The black-and-white photograph Men (055, 065) (2012) depicts two similarly built young men – young and slim, with dark tousled hair and a square jaw line – seated aside one another in identical outfits. It is unclear if these subjects are related, despite the obvious doubling of visual cues, and Lassry offers few hints to suggest that these men have any association beyond their sitting for the same picture. By extension, Lassry subverts conventions in portrait photography by identifying his subjects with numbers, erasing the familiarity inherent in the act of naming, Men (055, 065) functions as an anti-portrait in which anonymity supplants intimacy. 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.
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 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...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
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...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
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...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
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...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
The artist describes the work as “very performative video-pieces but they take on a more sculptural feel...