Untitled (Men)
2011 - Photography (Photography)
Matt Lipps
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.
Colors:
Other related works, blended automatically
© » KADIST
Matt Lipps
2011Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
© » KADIST
Mark Leckey
2004In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
© » KADIST
Wong Hoy Cheong
2004Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
© » KADIST
Sharon Lockhart
2008Lockhart’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...
© » KADIST
Claudia Joskowicz
2008The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
© » KADIST
Juan Capistran
2005White Minority , is typical of Capistran’s sampling of high art genres and living subcultures in which the artist subsumes an object’s high art pedigree within a vernacular art form...
© » KADIST
Sharon Lockhart
2008Lockhart’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...
© » KADIST
Chen Chieh-Jen
2010Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
© » KADIST
Stan Douglas
1997Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...
© » KADIST
Claudia Joskowicz
2007The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
© » KADIST
Claudia Joskowicz
2015Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...
© » KADIST
Gregory Crewdson
2005Forest 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...
© » KADIST
Elisheva Biernoff
2009In 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...