7.75H x 13W x 4.75D inches
Though the title might suggest an Adonis, Jeffry Mitchell’s The Swimmer (2012) is a squat, jolly man with a protuberant belly. The stocky figure lets his arm drop to his side, towel dripping on the ground. Mitchell’s umber-toned glaze makes everything look earthy and wet, primordial and warm.
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...
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...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
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...
Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
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...
Kubra Khademi’s work celebrates the female body and in her detailed drawings and paintings she portrays female bodies floating on white paper...
‘Living in Brixton allowed me not to be judged non-stop’: Zineb Sedira, the artist who makes people feel at home | Art | The Guardian Skip to main content Skip to navigation Skip to navigation Zineb Sedira photographed in the Whitechapel gallery, where her Brixton living room has been recreated in wallpaper...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...