Hiding in Plain Sight Past Jul 14 – Aug 20, 2021 New York This group exhibition brings together 18 international artists who use the language of Minimalism and abstraction to distill complex subjects into forms that reveal new frameworks of meaning, revelation, and resistance for the here and now. Exhibition DetailsHiding in Plain SightJul 14 – Aug 20, 2021Online ExhibitionHiding in Plain Sight: In FocusJul 14 – Aug 20, 2021 Gallery540 West 25th StreetNew YorkAbove: Installation view, Hiding in Plain Sight, Pace Gallery, New York, Jul 14 – Aug 20, 2021 © Pace Gallery PressPress Release Connect (opens in a new window) @pacegallery Featured Artists Etel AdnanYto BarradaAria DeanSimon DennyTorkwase DysonSam Gilliam Suki Seokyeong KangKapwani KiwangaAlicja KwadeTony LewisRodney McMillianTrevor Paglen Walid RaadAdrián Villar RojasHito SteyerlRayyane TabetJessica VaughnFred Wilson Bringing together 18 international artists from within and beyond the gallery’s program, Hiding in Plain Sight showcases a wide range of media as well as outdoor sculpture and looks at the ways in which a wide range of artists from the early 2000s to present day use the language of minimalism and abstraction to distill complex subjects into forms that reveal new frameworks of meaning, revelation, and resistance for the here and now.Reflecting the pervasive yet imperceptible nature of infrastructure, the exhibition explores forms of art-making that play with what is concealed and what remains visible. The shared visual language and approach to information by artists in the exhibition reveals a common engagement with the potential for minimalist forms to make connections that reach far beyond the boundaries of art.Many of the artists included in the exhibition strip information down to its most essential structures: Trevor Paglen's seemingly minimalist cube is actually composed from materials found at early atomic bomb testing sites and from the disaster zone at Fukushima, while the palette of Kapwani Kiwanga's two-tone paintings is drawn from psychological color theory employed in institutional design. Through a method of distillation, these artists offer new ways of thinking through the conditions of life today, from legacies of colonialism and economies of extraction to the impact of new technologies and the flow of capital.As deceptively simple as a line of engraved steel rings, the shape of a ship's hull, or a clay-covered tondo—the objects on view are formations of what remains when subjects and information are digested and transformed by artists, each of whom brings their own histories and subjectivities to the process. Inviting curiosity and slow looking, these works speak to the capacity of abstraction to embrace complex questions and subjects, exposing and resisting hidden power structures both past and present. These forms function as a kind of operating system: an abstract representation of how information becomes form and how form can, in turn, create information. Read More FilmsArtist Roundtable: Hiding in Plain SightOur new film documents a wide-ranging conversation between Senior Director and Curator Andria Hickey, artists Torkwase Dyson, Tony Lewis, Rayyane Tabet, and Jessica Vaughn, and Key Jo Lee, director of academic affairs and associate curator of special projects at the Cleveland Museum of Art in Ohio. (opens in a new window) Watch Now Etel Adnan, Désert Rose, 2019, wool tapestry, handwoven in Aubusson, France, 155 cm × 200 cm (61" × 78-3/4"), Courtesy the artist and Sfeir-Semler Gallery, Beirut / Hamburg Learn More Etel AdnanFor Etel Adnan, a Lebanese poet, essayist, and visual artist, all art is political and shaped by lived experiences. Her paintings and tapestries use geometric forms and subtle variations of color that evoke landscapes and horizons, as well as striking geometric compositions. Adnan began to paint in the 1960s, after her decision to stop writing in French in solidarity with the Algerian War of Independence. Adnan began to make paintings each day during her time in Sausalito, California of the Mount Tampalpais outside her window. While she was widely known as a poet and writer, abstract painting allowed Adnan to explore memories of her youth in the Middle East, the atrocities of war she observed, and her nomadic life thereafter.Learn More & View More Works by Etel Adnan Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Etel Adnan Désert Rose 2019 wool tapestry, handwoven in