7.25H x 11.25W x 6.25D inches
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench. It is difficult to tell whether the work represents just any carpenter or Christ, the most famous member of the profession and the subject of innumerable parables and artworks. His stilted pose is not too Messianic; drips of ochre glaze render his handiwork and hammer equally soft. Woodshop, table, man, and floor are lacquered together, spilling into one another and freezing the protagonist vulnerably in place.
The Seattle-based sculptor Jeffry Mitchell creates cartoonlike creatures from low-fire earthenware. Their sympathetic expressions and modest size, combined with Mitchell’s style of globular, additive assembly, makes them seem accessible and charming, as if they want to be held. They are reminiscent of characters from Peanuts or The Flintstones , but they also draw on art historical tropes as potent and ancient as sex and religion. Beneath their unassuming facades they harbor a generous heap of musing, tongue-in-cheek critique.
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...
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...
Baby Shoes, Never Worn is part of photographer John Houck’s series of restrained still-life photographs capturing objects from his childhood...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
Although seemingly unadorned at first glance, Yang Xinguang’s sculptural work Phenomena (2009) employs minimalist aesthetics as a means of gesturing towards the various commonalities and conflicts between civilization and the natural world...
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Conrad Ruiz loves to paint subjects related to the “boy zone”: video games, weapons, games, science fiction, fantasy, and special effects...
Rojas’s two pieces in the Kadist Collection— Untitled (four-legged…) and Untitled (Bird’s Eyes) —are representative of her pictorial style which uses bold colorful blocks of paint and female and animal characters...
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...
Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...
Choke documents the artist filming a wrestler “choking out” his teammate until he is unconscious...
Based on historical prophecies and fantasy, the artist creates apocalyptic scenarios that posit an enigmatic world plagued by social, political, and environmental upheaval...