Jeep Comics is based on the second of only two issues published by RB Leffingwell and Company in 1944–45. Though largely unknown, their protagonists, Jeep and Peep, embody the ethos of “Golden Age” comic books in which magically empowered heroes triumph over evils to boost patriotic enthusiasm.
Kristen Morgin works with clay to create objects that resemble relics from past eras. Drawing on 1940s and 1950s American pop culture, her themes range from patriotic comic super heroes, childhood toys, cartoon books, to more intimate daily items, such as teaspoons or cups. Although they appear to be highly realistic in terms of scale, shape, and texture, these objects are layered with narrative implicit in their materiality. Seemingly meant to preserve and memorialize the past, these recreations of unfired clay are equally tenuous and fragile.
The Striation Scrap Lamps (vertical and horizontal) although functioning as utilitarian objects also represent Jason Meadows’s interest in a certain kind of crafted sculpture...
His series, The Golden State, harkens back to his early career and his photographic training...
Jason Meadows’s Do Not Pass Go (2011) depicts Richie Rich, “the poor little rich boy” of the 1950s comic strip...
In the Collage II (Marie) (2013), Shorr seems to have an ostensibly clear subject, a female subject identified in the work’s title as “Marie,” a slim but athletic woman with brown hair pictured reclining atop a brilliantly white sheet draped against a marbled tan-and-white backdrop...
Donald of Doom Tank (2008) is a replica of a vintage metal toy with Donald Duck’s image one side and a soldier on the other...
The Striation Scrap Lamps (vertical and horizontal) although functioning as utilitarian objects also represent Jason Meadows’s interest in a certain kind of crafted sculpture...
His series, The Golden State, harkens back to his early career and his photographic training...
Through a semi-fictional approach, Extrastellar Evaluations envisions a version of history in which alien inhabitants, the Lemurians, lived among humans under the guise of various renowned conceptual and minimal artists in the 1960s (Carl Andre, Mel Bochner, and James Turrell to name a few)...
Podcast 90: Critics Live: The Year of No Return by The Necessary Stage at SIFA 2021 | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints Tuckys Photography June 23, 2021 Singapore critics Clarissa Oon, Lee Shu Yu, Nabilah Said and Naeem Kapadia discuss The Year of No Return by The Necessary Stage, presented at Singapore International Festival of the Arts (SIFA)...
Sliman Mansour Preserves Palestinian History Through Art Skip to content Sliman Mansour, “Rituals Under Occupation” (1989), oil on canvas, 47 1/2 x 40 inches (all images courtesy Zawyeh Gallery and the artist) Nearly every day, Sliman Mansour makes the hours-long journey between his home in Jerusalem and his studio in Ramallah...
Images of an El Salvador Town Transformed by Migration - The New York Times Lens | Images of an El Salvador Town Transformed by Migration https://www.nytimes.com/2019/05/28/lens/images-of-an-el-salvador-town-transformed-by-migration.html Give this article Share Advertisement Continue reading the main story The political has long been the personal for those who decided to abandon all they knew in El Salvador to search for a safer, but uncertain, future up north...
Donald of Doom Tank (2008) is a replica of a vintage metal toy with Donald Duck’s image one side and a soldier on the other...
Foreigners Everywhere is a series of neon signs in several different languages...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
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....