7.75H x 13W x 4.75D inches
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.
The Seattle-based sculptor Jeffry Mitchell creates cartoonlike creatures from low-fire earthenware. Their sympathetic expressions and modest size, combined with Mitchell’s style of globular, additive assembly, makes them seem accessible and charming, as if they want to be held. They are reminiscent of characters from Peanuts or The Flintstones , but they also draw on art historical tropes as potent and ancient as sex and religion. Beneath their unassuming facades they harbor a generous heap of musing, tongue-in-cheek critique.
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
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...
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...
John Houck’s multi-layered photographic compositions immortalize nostalgic objects from the artist’s childhood, manipulated in the studio and in post-production into unreal still-life arrangements...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
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...
Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
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...
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 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...
It may take a minute to recognize the background of New Fall Lineup – the colors are tweaked into a world of cartoon and candy, and it is covered by leaping energetic figures and flying squirrels...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
The two drawings in the Kadist Collection are part of a larger series entitled Las Mariposas Eternas (The Eternal Butterflies)...