Drawing & Print (Drawing & Print)
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper. Alÿs often executes such sketches in preparation for his performances, videos, and larger two-dimensional bodies of work. As the first visual representations of his ideas, they capture his thinking processes at the raw conceptual stage and allow us to gain a deeper understanding of his larger works.
For Immersion , Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations. One of their projects consists in using virtual reality (environments created to simulate this world) for therapeutic reasons for soldiers suffering traumas after the Iraq war. The double projection creates a parallel between animations and testimonies by soldiers reliving their mission, the explosions, gunshots and ambushes, their fears and their guilt.
In Stong Sory Vegetables , Laure Prouvost explains that she woke up one morning and that some vegetables had fallen from the sky on her bed, making a hole in her ceiling. Each video, in this series, is an odd still life representation turning everyday elements into imaginary and funny stories. A tomato, an onion, a lemon and a carrot are displayed in front of the monitor as relics.
Ghost Games , follows the enigmatic dance of crabs “steered” by a flashlight in the night of darkness of a South American beach. The video produces a surreal impression, typical of Sala’s work, with no plot in the classical sense, no story being told. Like in Blindfold (2002), in which a sunrise is reflected in urban billboards, and Time After Time (2001), in which the figure of a horse emerges from darkness lit by the headlights of an automobile, Sala likes to explore the phenomenon of light and its effects; In Ghost Games , he uses the threatening reflection of the flash light through the darkness of the beach.
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. Here, McCarthy squirts liquid out of a bottle held near his crotch onto a stuffed animal in the shape of a lion. The costuming, materials, and simulated bodily functions frequently appear in McCarthy’s work, which often disturbingly juxtaposes visceral and startling manipulation of the body with the cheerful artifacts of popular consumer culture.
Drawing & Print (Drawing & Print)
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting. Using a found photograph depicting a passionate crowd of African Americans—their attitude suggesting the fervor of a civil-rights era audience— Intentionally Left Blanc reverts in its exposed, “positive” format to an image in which select faces are whitened out and erased, the exact inverse of the same view in its “negative” condition. This dialectic of light and dark re-emerges when we view the same faces again, only this time black and featureless, a scattering of disembodied heads amidst a sea of white.
Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings. Untitled is a collage on paper work by Kippenberger that typifies his everything-goes approach: a barely discernible, sliced image of Michael Jackson’s face is overlaid and woven with strips and triangular shapes from a different source into a single composition. Blue tones come from torn out pages of a book where fragments of illustrations can be seen.
In Perpetual Motion (2005) the seemingly erratic flight of the bright orange Monarch butterfly—filmed in its winter habitat of Michoacán, Mexico—is intensified by the artist’s editing in which frames are randomly dropped and the film is sped up. As a result, the butterflies become hyper-real and animated in appearance. The manipulated footage is presented in a video wall of nine monitors, where the butterflies flit from screen to screen, in a room bathed in vivid orange light.
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.
Drawing & Print (Drawing & Print)
7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve. In the foreground of the album’s cover, a drawing of an empty, round vessel is framed underneath the text “POP IN”, suggesting an invitation to listen to the record, a nod to pop music, or perhaps a literal proposal to enter the vessel or the work. In the background, partly hidden by the round form, Kippenberger’s hand-drawn self portrait glares back at the viewer.
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. Hats and photographs are regularly part of his appropriations and arrangements. He famously made numerous trips to England in search of old photographs when he was an antique dealer, and then worked in a gift store with his wife when he left the art world in the 1980s.
The Nightwatch , which is an ironic reference to the celebrated painting by Rembrandt, follows the course of a fox wandering among the celebrated collections of the National Portrait Gallery in London. The path of the fox, from galleries containing 16th, 17th and 18th century portraits of historic figures from British history hung on plush walls, is circuitous and seemingly random. The fox tracks back and forth, sometimes inspecting the gallery furniture, often walking through the middle of the room but sometimes around its perimeter until eventually it climbs on top of a showcase, covered in fabric where he settles down to sleep.
Gabriel Orozco often documents found situations in the natural or urban landscape. He travels armed with his camera and insightfully captures scenes of the everyday that other people might ignore. Perro en Tlalpan (Dog in Tlalpan, 1992) is a photograph of a dog regally perched under an industrial shelter in the borough of Tlalpan in Mexico City.
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself. In homage to an influence in his early career, McCarthy attempted to reconstruct a pair of pants worn by Black Panther revolutionary Eldridge Cleaver in a picture that appeared in Rolling Stone magazine in the 1970s. But in the process, McCarthy misremembered their original design of the pants, which had black outer panels and white inner panels in white, and left a black shape highlighted in the crotch area.
