Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity. Matt Lipps created this diptych by photographing a single arrangement of cutouts. As in his analogous portrait of men, the middle section appears twice, on either side of the split, signaling a stutter, a caesura, or a schizophrenic break. Within the cluster, fashion photography exists alongside frescoes, and demure piety butts up against unabashed sexuality. The women are bound not only by a fuchsia floodlight but also by a shared history. Western conceptions of beauty and eroticism are shown to sample widely and gluttonously, from tribal dance to a cowl-necked sweater.
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.
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...
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...
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...
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...
Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
Choke documents the artist filming a wrestler “choking out” his teammate until he is unconscious...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
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...
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...
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...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
Some 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...