To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey. On his shoulders he supports an enormous false head, Mickey’s familiar face grinning with glossy eyes. The artist has marked out in heavy black the background of Cinderella’s castle. Robbed of his context, the character becomes the sole focus of the image, a subject of unusual scrutiny. Under this close examination, his torso and legs begin to seem strange—too human for his extremities—and his friendly wave starts to look less like that of a childhood hero and more like that of a politician. With McCarthy’s intervention, the famous mouse is upstaged by his own artificiality.
Known for his transgressive performance art pieces that often challenge social conventions, Paul McCarthy is undoubtedly one of the main figures in the West Coast contemporary art scene. Using different forms from pop culture as source material, McCarthy casts a critical look at American society and consumerism. With a particularly poignant sense humor, his works also investigate the intricacies of human psychology.
I Am Cuba— “Soy Cuba” in Spanish; “Ya Kuba” in Russian—is a Soviet/Cuban film produced in 1964 by director Mikhail Kalatozov at Mosfilm...
Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...
The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...
Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
In the video The Syphilis of Sisyphus (2011), Reid Kelley transported her heroine to the French demimonde...
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
Kelley’s 2015 portrait of the poet Charles Baudelaire is one of a series of poets, rappers, and other thinkers who have influenced the artist’s ideas about beauty, creativity, and expression...
In the 2013 video work, Sitting Feeding Sleeping , Rose combines footage taken of zoo animals living in captivity with screen images that flicker and flash before us...
This is not in Spanish looks at the ways in which the Chinese population in Mexico navigates the daily marginalization they encounter there...
Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself...
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock...
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...
Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
Using the seminal 1958 film Vertigo as a launchpad, Lynn Hershman Leeson explores the blurred lines between fact and fantasy in VertiGhost , a film commissioned by the Fine Arts Museums in San Francisco...
In borrowing and subverting images from popular culture, Sadie Benning exposes the media’s role in constructing false and oppressive stereotypes of women, with regard to gender and sexual identity...