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994). The artist arrived a week prior to the opening with no artwork to install, and created three spontaneous works from locally sourced materials. This one was made of white plastic record sleeves that Orozco arranged on the damp roof of the gallery.
Drawing & Print (Drawing & Print)
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive. In Person with Pillow: Desire, Lust, Fate , a woman’s facial expression is obscured by such void, leaving only her posture to suggest her emotional state. The two images stacked above the woman can be read as comic-style thought bubbles, intimating that she has lust, desire, and fate on her mind.
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race.
Domes #1 represents a significant moment in Chicago’s career when her art began to change from a New York-influenced Abstract Expressionist style to one that reflected the pop-inflected art being made in Los Angeles. By 1968, the year she began creating Domes , the twenty-nine-year-old artist had moved from Chicago to Los Angeles, graduated from UCLA, and was part of a generation of artists whose work was characterized by of the masculine overtones of Southern California’s flourishing car culture. Inspired by new technologies in the auto manufacturing, these “Finish Fetish” artists appropriated industrial materials such as car paint or lacquer to create artwork with pristine finishes.
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. Opie is known for her honest portraits of diverse individuals, from LGBT people to football players, and the self-portrait has also been a long-standing and important part of her practice. Instead of hiding her sexuality and interest in sadomasochism, Opie wears it proudly.
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle. As suggested by the work’s title, each of the hands assumes a character with a distinct personality, as if we were witnessing a lovers’ quarrel and embrace, or the embodiment of opposing forces of an internal struggle. Gordon has previously created performance-based works depicting his own body or parts of it—arms, hands, fingers, eyes—usually enacting simple, repetitive movements.
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture. The Freeway Series was developed in 1995, right after the artist’s inclusion in that year’s Whitney Biennial. As if suggesting that her work should not be restricted to being seen through overtly political or activist lenses, this series lends insight into the city of Los Angeles via its most characteristic urban feature: its highways.
Drawing & Print (Drawing & Print)
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content. Meaning, therefore, changes depending on one’s perspective—and in the case of Thomas’ installation, only emerges when one knows that there is always something hidden, always more to one of his works than immediately meets the eye. This lenticular print with text shifts as you walk in front of it from its title, “Black Imitates White” to the inverse, “White Imitates Black”(and some other possibilities in between) emphasizing that there are always at least two perspectives to the same scenario, and thereby encouraging us as viewers to consider them all together rather than trying to identify with any one subjectivity.
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender. The very practice of being photographed raises many complex issues around gender performance and the relationships between an inner self and an outer public persona. Even though Mike and Sky are cropped and obscure one another, many of their choices for self-presentation—as emphasized by their tattoos—remain visible.
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s. I am the Greatest presents the famous quote by Mohammad Ali to think about his important presence in the African American community. In dialogue with the painting I am a Man, also in the Kadist collection, this assertion that begins the same way takes the line from the protest poster several steps further.
Alistair Fate (1994) depicts, presumably, a member of the LGBT community. Catherine Opie is known for her portraits of LGBT, queer, and outsider people; she intends them to come off not as shocking or different, but as human despite their deviance from societal norms. This image is one of several works by Opie in the Kadist Collection that show marginalized people, filtered through the artist’s signature appropriation of formal and classical portraiture in the interest of both documentation and reframing.
Untitled (Construction) recalls the series of glass cubes that gained Bell international recognition in the 1960s. Resembling a black-mirrored box, this recent iridescent piece produces an uncanny effect in which the interior planes seem to enclose a mysterious light. Although austere in form, Bell’s works are far from simple: he uses technology like a vacuum-coating process, to accurately control the different levels of opacity and transparency on the surface of his immaculate glass works.
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action. Also characteristic of his work, the scene takes place in front of a mirror, suggesting the kind of personal self-reflection that one is capable of – both good and evil. The video makes clear cinematographic reference to the ‘alter-ego’ transformation in Mamoulian’s Dr. Jekyll and Mr. Hyde, and to the “You looking at me?” sequence performed in front of a mirror by Robert De Niro in Scorsese’s Taxi Driver which also inspired Gordon’s through a looking glass ( 1999).
Laure Prouvost is a multi-disciplinary artist best known for her films and immersive large-scale multi-media installations, in which she plays with words and their meanings in non-linear ways...
African American artist Abigail DeVille’s large sculptures and installations reflect on social and cultural oppression, racial identity, and discrimination in American history...
Daniel Gibson’s Big Sky Exhibition: The Subjective Reality of Place at Almine Rech, NYC (Interview) - ArteFuse Installation view, Daniel Gibson: Big Sky at Almine Rech in Tribeca, NYC, 2024...
