33.5H x 26.5W inches
#17 Pink is a photogram, a photographic image produced without the use of a camera. Here, the artist placed plumbago blossoms on a sheet of eight-by-ten-inch film and exposed it to light. The negative was then projected onto Kodak Metallic Endura paper through a color mural enlarger and cooler filters to produce the multicolored print. Similar techniques were used to produce Stowe (2006), an ambiguous work that refers to the American writer Harriet Beecher Stowe. Folded and curled, the fabric reveals an obdurate materiality through the density and thickness of the color and the texture. Welling’s unique processes continuously challenge the criteria and reception of abstract photography.
James Welling has a long-standing interest in pushing the technical and conceptual boundaries of photography. His practice takes photographic norms or the representational field itself as its subject and, through material or digital manipulations, Welling investigates abstraction, turning everyday space or mundane objects into something uncanny but poetic.
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California...
Chris Johanson’s Untitled (Painting of a Man Leaving in Boat) (2010) pictures a canoe drifting toward an off-kilter horizon line, which demarcates the cobalt sea from the cerulean sky...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
The black-and-white photograph Men (055, 065) (2012) depicts two similarly built young men – young and slim, with dark tousled hair and a square jaw line – seated aside one another in identical outfits...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
In Tapitapultas (2012), Donna Conlon and Jonathan Harker comment on mass consumerism and pollution by way of a game they invented...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...
Wolfgang Tillmans initiated the ongoing series Faltenwurf in 1989, representing compositions of unused clothing, with special attention paid to the ways in which they drape and fold...
Reeder’s works often start with language—and his Pasta Paintings are no different...
Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...
Ben Shaffer’s Ben Deroy (2007) is part performance, part self-portrait, and part spiritual vision...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...