The series draws on Japanese folklore and performance tradition, staging masked and doubled figures as contemporary tableaux. Watanabe presents myth not as history but as a present, embodied state.
Hockney’s works trace a consistent use of acrylic on canvas to depict domestic and social settings with flat color, sharp lines, and carefully arranged compositions. Many of the works document his personal friends, family, and fellow artists, reflecting Hockney's longstanding interest in portraiture as a record of relationships.
A block-by-block documentary survey of 38th Street in Savannah, Georgia, photographed from one end to the other. Vanderborght cites Bruce Davidson's East 100th Street as a model for the project's sustained focus on a single street and community. Many of the portraits came from direct, on-the-spot encounters with residents.
Hanson cast his figures directly from life, using polyester resin and fiberglass to reproduce ordinary Americans at work and at rest with unsettling precision. The series became a defining body of work within hyperrealist sculpture, prized for treating overlooked, working class subjects with the same attention typically reserved for portraiture of the powerful.
Štifanić made this series while traveling through Beijing, working through jet lag and the sensory overload of a dense, unfamiliar city. The series follows lights, reflections, and pedestrians caught in unguarded moments, with several images made while Štifanić was deliberately lost within the city. The result is a record of Beijing as encountered rather than planned, oriented around the slight overstimulation that shaped the trip.
Boussetta is a Tunisian photographer working between documentary and fine art. Over eleven years, his images tracked the material traces of history across landscapes, architecture, and communities in Tunisia, treating personal and collective memory as subjects of equal weight.
Ljubljana-based duo Nika Oblak and Primož Novak work across video installation, interactive media, and performance to examine consumer capitalism and the position of the artist within it. Their practice adopts the visual and rhetorical constructions of mass media, using its own seductive tools as a critical framework.
Stallion follows a young boy who kills two home intruders on violent instinct, then has his trauma immediately dissolved by his father's gift of a muscle car. The film is a mean-spirited allegory for American civic life, where complicity in systemic violence is normalized through material reward and the next hit of dopamine.
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