Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity. Matt Lipps created this diptych by photographing a single arrangement of cutouts. As in his analogous portrait of men, the middle section appears twice, on either side of the split, signaling a stutter, a caesura, or a schizophrenic break. Within the cluster, fashion photography exists alongside frescoes, and demure piety butts up against unabashed sexuality. The women are bound not only by a fuchsia floodlight but also by a shared history. Western conceptions of beauty and eroticism are shown to sample widely and gluttonously, from tribal dance to a cowl-necked sweater.
Matt Lipps is a photographer whose strategies extend to include sculpture and installation. In his series Home (2008), jagged rocks and threatening ice floes impinge upon life-size domestic interiors. In a body of work entitled ‘70s (2004-2006), Lipps rephotographed 1970s male pornography, carefully lifting the models from their magazine pages, backing them with cardboard, and repositioning them amid contemporary, stage-lit bedspreads. Cropped elbows, toes, knees, and legs signal the switch in time and space, in a gesture of humorous transparency characteristic of his work.
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...
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...
Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...
Itch explores the relationship between technology and daily human experience with a motorized arm that extends from within the gallery’s wall, moving up and down while holding a projector that shows a desperately scratching pair of hands....
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
Choke documents the artist filming a wrestler “choking out” his teammate until he is unconscious...
Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...
Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...
In her recent work, Biernoff is interested in investigating fictions and fantasies embedded in the remnants of consumer culture (for example magazines) or through ephemera such as postcards and old photographs...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...