11H x 14W inches each
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California. Taken outside Palmdale, Littlerock, Pearlblossom, Victorville, and Barstow, towns where the population does not exceed 20,000, Ruppersberg’s trip follows the outskirts of Los Angeles. As with many of his other photographic series, the artist here inserted into each view a constant element that disturbs the otherwise quiet scenes: a hand holding an open magazine. By pairing each road sign with magazines as diverse as Playboy , Look , Hulk comics, Arizona Highways or Rona Barrett’s Hollywood , Ruppersberg teases the viewer to find a connection between the two.
Like many of his peers in the 1960s, Allen Ruppersberg recognized art as existing not in the isolated realm of aesthetics, but as a practice with a clear political and critical potential, one inextricably immersed in an economic system. Ruppersberg took as source material diverse items stemming from a distinct American form of popular culture of the mid-twentieth century. However, it was perhaps his particular use of everyday rituals to explore different cultural mythologies and narratives that separated him from many conceptual artists of his generation. For a period between the late 1960s and early 1970s, Ruppersberg developed several series of photographs that privileged a certain kind of neutrality, stillness, and emptiness that resembled the seemingly authorless images of mass-produced postcards or calendars. But in his works the artist often hid distinct clues, like an unopened newspaper left on an unmade bed in a hotel room. In this series Ruppersberg was also interested in the suggestion of narrative or uncanny storytelling through the juxtaposition or sequential arrangement of images.
Blindseye Arranger (Max) (2013) features a greyscale arrangement of rudimentary shapes layered atop one another like a dense cluster of wood block prints, the juxtaposition of sharp lines and acute angles creating an abstracted field of rectangular and triangulated forms composed as if in a cubist landscape...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
Gastaldon has made a number of soft sculptures using materials associated with knitting and sewing that have alternately fetishistic, nightmarish or contemplative qualities...
Created during Zhao Renhui’s residency at Kadist SF in 2014, the photographic grid features a selection of some 6,000 members from single family of flies –hoverfly– identified over the last 25 years by Sacramento-based Dr...
The installation Music Stands: Free Exercise 7, 8, and 9 by Marina Rosenfeld consists of music stand-like structures and a corresponding set of panels and acoustic devices that direct, focus, obstruct, reflect and project sound in the gallery...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
The impressionistic surface of Wild Money (2017) recalls the 1950s paintings of Philip Guston...
Mullican’s Stick Figure Drawings depict characters reduced to their most basic graphic representation...
Fabiola Torres-Alzaga plays with magic, illusion, and sleight-of-hand, fabricating installations, drawings, and films that toy with our perceptions...
Birdstones is a series of flat concrete slabs made from moldings of different shapes, each with two small holes...
In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory...
The Art of Fashion and Legacy: Carla Sozzani and Byronesque’s Unique Collaboration – A Shaded View on Fashion https://byronesque.com/fondazione_sozzani/ Dear Shaded Viewers, In a remarkable intersection of art and fashion, Carla Sozzani, the revered figure in the world of fashion, has embarked on a unique collaboration with Byronesque...
Met Museum to Return 16 Looted Khmer Artifacts Skip to content Unknown artist, "Head of Buddha" (7th century), sandstone, 24 x 13 x 12 3/4 inches (all photos courtesy the Metropolitan Museum of Art) An ancient larger-than-life sandstone Buddha head, a bronze sculpture of a seated Bodhisattva Avalokiteshvara, and a 10th-century goddess statuette from a remote temple complex are among 16 looted Khmer works currently in the process of repatriation back to Cambodia and Thailand, according to announcements by the Metropolitan Museum of Art and the US Attorney’s Office for the Southern District of New York (SDNY) released today, December 15...