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. However, Kirk’s passive pose doesn’t so much suggest the aftermath of a battle as it does heavy contemplation, depression, or utter despair. Captain X is part of a series of paintings depicting various Star Trek characters who are stricken with human emotion-—a tactic that diminishes the mythological grandeur associated with this heroic captain and his indefatigable crew. Captain X , like much of Butler’s work, investigates the role of the male authority figure and exposes him at his most vulnerable moments.
Luke Butler works with images of masculinity and power. He draws from popular culture to both reflect and challenge existing conceptions and values. Butler not only uses these images in a general way, he creates exact replicas or fabricates new fictitious pieces to resemble existing forms, like falsified transcriptions of George Washington’s letters, and faking his own obituary.
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
In Eniko Mihalik (2012), the camera captures a glimpse of the eponymous Hungarian model as seen through a rearview mirror...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...
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...
The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...
John Houck’s multi-layered photographic compositions immortalize nostalgic objects from the artist’s childhood, manipulated in the studio and in post-production into unreal still-life arrangements...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Central Station, Alignment, and Argument are “situation portraits” that present whimsical characters within distorted and troubling worlds...
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...
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...
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...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...