The black-and-white photograph Men (055, 065) (2012) depicts two similarly built young men – young and slim, with dark tousled hair and a square jaw line – seated aside one another in identical outfits. It is unclear if these subjects are related, despite the obvious doubling of visual cues, and Lassry offers few hints to suggest that these men have any association beyond their sitting for the same picture. By extension, Lassry subverts conventions in portrait photography by identifying his subjects with numbers, erasing the familiarity inherent in the act of naming, Men (055, 065) functions as an anti-portrait in which anonymity supplants intimacy. In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions.
Elad Lassry explores how visual languages are constructed across multiple disciplines and media. His larger body of work responds to the relationship between artistic mediums and their forms, and his prints question familiar modes of viewership and our continuous desire to find and identify clear narratives in photographs. Lassry utilizes both found photographs and original compositions in his work, a juxtaposition that challenges notions of authorship and attribution. By emphasizing how photographic images are deliberately staged and constructed, Lassry destabilizes notions that photographs depict and document “the real.” In foregrounding the image as object, he also suggest that the photograph only provides a referent for a presence that “has-been” but that no longer exists in the current moment. Born in Israel, Lassry earned his BFA in film from the California Institute of Arts in 2003 and his MFA from the University of Southern California in 2007.
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
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...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
The artist describes the work as “very performative video-pieces but they take on a more sculptural feel...
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...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...