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.
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
Untitled is a black-and-white photograph of a wave just before it breaks as seen from the distance of an overlook...
La Sombra (The Shadow) is a video of Regina Jose Galindo performing with a moving Leopard tank...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Ammo Bunker (2009) is a multipart installation that includes large-scale wall prints and an architectural model...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
This work is one of Koller’s many variations which he began to use from 1970 to describe the ‘cultural situations’ he created...
The Pixelated Revolution is a lecture-performance by artist Rabih Mroué about the use of mobile phones during the Syrian revolution...
Chris Johanson’s Untitled (Painting of a Man Leaving in Boat) (2010) pictures a canoe drifting toward an off-kilter horizon line, which demarcates the cobalt sea from the cerulean sky...
Nugroho’s installations and performances have their roots in the shadow puppet rituals in Indonesia, particularly the Javanese Wayang tradition whose essence is in the representation of the shadows...
From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany...
In 8 Ball Surfboard (1995),Alexis Smith combines her long-term interests in California culture and conceptual assemblage...
Barry McGee’s Untitled is a collection of roughly fifty, framed photographs, paintings, and text pieces clustered together in corner...