Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel. This varied use of media has enabled the artist to bring all of the life, energy, and objects he works with into a single image.

Sculpture (Sculpture)

Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench. It is difficult to tell whether the work represents just any carpenter or Christ, the most famous member of the profession and the subject of innumerable parables and artworks. His stilted pose is not too Messianic; drips of ochre glaze render his handiwork and hammer equally soft.

Sculpture (Sculpture)

In Man and Pet (2012), two benign ceramic figures smile sweetly upward. The man wraps his small companion in a hug, his arms extending in round arcs all the way to his feet. Though the expressions are strikingly similar—suggestive of Rockwellian Americana—the pet seems somewhat more genial and familiarly fuzzy than its owner, whose saurian pupils lend his face a reptilian air that belies his warm grin.

Sculpture (Sculpture)

Though the title might suggest an Adonis, Jeffry Mitchell’s The Swimmer (2012) is a squat, jolly man with a protuberant belly. The stocky figure lets his arm drop to his side, towel dripping on the ground. Mitchell’s umber-toned glaze makes everything look earthy and wet, primordial and warm.

Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless). The work uses collage techniques—it is stapled down and has a thick strip of contact sheet paper taped over it—that convert the media coverage on Godard’s film into a filmic object itself. The black paper enacts a kind of cinematic “jump cut” on the article, while simultaneously drawing attention to the medium of the film, as well as the photograph reproduced in this newspaper article.

Drawing & Print (Drawing & Print)

Untitled

Wallace says of his Heroes in the Street series, “The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense forest of symbols of the modern city, can achieve the status of the heroic.” The hero in Study for my Heroes in the Street (Stan) is the photoconceptual artist Stan Douglas, who is depicted here (and also included in the Kadist Collection) as an archetypal figure restlessly drifting the streets of the modern world. Patches of canvas cover parts of this otherwise representational photograph and ask the viewer to consider the role that editing and play in our perception of the urban landscape and modernity.

NFT (NFT)

Radical Digital Paintings is a collection of 239 works that were painted from 2016–2021; one exemplary image from the series is #98 . This painting was made after Scudder did the first ever Radical Digital Painting show, a hybrid performance/painting/lecture that brings together his painterly and pedagogical interests. In Scudder’s work, it is often difficult to pick apart what is a painterly effect versus an artefact of a lens-based or computational process.

Photography (Photography)

Scene from Masculin/Féminin

While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala. The piece’s sub-title, “Shuffle,” suggests the presence of chance and randomness in any given organization of elements.

Installation (Installation)

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. The title of the piece comes from the literal translation of René Magritte’s painting from 1938, La Durée Poignardée , whose more familiar translation is “Time Transfixed.”