0:24 minutes
In her 2011 webcam video, Sickhands , Cortright poses before her in-computer camera, as her hands, hair, and body begin waving and rippling vertically across the screen, distorted by software effects. Capitalizing and commenting on the ubiquity of homemade video, the short film replicates with banal proximity the amateur special effects that thrive on the web. This rather cliched visual trick recalls a funhouse mirror, or, perhaps more aligned with Cortright’s frame of reference, a dream-sequence cue from after-school 90s television. As with several of her other webcam works, Sickhands is characterised by its playful and honest approach to self-portraiture in a ‘post-internet’ context.
Whether for a gallery or online audience, Petra Cortright uses the Internet as a medium, source, context and place where her work unravels. She is best known for her self-portrait videos created with a domestic webcam and then uploaded onto YouTube. The various effects that she applies to the clips are sourced from a variety of webcam softwares she has collected over the years. In her work, Cortright is the director, the actor, the editor all at once—allowing her to playfully explore ideas of the self and the body as it is represented in the digital realm, as well as the formal qualities of low-fi, homemade video. In more recent works, Cortright combines photos, gifs, memes, games, animation and even pornography sourced from the internet, mixing various forms of expression as means to meditate on the social ramifications of the medium. Cortright also creates 2D works—primarily Photoshop-based paintings transferred onto aluminum, linen, paper, or acrylic—where she overlays hundreds of digital layers composed by found samplings to simulate brush strokes.
In the flash animation SpringValle_ber_girls , Petra Cortright collages together surreal scenes out of unnaturally idyllic desktop screensavers with equally unreal computer-generated women that pop in and out of the landscape...
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...
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification...
As a visual activist for the rights of Lesbian, gay, bisexual, transgender, queer and intersex (LBGTQI), Muholi’s photographs radically transgress the conventional perception of lesbian and transgender communities in South Africa...
Tania Libre is a film by Lynn Hershman Leeson centered around renowned artist Tania Bruguera and her experience as a political artist and activist under the repressive government of her native Cuba...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...
Canned Laughter was Okón’s response to an invitation from Ciudad Juárez , Mexico, where artists were asked to create works based on their experience of the city...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
As a visual activist for the rights of Lesbian, gay, bisexual, transgender, queer and intersex (LBGTQI), Muholi’s photographs radically transgress the conventional perception of lesbian and transgender communities in South Africa...