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. A full story seems present but is not fully within the viewer’s grasp. Here, Pettibon draws a connection between legal restrictions on free speech and the power of an elite on Wall Street. The drawing correlates market fears to the panic that results from a warning shouted in a crowded theater. Pettibon offers no resolution, only starbursts that resemble both the beauty of fireworks and suggest oncoming explosions.
Before becoming famous in the art world, Raymond Pettibon’s punk-rock drawings were well-known in alternative scenes. His iconic album covers for bands such as Black Flag, Minuteman, and Sonic Youth have influenced younger artists who capture the intricacies of marginal youth and popular culture with a casual style. However, Pettibon’s graphic, comic-inspired black ink drawings of violent and antiauthoritarian subject matter remain unique.
In addition to Yang’s signature drying rack and light bulbs, Office Voodoo includes various office supplies like CDs, paper clips, headphones, a computer mouse, a stamp, a hole puncher, a mobile phone charger...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
A photograph of a tin box full of marijuana simply titled Green Box, speaks to the constantly changing status of the substance–once taboo or illicit, now a symbol of a growing industry in Northern California...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
Choke documents the artist filming a wrestler “choking out” his teammate until he is unconscious...
In Jackass (2008) by Ari Marcopoulos, his two sons, Cairo and Ethan, are pictured relaxing in a disheveled bedroom in their Sonoma home...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Made in cast bronze, Two Eyes Two Mouths provokes a strong sense of fleshiness as if manipulated by the hand of the artist pushing her fingers into wet clay or plaster to create gouges that represent eyes, mouths and the female reproductive organ...
In Dilemma: Three Way Fork in the Road , Wang references Peking opera in a re-interpretation of traditional text...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany...
The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...
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...