JJ Manford: Hayden Rowe Street at Derek Eller Gallery, NYC (Video) - ArteFuse Please like, comment, and subscribe to support our YouTube channel...
Jamie Chan and Sonya Derman: Indoor Interference at Essex Flowers, NYC (Review) - ArteFuse Installation view, Jamie Chan and Sonya Derman: Indoor Interference at Essex Flowers Gallery, New York, 2024 Jamie Chan and Sonya Derman: Indoor Interference Curated by Sophia Ma at Essex Flowers Gallery Jan 6 – Feb 4, 2024 It is hard to put the feelings of estrangement into words, or colors and lines...
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
Martin Creed | The Dick Institute Experience the work of one of this country’s most ingenious, audacious and surprising artists at the Dick Institute ARTIST ROOMS Martin Creed presents highlights from the British artist’s thirty-year career...
Highlights from Art Basel Miami Beach 2023 (Video and Favorite Works) - ArteFuse Art Basel Miami 2023 top 10 picked by writer and curator Nina Chkareuli-Mdivani Art Basel Miami felt strangely invigorating and fresh this year...
Pipilotti Rist, Anj Smith and Guillermo Kuitca at Hauser & Wirth, NYC (Video) - ArteFuse PIPILOTTI RIST PRICKLING GOOSEBUMPS & A HUMMING HORIZON 9 NOVEMBER 2023 – 13 JANUARY 2024 NEW YORK, 22ND STREET ANJ SMITH DRIFTING HABITATIONS 9 NOVEMBER 2023 – 13 JANUARY 2024 NEW YORK, 22ND STREET GUILLERMO KUITCA PINTURA SIN MUROS 9 NOVEMBER 2023 – 13 JANUARY 2024 NEW YORK, 22ND STREET...
Video: Catherine Opie on photographing leading British artists | Blog | Royal Academy of Arts Catherine Opie in the RA Collection Gallery Video: Catherine Opie on photographing leading British artists Read more Become a Friend Video: Catherine Opie on photographing leading British artists Published 8 September 2023 Catherine Opie discusses her portraits of David Hockney, Anish Kapoor, Gillian Wearing, Isaac Julien and Lynette Yiadom-Boakye, featured in our free display in the Collection Gallery...
Domes #1 represents a significant moment in Chicago’s career when her art began to change from a New York-influenced Abstract Expressionist style to one that reflected the pop-inflected art being made in Los Angeles...
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...
Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
Drawing & Print
Like many of Larry Bell’s works, VFGY9 deals primarily with the viewer’s experience of sight...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
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...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
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...
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...
Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings...
Drawing & Print
7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve...
Drawing & Print
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...
Drawing & Print
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California...
Gabriel Orozco often documents found situations in the natural or urban landscape...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...
This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...
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...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
The Nightwatch , which is an ironic reference to the celebrated painting by Rembrandt, follows the course of a fox wandering among the celebrated collections of the National Portrait Gallery in London...
In Perpetual Motion (2005) the seemingly erratic flight of the bright orange Monarch butterfly—filmed in its winter habitat of Michoacán, Mexico—is intensified by the artist’s editing in which frames are randomly dropped and the film is sped up...
In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Drawing & Print
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Untitled (Construction) recalls the series of glass cubes that gained Bell international recognition in the 1960s...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
For Immersion , Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations...
In Stong Sory Vegetables , Laure Prouvost explains that she woke up one morning and that some vegetables had fallen from the sky on her bed, making a hole in her ceiling...
Drawing & Print
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
Drawing & Print
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
Drawing & Print
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
Pasajes I is the first in a series of Sebastián Díaz Morales’s four videos Pasajes , which focuses on a solitary man walking through Buenos Aires...
Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...
Drawing & Print
This untitled work from 2012 is a print originally made as part of the Wattis Institute for Contemporary Art’s artist limited edition series...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space...
Drawing & Print
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Juego de Banderas (a play on words that loosely translates to both set of flags and game of flags) is a triptych of modified Colombian flags by Antonio Caro...
The Parle Ment Metal Woman Welcoming You is a character originated from a series of works combining sculpture and video with a specific role— lying on the floor playing a romantic elevator tune, this Metal Woman welcomes and flirts with viewers in the space where she is posed...
The work La Loge Harlem focuses on the history of Harlem and its development over the last 200 years...
Monteverdi Ici – Deeply, Feeling Filling the World by Laure Prouvost is a tapestry that references a video by the artist entitled Monteverdi Ici (2018)...
Monteverdi Ici by Laure Prouvost is a non-narrative video work that depicts the back of the artist’s naked body standing, with her back towards the camera in a field...