Aubusson, France 155 cm × 200 cm (61" × 78-3/4"), Courtesy the artist and Sfeir-Semler Gallery, Beirut / Hamburg Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Yto Barrada, Geological Time Scale (assembled group of primarily monochrome Beni Mguild, Marmoucha, and Ait Sgougou pile rugs from Western Central, Middle Atlas, Morocco), Mid-20th Century, mixed media, dimensions variable Learn More Yto BarradaYto Barrada is recognized for her multidisciplinary investigations of cultural phenomena and historical narratives, with a focus on Morocco. Geological Time Scale (2015) focuses on the channels through which traditions become solidified by the conditions of colonialism. This iteration of the work references geological modes of mining and playful fort like elements with the rugs stacked on a custom-built table. Comprised of some 50 modern monochrome woven Berber rugs collected from different tribes in Morocco, the site-responsive installation references the work of a historical figure: the early 20th-century French Army general and colonial administrator, Louis Hubert Gonzalve Lyautey. Lyautey’s impact on Moroccan history is still palpable in some aspects of the country’s culture today.Learn More & View More Works by Yto Barrada Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Yto Barrada Geological Time Scale (assembled group of primarily monochrome Beni Mguild, Marmoucha, and Ait Sgougou pile rugs from Western Central, Middle Atlas, Morocco) Mid-20th Century mixed media dimensions variable Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Aria Dean, Forward Proxy 2.1, 2019, clay, resin and wood, 45" × 45" × 3" (114.3 cm × 114.3 cm × 7.6 cm), Courtesy of the artist; Greene Naftali, New York; and Château Shatto, Los Angeles / Paul Salveson Learn More Aria DeanAria Dean lives and works in Los Angeles and New York and earned a BA in 2015 from Oberlin College, Ohio. This wall-mounted disc is composed of a mixture of red clay and resin. Like much of Dean’s work, it echoes the formal language of Minimalism to explore how objects and materials are receptacles for both real and projected meaning. In the artist’s words:"I’m interested in finding some third term beyond ‘abstraction’ and ‘representation.’ When dealing with Blackness, these categories blur even if you don’t want them to—as do ‘material’ and ‘symbolism.’ I believe a minimalist framework allows the artist to condense a lot into a single object…Representational strategies lend so much specificity, there’s no room for how these things interlock more ambiently. But Minimalism allows me to speak to complex histories without having to enumerate and fix every element."Learn More About Aria Dean Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Aria Dean Forward Proxy 2.1 2019 clay, resin and wood 45" × 45" × 3" (114.3 cm × 114.3 cm × 7.6 cm), Courtesy of the artist; Greene Naftali, New York; and Château Shatto, Los Angeles / Paul Salveson Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Simon Denny, Backdated NFT/ Cryptokitty Display Hardware Wallet Replica (Celestial Cyber Dimension), 2018, 2019, 2021, jpeg, Cardboard, UV print on cardboard, Non-fungible token (NFT), 3-15/16" × 2-3/8" × 2-3/4" (10 cm × 6 cm × 7 cm) Learn More Simon DennySimon Denny’s Backdated NFT/ Cryptokitty Display Hardware Wallet Replica (Celestial Cyber Dimension) (2018/2019/2021) is a single work of dual nature, both a physical object and a digital non-fungible token, or NFT. Reimagining an earlier work, this sculpture responds to the emergence of the cyber and crypto worlds’ connections with Conceptual art and Duchampian gestures in a new invisible interface. Denny's first NFT featured an image of a cardboard replica of the cyber wallet in the first art house auction sale of an NFT in 2018. This new NFT and its accompanying souvenir object include an image of the same cardboard replica, this time physically stamped with an image of a previous artwork made by the artist—a postage stamp featuring an appropriation of image by artist Guile Twardowski.Learn More About Simon Denny Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Carousel slide 9 Carousel slide 10 Carousel slide 11 Carousel slide 12 Carousel slide 13 Carousel slide 14 Carousel slide 15 Carousel slide 16 Carousel slide 17 Carousel slide 18 Carousel slide 19 Simon Denny Backdated NFT/ Cryptokitty Display Hardware Wallet Replica (Celestial Cyber Dimension) 2018, 2019, 2021 jpeg, Cardboard, UV print on