In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition. Elad Lassry explores how visual languages are constructed across multiple disciplines and media. His larger body of work responds to the relationship between artistic mediums and their forms, and his prints question familiar modes of viewership and our continuous desire to find and identify clear narratives in photographs. Lassry utilizes both found photographs and original compositions in his work, a juxtaposition that challenges notions of authorship and attribution. By emphasizing how photographic images are deliberately staged and constructed, Lassry destabilizes notions that photographs depict and document “the real.” In foregrounding the image as object, he also suggest that the photograph only provides a referent for a presence that “has-been” but that no longer exists in the current moment. Born in Israel, Lassry earned his BFA in film from the California Institute of Arts in 2003 and his MFA from the University of Southern California in 2007.
Elad Lassry explores how visual languages are constructed across multiple disciplines and media. His larger body of work responds to the relationship between artistic mediums and their forms, and his prints question familiar modes of viewership and our continuous desire to find and identify clear narratives in photographs. Lassry utilizes both found photographs and original compositions in his work, a juxtaposition that challenges notions of authorship and attribution. By emphasizing how photographic images are deliberately staged and constructed, Lassry destabilizes notions that photographs depict and document “the real.” In foregrounding the image as object, he also suggest that the photograph only provides a referent for a presence that “has-been” but that no longer exists in the current moment. Born in Israel, Lassry earned his BFA in film from the California Institute of Arts in 2003 and his MFA from the University of Southern California in 2007.
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
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...
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
Starting with Bruce Nauman’s iconic artwork, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) , Mungo Thomson’s neon sign is one of a series that replaces Nauman’s quixotic mini-manifesto with aphorisms from ‘recovery’ culture, especially those made popular by alcoholics anonymous...
Yael Bartana received great international attention for the trilogy series And Europe Will be Stunned (2007 – 2011)...
Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...
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...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
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...
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...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...