Conrad Ruiz loves to paint subjects related to the “boy zone”: video games, weapons, games, science fiction, fantasy, and special effects. He also often works at a very large scale to emphasize a connection to the tradition of history painting. Blockbuster (2011) was, at the time of its creation, the largest watercolor painting he had ever made. This commissioned piece combines his bombastic and playful style with a tribute to San Francisco’s thriving arts and culture scenes. It is a lively depiction of famous landmarks in the city, and a somewhat fanciful and lighthearted recapitulation of how a potential earthquake would shake things up in the ultimate “boy zone.”
Conrad Ruiz makes watercolor paintings of fantastic scenes. Bursts of color and energy sit behind flying figures and animals. Images become painted patterns, as rows of repeated objects and buildings’ striations verge on geometric abstraction. Ruiz’ identifies his work with the “ultimate boy zone”, and the connection is clear. His paintings are populated by explosions, giant sharks, and athletes. Ruiz creates his painting carefully, tracing projected images and carefully following lines. The semi-transparency of his watercolor fills gives his otherwise firm images a shimmering quality, contributing to their overall impression of dreamy unreality.
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Dorsky’s pieces included in the Kadist Collection are small still photographs from twelve of his most important films...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
Last Postcards is a series of three small double-sided paintings on plywood in which Biernoff imagines the last communications from explorers lost in the wilderness...
John Houck’s brown- , sienna- and golden-toned composition, Untitled #185, 65, 535 combinations of a 2×2 grid, 16 colors , features densely packed lines of color moving diagonally across the creased page...
LAB (2013) conjures the body as the trace of a sooty hand appears, spectrally, on a crumpled paper towel...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
Baby Shoes, Never Worn is part of photographer John Houck’s series of restrained still-life photographs capturing objects from his childhood...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...
Though the title might suggest an Adonis, Jeffry Mitchell’s The Swimmer (2012) is a squat, jolly man with a protuberant belly...
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
In Captain X , Star Trek’s Captain Kirk, played by William Shatner, is limply draped over a large boulder in what looks like a hostile alien environment...
In her recent work, Biernoff is interested in investigating fictions and fantasies embedded in the remnants of consumer culture (for example magazines) or through ephemera such as postcards and old photographs...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...