cardboard, Non-fungible token (NFT) 3-15/16" × 2-3/8" × 2-3/4" (10 cm × 6 cm × 7 cm) (opens in a new window) Opensea NFT Listing; NFT Conditions of Sale Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Torkwase Dyson, Scale-Scale, 2021, acrylic on canvas, 8' × 6' 4" × 2" (243.8 cm × 193 cm × 5.1 cm) Learn More Torkwase DysonTorkwase Dyson’s approach to abstraction considers the measurable and spatial conditions of systems of oppression and delves into how Black bodies have occupied those spaces and self-liberated throughout history. Her work also examines geographies and architectures of oppression and liberation, such as waterways, plantations, passageways, underground tunnels. Working in painting, sculpture, installation and performance, Dyson notes that Black Compositional Thought “considers how paths, throughways, architecture, objects, and geographies are composed by black bodies and from these formations it also considers how properties of energy, space, scale, and sound interact as networks of liberation.”Learn More & View More Works by Torkwase Dyson Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Torkwase Dyson Scale-Scale 2021 acrylic on canvas 8' × 6' 4" × 2" (243.8 cm × 193 cm × 5.1 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Sam Gilliam, Black Mozart/ ORNETTE, 2020, wood, aluminum, die-stain, lacquer, 96" × 96" × 2-1/4" (243.8 cm × 243.8 cm × 5.7 cm) Learn More Sam GilliamSam Gilliam is one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. His work Black Mozart/ ORNETTE (2020) comprises concentric circles made with joined wood and aluminum panels. Three wooden discs—stained black but allowing the grain to show through—compose the outer rings and frame an aluminum ring at the center. Reminiscent of a vinyl record and titled after the American jazz musician Ornette Coleman, this work nods to Gilliam’s lifelong interest in music.Learn More About Sam Gilliam Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Sam Gilliam Black Mozart/ ORNETTE 2020 wood, aluminum, die-stain, lacquer 96" × 96" × 2-1/4" (243.8 cm × 243.8 cm × 5.7 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Suki Seokyeong Kang, Mat 55 × 40 — Bolds #20-01, 2019-2020, painted steel, woven dyed Hwamunseok, thread, wood frame, brass bolts, leather scraps, 22-7/16" × 16-9/16" × 6-5/16" (57 cm × 42.1 cm × 16 cm), each overall dimensions variable Learn More Suki Seokyeong KangSuki Seokyeong Kang’s research-driven practice—consisting of sculpture, painting, video, performance, and multimedia installations—investigates notions of space and perceptions of objects. Setting Kang apart is her contemporary use of traditional Korean cultural practices and craft making techniques. By focusing on singular and collective interactions with objects, her work reflects on how historical and present actions of the individual affect the future whole societies.Learn More & View More Works by Suki Seokyeong Kang Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Carousel slide 9 Carousel slide 10 Carousel slide 11 Suki Seokyeong Kang Mat 55 × 40 — Bolds #20-01 2019-2020 painted steel, woven dyed Hwamunseok, thread, wood frame, brass bolts, leather scraps 22-7/16" × 16-9/16" × 6-5/16" (57 cm × 42.1 cm × 16 cm), each overall dimensions variable How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Kapwani Kiwanga, Linear Painting #11: Birren White -Turquoise (U.S Coast Guard's Shore Establishments), 2021, drywall, wood paint, 250 cm × 125 cm × 3 cm (8' 2-7/16" × 49-3/16" × 1-3/16"), Courtesy of the artist and Galerie Tanja Wagner, Berlin Learn More Kapwani KiwangaKapwani Kiwanga’s series of Linear Paintings uses the language of Minimalism to explore theories of color psychology and “disciplinary architecture.” As if removed from an existing wall, these paintings rendered on domestic sheetrock reference specific colors and combinations that, beginning at the turn of the 20th -century, were used in institutional settings as part of an effort to elicit various psychological and physiological responses. Kiwanga probes the effects of psychological theories of color created by scholars like Faber Birren and Alexander Schauss who created functional colors for institutions like schools, prisons, hospitals, and mental health facilities in her extensively researched works.Learn More & View More Works by Kapwani Kiwanga Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Kapwani Kiwanga Linear Painting #11: Birren White -Turquoise (U.S Coast Guard's Shore Establishments) 2021 drywall, wood paint 250 cm × 125 cm × 3 cm (8' 2-7/16" × 49-3/16" × 1-3/16"), Courtesy of the artist and Galerie Tanja Wagner, Berlin Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Alicja Kwade, TransForm, 2020, original tree segment, patinated bronze, oak, malachite, ceramic, granite, new silver, 32-13/16" × 17' 9-3/8" × 18-7/8" (83.3 cm × 542 cm × 47.9 cm) Learn More Alicja KwadeAlicja Kwade transforms materials and environs into immersive laboratories where viewers are encouraged to question their understanding of the universe that surrounds them. What defines an object in Kwade’s scenarios is based on the subjective interpretation of the viewer, including societal value, language, and function. Kwade imagines the unimaginable by illustrating her deepest existential questions revolving the nature of perception and illusions.Learn More About Alicja Kwade Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Carousel slide 9 Carousel slide 10 Carousel slide 11 Carousel slide 12 Carousel slide 13 Carousel slide 14 Alicja Kwade TransForm 2020 original tree segment, patinated bronze, oak, malachite, ceramic, granite, new silver 32-13/16" × 17' 9-3/8" × 18-7/8" (83.3 cm × 542 cm × 47.9 cm) How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Tony Lewis, ...if it does finally come to a confrontation...then we will fight the issue...not only in the Cambridge Union, but we will fight it as you were once recently called to do on beaches and on hills, on mountains and on landing grounds. And we will be convinced that just as you won the war against a particular threat to civilization, you were nevertheless waging a war in favor of and for the benefit of Germans, your own enemies, just as we are convinced that if it should ever come to that kind of a confrontation, our own determination to win the struggle will be a determination to wage a war not only for Whites but also for Negroes, 2021, graphite powder, screws, and rubber bands, dimensions variable, Courtesy of the artist and Blum & Poe, Los Angeles / New York / Tokyo Learn More Tony LewisTony Lewis lives and works in Chicago and earned an MFA from the School of the Art Institute of Chicago in 2012, a BFA from the School of the Art Institute of Chicago in 2010, and a BA from the Washington and Jefferson College, Washington, Pennsylvania in 2008. This work, created specifically for this gallery, features a scaled version of a stenographer’s mark etched into the wall with screws, stretched rubber bands, and powdered graphite. Larger than life, this sculptural drawing further obscures an abstraction of language in material, form, and labor. Lewis uses Gregg shorthand notation, a stenographers’ tool that translates sounds into curving and bisecting lines in response to complexity of the Black American experience.Learn More About Tony Lewis Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Tony Lewis ...if it does finally come to a confrontation...then we will fight the issue...not only in the Cambridge Union, but we will fight it as you were once recently called to do on beaches and on hills, on mountains and on landing grounds. And we will be convinced that just as you won the war against a particular threat to civilization, you were nevertheless waging a war in favor of and for the benefit of Germans, your own enemies, just as we are convinced that if it should ever come to that kind of a confrontation, our own determination to win the struggle will be a determination to wage a war not only for Whites but also for Negroes 2021 graphite powder, screws, and rubber bands dimensions variable, Courtesy of the artist and Blum & Poe, Los Angeles / New York / Tokyo Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Rodney McMillian, "shelf #1", 2016, wood, glass vases, spray paint, 44-1/4" × 40" × 16" (112.4 cm × 101.6 cm × 40.6 cm), Courtesy of the artist and Vielmetter Los Angeles Learn More Rodney McMillianRodney McMillian’s work explores complex and charged relationships between contemporary culture and the histories of politics, structural inequality, and racial violence in America.McMillian’s Shelf series is composed of groupings of glass vases that have been spray-painted black and placed atop three white tables. In previous exhibitions, these works have been accompanied by an audio recording of a speech about racial inequality by Shirley Chisholm, the first Black woman to be elected to