63:00 minutes
In Dorian, a cinematic perfume, video is used as a community gatherer, a tool to speak about particular subcultures, in this case the trans-gender drag queen New York community, past and present. Developed from a literary work, it deconstructs notions of narrative forms, styles and conventions. It is a hybrid piece, an example of the elasticity of the medium. Performance rules in the work and so does presence, theatrical presence, with the invitation to cast the performers as themselves, to bring to the work their own making this work a very fascinating manifestation of a true collaboration with the erasure of authorship.
Michelle Handelman’s video, installation, live performance, and photography works analyze the human sublime in terms of its excess and dullness, providing a sneak peek into a jewel thief’s therapy sessions or following the life of a famous drag queen who experiences her own narcissistic destruction due to her increasing fame. Coming of age during the AIDS crisis and Culture Wars of the 1990s, the artist exposes the complicated spaces in which queer identities exist and transform, questioning the role of gender, race, class, and sexuality. Her works narrate tales of a dark human subconsciousness, putting her spotlight on outsiders and marginalized individuals. Raising philosophical questions around human existence, her characters function to uncover human fears in relation to sexuality, death, and chaos. Her video installations produce visual and psychological sensations for the viewers, inviting them to take part in these narratives. In this way, Handelman invites the viewers to question their own existence, identity, and experiences related to survival and belonging.
The installation Music Stands: Free Exercise 7, 8, and 9 by Marina Rosenfeld consists of music stand-like structures and a corresponding set of panels and acoustic devices that direct, focus, obstruct, reflect and project sound in the gallery...
Mary Weatherford Revisits an ARTnews Profile of Joan Mitchell – ARTnews.com Skip to main content By Alex Greenberger Plus Icon Alex Greenberger Senior Editor, ARTnews View All September 4, 2020 10:27am ©ARTnews In 1957, art critic Irving Sandler paid a visit to the studio of painter Joan Mitchell , an Abstract Expressionist known for her brushy images capturing nature...
The impressionistic surface of Wild Money (2017) recalls the 1950s paintings of Philip Guston...
Guy Leclercq — Épures et couleurs — Dutko / Quai Voltaire Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Guy Leclercq — Épures et couleurs — Dutko / Quai Voltaire Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Guy Leclercq — Épures et couleurs Exhibition Painting View of the artist’s studio Guy Leclercq Épures et couleurs Ends in 27 days: December 7, 2023 → January 13, 2024 Dutko Gallery is pleased to present from December 7th until January 13th a selection of the most recent works by Belgian artist Guy Leclercq...
In 2010, Kadist Art Foundation, David Roberts Foundation and Nomas Foundation successively presented an exhibition of the work of Etienne Chambaud in collaboration with Vincent Normand: The Siren’s Stage / Le Stade des Sirènes...
In her work, Fantasmática Latinoamericana, Jarpa works from photographs of five public funeral processions following the mysterious deaths of five Latin American presidents...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory...
The graphite drawing 4 mourners on a mantel by Gala Porras-Kim is part of a larger installation and body of research, entitled An Index and Its Settings (Un Índice y Sus Entornos) , in which the artist reconsiders 235 ancient burial figures (from circa 200 BCE – 50 CE) from what is now Mexico’s Pacific coast that are part of the Proctor Stafford Collection held by the Los Angeles County Museum of Art (LACMA)...
The small drawings that comprise Study from May Day March, Los Angeles 2010 (Immigration Reform Now) and We Are Immigrants Not Terrorists are based on photographs taken at a political rally in downtown Los Angeles in which thousands of individuals demonstrated for immigrants’ rights...
Fabiola Torres-Alzaga plays with magic, illusion, and sleight-of-hand, fabricating installations, drawings, and films that toy with our perceptions...
Jessie Stead’s Punched Interlude works are made out of found police barricade tape that she punches holes in and then runs through a music box, the music is composed by her as audible reflection on barricades and no go zones throughout the city of New York in area of Donald Trump...
Gastaldon has made a number of soft sculptures using materials associated with knitting and sewing that have alternately fetishistic, nightmarish or contemplative qualities...
Created during Zhao Renhui’s residency at Kadist SF in 2014, the photographic grid features a selection of some 6,000 members from single family of flies –hoverfly– identified over the last 25 years by Sacramento-based Dr...
Bruce Conner is best known for his experimental films, but throughout his career he also worked with pen, ink, and paper to create drawings ranging from psychedelic patterns to repetitious inkblot compositions...