In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon. The object and its ground both glow, but the chapel-shape is crisp and simple, reminiscent of a piece of cut paper. Like many of Therrien’s early pieces, this abstraction slips into representation and the visual and spiritual power of the image is emphasized by the strong central placement of the chapel.
Robert Therrien’s work assumes a variety of forms that transform objects through visual similarity, graphic reduction, or shifts in scale. His art, accordingly, seems embedded in the structures of experience. Therrien’s work inserts itself between the viewing subject and the external and objectified world. We see the Platonic forms of objects and shifts in scale, reminding us of our perspective and embodied engagement with the world.
Open Casket IX is an installation by Indira Allegra that combines traditional materials of memorial—tombstones, mausoleums, and caskets—with contemporary expressions of grief...
In Captain X , Star Trek’s Captain Kirk, played by William Shatner, is limply draped over a large boulder in what looks like a hostile alien environment...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
Untitled is a work on paper by Martin Kippenberger comprised of several seemingly disparate elements: cut-out images of a group of dancers, a japanese ceramic vase, and a pair of legs, are all combined with gestural, hand-drawn traces and additional elements such as a candy wrapper from a hotel in Monte Carlo and a statistical form from a federal government office in Wiesbaden, Germany...
This artwork was part of a group of projects presented in the Japanese Pavilion at the Venice Biennale in 2013...
Georgia Dispatch: Living and Making in the American South Suzanne Jackson, Yanique Norman, and Katya Tepper in conversation with Erin Jane Nelson, in collaboration with Burnaway Long before Georgia surprised the world in two recent US elections, the Peach State was a vital cultural and political force, shaping everything from food and music to queer culture and Civil Rights activism...
Simpson’s sculptural practice connects architecture, clothing, furniture and the body to explore the functional and sociological roles and the influence of the design and architecture of various cultures and periods in history...
Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
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...
Barry McGee’s Untitled is a collection of roughly fifty, framed photographs, paintings, and text pieces clustered together in corner...
JAKE! @ Betty Cuningham Gallery | Painters' Table Skip to main content JAKE! @ Betty Cuningham Gallery https://johnmitchellworld.wordpress.com/2020/02/19/jake/ Jake Berthot, Chapel Trail Near Alter Road, 2000, oil on panel, 26 3/8 x 26 1/8 inches (courtesy of Betty Cuningham Gallery) John Mitchell visits the exhibition JAKE! at Betty Cuningham Gallery, New York, on view through February 23, 2020...