In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form. For Untitled (Men) (2011), he snipped from magazines and textbooks pictures of handsome or famous men, from the ancient Greek to the modern. Arranged in a tableau, lit theatrically, and rephotographed, the two-dimensional figures have an embodied presence. While orange and blue lights transform them into a cohesive community, their ordered arrangement also draws out their smallness and flatness, deflating any hypothesis of a great empire or platonic ideal with one carefully calculated swipe.
Matt Lipps is a photographer whose strategies extend to include sculpture and installation. In his series Home (2008), jagged rocks and threatening ice floes impinge upon life-size domestic interiors. In a body of work entitled ‘70s (2004-2006), Lipps rephotographed 1970s male pornography, carefully lifting the models from their magazine pages, backing them with cardboard, and repositioning them amid contemporary, stage-lit bedspreads. Cropped elbows, toes, knees, and legs signal the switch in time and space, in a gesture of humorous transparency characteristic of his work.
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
In her recent work, Biernoff is interested in investigating fictions and fantasies embedded in the remnants of consumer culture (for example magazines) or through ephemera such as postcards and old photographs...
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...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
Lockhart’s film Lunch Break investigates the present state of American labor, through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
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...
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...