Without the use of Photoshop or any digital manipulation, Korean artist JeeYoung Lee spends weeks converting her tiny Seoul studio into some of the most elaborate installations we’ve seen—for the sake of taking a single photograph.
In a practice that ranges from performance to photography to film and video works, Blackfoot artist Terrance Houle remakes the troubled history of colonialism and First Nations identity with a roguish wit and punk-rock edge. His strategy matches self-deprecating humour with an uneasy undertone; the results cut away at both Aboriginal and non-Aboriginal notions of an urban Indian status quo. In his Urban Indian Series (2004), Houle is pictured grocery shopping, working in an office cubicle and riding public transit—all in elaborate powwow regalia.
In the performance video Friend or Foe (2010–11), he plays off cultural and historical gaps in communication while dressed in a loincloth and communicating by sign language.