4H x 6W inches, 3.5H x 5.5W inches
Last Postcards is a series of three small double-sided paintings on plywood in which Biernoff imagines the last communications from explorers lost in the wilderness. Biernoff’s choice of Everett Ruess, Percy Fawcett, and the conceptual artist Bas Jan Ader is particularly telling. On one level, the Last Postcards analogize the nineteenth-century explorer with the contemporary artist who looks for purpose in their work. This series continues Biernoff’s interest in the construction of myths and, to a certain extent, of utopias, ideas which have deep resonance in the cultural imagery of the West Coast. The careful, painted reproduction of a mass-produced object like a postcard reinforces this fictive aspect.
Elisheva Biernoff’s work engages and reconsiders the tradition of painting in an interesting way, often taking source material from media or recreating photographs through a careful trompe d’oeil technique. Thus, her work engages in the discussion of re-representation through painting, not aiming to portray any given reality faithfully but rather as the ideal way to engage with a subject matter that explores the intersection between myths, fictions and fantasies. In some cases, her works also address particular ecological concerns.
In her recent work, Biernoff is interested in investigating fictions and fantasies embedded in the remnants of consumer culture (for example magazines) or through ephemera such as postcards and old photographs...
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...
Dorsky’s pieces included in the Kadist Collection are small still photographs from twelve of his most important films...
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...
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
White Minority , is typical of Capistran’s sampling of high art genres and living subcultures in which the artist subsumes an object’s high art pedigree within a vernacular art form...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
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...
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...
The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
Central Station, Alignment, and Argument are “situation portraits” that present whimsical characters within distorted and troubling worlds...
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...