documenting the socioeconomic inequities in her hometown of Braddock, Pennsylvania, and the notable changes in the wake of the closing of a
major medical facility.
Thomas Ruff: Object Relations brings together for the first time — and for his first
major Canadian museum exhibition — the
series from Ruff's oeuvre where he works from found or collected
photographic materials.
These will include the installation of a
major new work by Scottish artist Christine Borland (b. 1965), recently commissioned by the Institute of Transplantation, Newcastle; a room of painted metal sculptural works by Glasgow - based artist Sara Barker; a
photographic series by the South African artist Robin Rhode; a two - channel video by Austrian artist Markus Schinwald; and new works by Edinburgh - based artist Catherine Street.
This fully illustrated catalogue accompanying Charlesworth's first
major survey in New York features
series such as Stills (1980), a group of 14 large - scale works rephotographed from press images that depict people falling or jumping off buildings; Modern History (1977 - 79), which pioneered
photographic appropriation; the alluring Objects of Desire (1983 - 88) and Renaissance Paintings (1991), which continued Charlesworth's trenchant approach to mining the language of photography; Doubleworld (1995), which probes the fetishism of vision in pre-modernist art and marks Charlesworth's transition to a more active role behind the camera; and her final
series, Available Light (2012).