the United States Congress.Learn More & View More Works by Rodney McMillian Close modal Rodney McMillian "shelf #1" 2016 wood, glass vases, spray paint 44-1/4" × 40" × 16" (112.4 cm × 101.6 cm × 40.6 cm), Courtesy of the artist and Vielmetter Los Angeles Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Trevor Paglen, Trinity Cube, 2017, irradiated glass from Fukushima Exclusion Zone, Trinitite, 8" × 7-3/4" × 7-7/8" (20.3 cm × 19.7 cm × 20 cm) Learn More Trevor PaglenTrevor Paglen is known for investigating the invisible through the visible, with a wide-reaching approach that spans image making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. His work Trinity Cube (2017) appears to be a minimalist object made of Trinitite, a radioactive glass first produced by the 1945 Trinity nuclear bomb test in New Mexico. The inner cube is fused with irradiated glass found where Fukushima Daiichi nuclear disaster occurred in 2011.Learn More & View More Works by Trevor Paglen Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Trevor Paglen Trinity Cube 2017 irradiated glass from Fukushima Exclusion Zone, Trinitite 8" × 7-3/4" × 7-7/8" (20.3 cm × 19.7 cm × 20 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Walid Raad, Preface to the Second Edition _ I, 2012, archival inkjet print mounted on aluminum Dibond, 59" × 78-3/4" (149.9 cm × 200 cm), image 60-1/2" × 80-1/8" × 2" (153.7 cm × 203.5 cm × 5.1 cm), frame Learn More Walid RaadMany of Walid Raad’s works trace a curious combination of truth and fiction alongside stories of individual experiences shaped by political, economic, and military conflict. In 2007, Raad began to examine the history of art in the “Arab world” in a series of works titled Scratching on things I could disavow (of which three photographs are included in the exhibition). The project aligned with the rapid rise of large Western-brand museums, art fairs, and cultural foundations in cities such as Abu Dhabi, Beirut, Dubai, Ramallah, and Sharjah, among others.Learn More & View More Works by Walid Raad Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Walid Raad Preface to the Second Edition _ I 2012 archival inkjet print mounted on aluminum Dibond 59" × 78-3/4" (149.9 cm × 200 cm), image 60-1/2" × 80-1/8" × 2" (153.7 cm × 203.5 cm × 5.1 cm), frame Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Adrian Villar Rojas, Untitled IV (from the series Rinascimento), 2015-2021, organic, inorganic, human and machine-made matter, dimensions tbd Learn More Adrián Villar RojasAdrián Villar Rojas’s untitled sculpture from his ongoing body of work, Rinscimento (2015–21) is comprised of a dated model white fridge with a diorama-like vitrine window covering its open freezer compartment. A domestic but minimal object, the freezer is filled with an assemblage of natural and manufactured foods—frozen fruits, fish, animal bones, a beer bottle, and variant species of mushrooms such as enoki and lion’s mane. Continuing the artist’s investigation of entropy in the Anthropocene, this work meditates on the fragility of living forms and their relationship to machines. The freezer chamber and its contents are literally frozen in time, preserving objects that become more and more obscured by the enveloping freezer-bite ice over time.Learn More About Adrián Villar Rojas Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Adrian Villar Rojas Untitled IV (from the series Rinascimento) 2015-2021 organic, inorganic, human and machine-made matter dimensions tbd Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Hito Steyerl, How Not to Be Seen: A Fucking Didactic Educational .MOV File, 2013, HD video, single screen in architectural environment, 15 minutes, 52 seconds, Courtesy of the artist, Andrew Kreps Gallery, New York and Esther Schipper, Berlin Learn More Hito SteyerlHito Steyerl’s video installation examines how hidden infrastructures operate at both an individual level and at a global scale. Offering five lessons in invisibility, the film wryly maps the formal, symbolic, and real connections between the worlds of art, economics, and global political regimes in our era. In an interview Steyerl explains “in the case of How Not to Be Seen, it started with a real story that I was told about how rebels avoid being detected by drones. The drone sees movement and body heat. So, these people would cover themselves with a reflective plastic sheet and douse themselves with water to bring down their body