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.
It may take a minute to recognize the background of New Fall Lineup – the colors are tweaked into a world of cartoon and candy, and it is covered by leaping energetic figures and flying squirrels...
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...
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...
Baby Shoes, Never Worn is part of photographer John Houck’s series of restrained still-life photographs capturing objects from his childhood...
LAB (2013) conjures the body as the trace of a sooty hand appears, spectrally, on a crumpled paper towel...
Gabriel Orozco often documents found situations in the natural or urban landscape...
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...
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...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
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...
Long Long Live (2013) takes the viewer to the setting of the Oasis Villa on Green Island, once a reform and re-education prison to house political prisoners during Taiwan’s martial law period...
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)...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
In 1940 Rivera came to San Francisco for what would be his last mural project in the city, Pan-American Unity ...
Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....