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.
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 voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
In Up All Night, Waiting for the Chelsea Hotel Magic to Spark My Creativity Mario García Torres constructs and documents a hypothetical scene, situating himself within a lineage of artists and creatives that used to congregate at the historic hotel...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
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Yael Bartana received great international attention for the trilogy series And Europe Will be Stunned (2007 – 2011)...
Domes #1 represents a significant moment in Chicago’s career when her art began to change from a New York-influenced Abstract Expressionist style to one that reflected the pop-inflected art being made in Los Angeles...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
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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...
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...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...