temperature. The paradox, of course, is that a landscape littered with bright plastic-sheet monochromes would be plainly visible to any human eye—but invisible to the drone’s computers.”Learn More & View More Works by Hito Steyerl Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Hito Steyerl How Not to Be Seen: A Fucking Didactic Educational .MOV File 2013 HD video, single screen in architectural environment 15 minutes, 52 seconds, Courtesy of the artist, Andrew Kreps Gallery, New York and Esther Schipper, Berlin Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Rayyane Tabet, Steel Ring, 2013 - ongoing (fabricated 2021), rolled, engraved steel with km longitude, latitude and elevation marking of specific location on the TAPLine, 30-3/4" × 30-1/2" × 4" (78.1 cm × 77.5 cm × 10.2 cm), Courtesy of the artist and Sfeir-Semler Gallery, Beirut / Hamburg Learn More Rayyane TabetRayyane Tabet’s Steel Rings 2021 are part of the ongoing series entitled “The Shortest Distance Between Two Points”, that investigates the often-concealed history and subjectivity of political and energy infrastructures. When complete, Tabet’s work will replicate the entire length of the Trans-Arabian Pipeline—a pipeline that transported crude oil from Saudi Arabia to the West through Jordan and Syria from 1946-1983. The installation, on view here, includes twenty-three individual rolled- steel rings representing 23 km of the TAPline’s circuitous route. Each ring is the same diameter and thickness of the oil pipeline, and engraved with the longitude, latitude, and elevation of the rings’ specific sequential location.Learn More & View More Works by Rayyane Tabet Close modal Rayyane Tabet Steel Ring 2013 - ongoing (fabricated 2021) rolled, engraved steel with km longitude, latitude and elevation marking of specific location on the TAPLine 30-3/4" × 30-1/2" × 4" (78.1 cm × 77.5 cm × 10.2 cm), Courtesy of the artist and Sfeir-Semler Gallery, Beirut / Hamburg Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Jessica Vaughn, Hope Labor, Flat and Folded, 2021, painted aluminum, 19" × 45" × 26" (48.3 cm × 114.3 cm × 66 cm), Courtesy of the artist and Martos Gallery Learn More Jessica VaughnJessica Vaughn’s Hope Labor, Flat and Folded (2021) features geometric forms that both recall and reject the language of Minimalism. The flat floor sculptures replicate a set of visual tools taken from the training manuals of the Occupational Information Network, the world’s largest resource for vocational training. The original letter-sized sheets of construction paper—scored, cut, and primed to be folded into three-dimensional shapes—are reproduced in this large-scale, mint-green powder-coated sculpture comprising aluminum panels. The shapes are designed to predict a worker’s ability to maximize productivity and can help train dexterity, hand-eye coordination, and spatial recognition.Learn More & View More Works by Jessica Vaughn Close modal Jessica Vaughn Hope Labor, Flat and Folded 2021 painted aluminum 19" × 45" × 26" (48.3 cm × 114.3 cm × 66 cm), Courtesy of the artist and Martos Gallery Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Fred Wilson, Dark Dawn, 2005, blown glass and plate glass, overall installed: 120" x 240" x 84" (304.8 cm x 609.6 cm x 213.4 cm) Learn More Fred WilsonFred Wilson’s Dark Dawn (2005) is comprised of twenty-three parts of blown and plated black glass that personify movement and liquidity. Wilson became engaged with the glass of Murano in 2001 and began working in black glass because of the symbolism embedded in the color black. The objects in Dark Dawn (2005) amplify and magnify the form of glass as a material that begins from liquid and never fully solidifies. The “black tears” in this work respond to the history of Blackness in America with each drop and recalling tears, blood, and bodily fluids forming a slick pool of blackness on the floor.Learn More & View More Works by Fred Wilson Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Fred Wilson Dark Dawn 2005 blown glass and plate glass overall installed: 120" x 240" x 84" (304.8 cm x 609.6 cm x 213.4 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Journal View All Exhibitions London Gallery Weekend 2024 May 15, 2024 Museum Exhibitions Kevin Francis Gray at the Rudolph Tegners Museum and Sculpturepark May 13, 2024 Films Maysha Mohamedi and Sebastian Baden in Conversation May 09, 2024 Museum Exhibitions Tara Donovan at the Bruce Museum May 08, 2024