39.75H x 33.75W inches
Welling employs simple materials like crumpled aluminum foil, wrinkled fabric and pastry dough and directly exposes them as photograms, playing with the image in the process of revealing it. Although Welling’s approach to photography is more conceptually oriented than poetic, the resulting image in Stowe (a direct photogram of a crumpled piece of cloth) somehow resembles a curtain, perhaps suggesting that an artificial even fictive component in photographic representation. While the curtain might echo other imagery, Welling’s approach is not allegorical but rather abstract in a way that reinforces the materiality of the object.
James Welling has a long-standing interest in pushing the technical and conceptual boundaries of photography. His practice takes photographic norms or the representational field itself as its subject and, through material or digital manipulations, Welling investigates abstraction, turning everyday space or mundane objects into something uncanny but poetic.
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Martin Creed | The Dick Institute Experience the work of one of this country’s most ingenious, audacious and surprising artists at the Dick Institute ARTIST ROOMS Martin Creed presents highlights from the British artist’s thirty-year career...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
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...
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
Domes #1 represents a significant moment in Chicago’s career when her art began to change from a New York-influenced Abstract Expressionist style to one that reflected the pop-inflected art being made in Los Angeles...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...
In Dark Beyond Deep by Zhu Changquan the film presents the process of how consciousness gradually develops and extends from the real world to virtual space through a raven named Cyma...
Weekly Southeast Asia Radar: New Filipina superhero; capturing seniors of Saigon; refugee kids in Penang musical | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Radar Photo: School of The Arts, USM September 5, 2019 ArtsEquator’s Southeast Asia Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region...
Growing up Everywhere and Nowhere in “Peter and the Starcatcher” | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Bernie Ng October 22, 2018 By Teo Xiao Ting (1,300 words, seven-minute read) What does it mean to be a child? Specifically, what does it mean to be growing up, to be young, in this milieu? While set in the sepia of 1885, Peter and the Starcatcher by Pangdemonium asks questions that still resonate now, opening up to an extended session of make-believe to present the origin story of a Boy who detests all “grown-ups.” The story comes dusted in “starstuff,” a coveted substance that literally came from the stars, and has the magic to grant wishes...
Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...
For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms...
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...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
San Pedro is a seaside city, part of the Los Angeles Harbor, sitting on the edge of a channel...
Eamon Ore-Giron’s new commissioned video project Bite Work, is an experimental genre breaking video that is part-performance, part-conceptual and part-comical addressing issues of mediation, surveillance and trust...
The stained glass windows of Chloé Quenum’s Les Allégories evoke the sacred and describe the movement of a rooster in the form of patterns extracted from a wax fabric found in Benin...
This untitled painting by Tirdad Hasemi presents a space that can be thought of as both a prison cell and a house...
“Weight & velocity (cat on router)” is a duo of two humorous photographs of a cat lying on a computer router...