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. He walks through churches, shops, and libraries—accessing completely different interior spaces simply by going through doors. The seamless editing allows the man to transcend locations: after he enters a house from a busy intersection he emerges in the halls of a school.
Monteverdi Ici – Deeply, Feeling Filling the World by Laure Prouvost is a tapestry that references a video by the artist entitled Monteverdi Ici (2018). Both artworks feature a woman’s naked body as a central visual element. In the video, the woman’s body is outdoors, with her back to the camera, moving her arms gently through the surrounding flowers.
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. Assembled from the remnants and found objects from a hotel room, including a collage, shelf and small lamp, this playful piece—a satirical shrine of sorts—echoes the decidedly un-modern spirit of San Francisco’s bohemian culture. Kienholz’s works, with their critical and anti-establishment content, are often linked to the 1960s Funk Art movement in the Bay Area.
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence. Philosophical problems such as the nature of causality, the roles of probability and design in human experience, and the limits and possibilities of human knowledge, animate much of his work. Language as a coded system, as a representation medium, but also as something that generates a whole variety of realities also plays a central role.
In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space. There is no special or definite way to understand it. And it is in this construction where Morales envisions the world as an endless void, or timeless gravity, that we fall deeper and deeper into our own humanity.
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. Against authorship and the commodification of art, he never gives titles or dates to his works which have infinite edition possibilities. This mise en scène of found kitchenware also exists with a rounder and flatter plain modern white porcelain teapot.
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. Although the yellow, blue and red stripes on the first flag are faithful to the original, the second flag at the center has been modified to feature the word Colombia, emulating the typography and white-on-red design of the iconic Coca-Cola brand. Caro’s first version of this logo was a 1976 graphite drawing, and he has since produced several variations in different materials.
Drawing & Print (Drawing & Print)
Meeting #100 is one in a series of text works by Jonathan Monk. In this series, the artist attempts to organize meetings somewhere in the world. The audience is given the details of a meeting—the place, date and time—and nothing more.
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. Verging on a form of fetichism, his shoe collections are a case in point and indeed, for some exhibitions, he even asked gallery employees for their shoes. Against authorship and the commodification of art, he never gives titles or dates to his works which have infinite edition possibilities.
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.
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. The photograph is framed upside down; these “inverted trees” follow Graham’s early experiments with the camera lucida, a room-sized pinhole camera that dates back to ancient times and which he has used to photograph trees from various regions. Through these works Graham looks back at the history of photography while making the viewers aware of their own retinal experience.
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. An emptiness (some are burned letting appear a white or mirror background or a mirror) replaces the eyes, giving the impression of a blind eye deprived of all expression. Paradoxically, the work looks at us all the more intensely.
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. His broad smile, on the verge of laughter, encourages reciprocity on behalf of the onlooker. This could be said to be a typical tactic in Creed’s work as it is so infused with humor and irony.
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 otherwise banal scissors become suggestively violent in relation to the text, which was originally the title of a print in Francisco de Goya’s Disasters of War series. However, Baldessari is less interested in the logical relationships between text and image than he is with the conceptual leaps that the viewer makes with the limited information provided.
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium. The Glossies are drawings, rectangular forms applied with blank ink and watercolors, which fill up the sheets parallel to the edges except for a small margin. Finally, the whole paper is covered with an adhesive plastic laminate, which gives it the shiny surface of a photograph.
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.
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. Mounted on platforms suspended in space on metal stands, the video sculpture contemplates human relationships, expressed here by shouts and murmurs, the strange and the familiar.
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. The monumental and unnatural aspect of the baobabs turns them into strange and anthropomorphic personalities. Adding to the descriptive aspect of the film, the sound is a recording of the environment, of sounds made by animals, and participates in this peaceful contemplation.
Drawing & Print (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. On his shoulders he supports an enormous false head, Mickey’s familiar face grinning with glossy eyes. The artist has marked out in heavy black the background of Cinderella’s castle.
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.
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. Taken outside Palmdale, Littlerock, Pearlblossom, Victorville, and Barstow, towns where the population does not exceed 20,000, Ruppersberg’s trip follows the outskirts of Los Angeles. As with many of his other photographic series, the artist here inserted into each view a constant element that disturbs the otherwise quiet scenes: a hand holding an open magazine.
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.
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. The drawing on wood, the popcorn mixture, and the title all manifest a bumpy fullness, a “more-is-more” conflation between supposedly eternal spirituality and everyday stuff. The work’s title points to a serious timelessness completely belied by the materials.
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.
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. She wears an expression of both pleasure and intensity as she points a gun at someone or something outside of the frame. Raven (gun) (1994) is not so much threatening as full of sexuality and potential energy.
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...
In the 1970s and 80s, the feature films Harun Farocki made contributed to theorizing essay-films, a cinema genre that juxtaposes archival images of different sources (news, film industry) with voiceover commentaries...
Michael Craig-Martin studied fine art at Yale University returning to Europe in the mid-1960s and becoming one of the key figures in the first generation of British conceptual artists...
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...
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...
Drawing & Print
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
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...
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)...
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...
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 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...
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...
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 five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
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...
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...
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...
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
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
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...
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
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...
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...
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....
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...