39 3/8 x 31 1/8 in.
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. Untitled is a collage on paper work by Kippenberger that typifies his everything-goes approach: a barely discernible, sliced image of Michael Jackson’s face is overlaid and woven with strips and triangular shapes from a different source into a single composition. Blue tones come from torn out pages of a book where fragments of illustrations can be seen. Together, all the elements suggest an alternative, highly stylized portrait of the artist; in this case, a fragmented, fluid, and itinerant sense of identity. Consistent with other works by the artist, Untitled defies any specific style and continues Kippenberger’s inquiry into the self and its potential to manifest through the objects and materials that we modify.
Martin Kippenberger is widely regarded as one of the most talented German artists of his generation. Although he was incredibly prolific in a diverse range of media—drawings, collage, sculpture, performance, painting, photography, installations, prints, ephemera.—his best-known works are paintings, many of them self-portraits. Kippenberger was a very polarizing figure, known by many for being a provocateur and for making politically charged work as artworld commentary. Often taking on different art historical tropes, his work tested the boundaries of authorship and originality. He was known to hire others to paint for him under a pseudonym, or use work by other artists to create new work. Examples include restaging a photograph of Pablo Picasso; turning a monochrome by Gerard Richter into a coffee table; and claiming an installation of his as the last chapter of an unfinished novel by Franz Kafka. One of his key concerns was to try to understand the artist’s place in the modern world, and how their essence and personality can become apparent in the objects that they create.
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...
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...
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...
Eight opens with a close up of a painting by Hubert Robert of the Chateau de Chamarande where the film was shot...
Walking Through is one of a series of videos—sometimes humorous, often absurd—that record the artist’s performative interactions with objects in a particular site...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon...
Silberhöhe , directed at Halle, located in the former GDR (German Democratic Republic), is the name of a neighborhood on the outskirts of the city, which was built in the 70’s and could accommodate more 40,000 people...
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
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)...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
Braga’s video work Provisão (2009) opens with a still shot of a clearing in a forest, shoots of grass emerging from a muddy brown patch of seemingly dry and barren earth...
These two images come from the series called “State of Control” which Kilpper made in the building formerly occupied by the Stasi in Berlin...
Lockhart’s film Lunch Break investigates the present state of American labor, through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
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...
Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...
Percent for Art is seemingly concerned with “art enrichment” by state or city arts agencies role in it, managing the artist rosters, maintaining public art collections, commissioning artworks, selecting installation sites, among other things for aesthetic and cultural enhancement in both public and private real estate developments...
Like many of Larry Bell’s works, VFGY9 deals primarily with the viewer’s experience of sight...