Glenn Kaino, ‘Now Do I Repay a Period Won (Libya) 01’, 2015, ICI Annual Benefit & Auction 2015
Glenn Kaino, ‘Now Do I Repay a Period Won (Libya) 01’, 2015, ICI Annual Benefit & Auction 2015
Glenn Kaino, ‘Now Do I Repay a Period Won (Libya) 01’, 2015, ICI Annual Benefit & Auction 2015

Glenn Kaino’s art practice bridges his formal training in sculpture with rigorous conceptual inquiry. This sculpture with the palindromic title, Now Do I Repay a Period Won, is part of an ongoing series that began when the artist visited Cairo to prepare for the (now postponed) Cairo Biennale. While visiting Tahir Square, Kaino contemplated the value of rocks used in violent protests: “When it’s on the ground, it’s rubble. . . . When it’s in the air, it’s vital, it’s alive.” In the series, Kaino takes the position of an activist and throws rocks at steel silhouettes of the U.S. Embassies that correspond to the geographic origins of the rocks. Kaino’s work can be found in the collections of the Studio Museum in Harlem, New York, and the Hammer Museum, Los Angeles, among others.

Image rights: Courtesy of the artist and Honor Fraser, Los Angeles

About Glenn Kaino

Glenn Kaino is a Los Angeles-based conceptual artist who draws on his undergraduate education in computer science and formal training as a sculptor. He engineers large-scale installations and site- or situation-specific sculptural works, which are infused with sociopolitical commentary, pop culture issues, and interdisciplinary references. Kaino differentiates himself by integrating subject matter peripheral to art into his practice, namely digital media, and his career is a balancing act between the worlds of art and technology. In 2004, Kaino debuted Desktop Operation: There’s No Place Like Home (2003) at the Whitney Biennial. He served as the chief creative officer for the late digital music startup, Napster, and created an experimental, independent web platform for the dissemination and sharing of contemporary art.

American, b. 1972