Amy Yao, Skeleton, no. 5 (Drunk on success), 2013. Fiberglass, polyester resin, and aluminum; 45 × 19.25 × 30.5 in (114.3 × 48.89 × 77.47 cm).

(Source: 47canalstreet.com)

@2 weeks ago with 3 notes
#Amy Yao #art #contemporary art #sculpture #2013 

Jochen Schmith, Chinese Whispers, 2010. Recto-verso screen print; 86 × 122 cm.

(Source: vivii.no)

@1 month ago
#Jochen Schmith #art #contemporary art #photography #printmaking #2010 #reproduction #distribution #appropriation #copy 
Parker Ito, The Agony and the Ecstasy, 2012. Vinyl over enamel on 3M Scotchlite; 64 × 46 in (162.6 × 116.8 cm).

The Agony and the Ecstasy recognizes the disparity between viewership mediated through a screen and that which occurs in the confines of a gallery. Parker Ito’s presentation of paintings and sculptures resist traditional documentation in exchange for entirely new versions once photographed. In documentation the paintings and sculptures (made of 3M Scotchlite) turn into indistinguishable flashes of light, obscuring the subtle details of each painted surface. The resulting images point to a future beyond their physical display, highlighting the inevitable multiplicity of their digital life as well as their existence as an entirely different vantage point from which to view the work. Accordingly, the experience of seeing The Agony and the Ecstasy from only one perspective is both unique and incomplete.
[ More … ]

Parker Ito, The Agony and the Ecstasy, 2012. Vinyl over enamel on 3M Scotchlite; 64 × 46 in (162.6 × 116.8 cm).

The Agony and the Ecstasy recognizes the disparity between viewership mediated through a screen and that which occurs in the confines of a gallery. Parker Ito’s presentation of paintings and sculptures resist traditional documentation in exchange for entirely new versions once photographed. In documentation the paintings and sculptures (made of 3M Scotchlite) turn into indistinguishable flashes of light, obscuring the subtle details of each painted surface. The resulting images point to a future beyond their physical display, highlighting the inevitable multiplicity of their digital life as well as their existence as an entirely different vantage point from which to view the work. Accordingly, the experience of seeing The Agony and the Ecstasy from only one perspective is both unique and incomplete.

[ More … ]

(Source: parkerito.com)

@1 month ago
#Parker Ito #art #contemporary art #painting #2012 #photography #documentation #reproduction #circulation #distribution 
Reena Spaulings, The Bricks, 2006. Acrylic on canvas; 40 × 8 ft (1220 × 86.4 cm). Installation view: ‘Bialystoker’ at Sutton Lane, London (12 October – 18 November 2006).

Reena Spaulings, The Bricks, 2006. Acrylic on canvas; 40 × 8 ft (1220 × 86.4 cm). Installation view: ‘Bialystoker’ at Sutton Lane, London (12 October – 18 November 2006).

(Source: campolipresti.com)

@1 month ago with 9 notes
#Reena Spaulings #art #contemporary art #painting #2006 #trompe l'oeil #architecture 

Adam Broomberg & Oliver Chanarin, American Landscapes:

  • Good Housekeeping, 2009. C-type print; 60 × 48 in.
  • In Style, Marie Claire, Black Book, 2009. C-type print; 60 × 48 in.
  • America’s Next Top Model, 2009. C-type print; 60 × 48 in.

(Source: broombergchanarin.com)

@2 months ago with 3 notes
#Adam Broomberg #Oliver Chanarin #art #contemporary art #photography #2009 #American Landscapes #media #reproduction #artifice 
Pennacchio Argentato, FAQ, 2012. Plexiglas and digital projection.

Pennacchio Argentato, FAQ, 2012. Plexiglas and digital projection.

(Source: pennacchioargentato)

@4 months ago with 48 notes
#Pennacchio Argentato #art #contemporary art #sculpture #2012 #video #projection #text 
Laëtitia Badaut Haussmann, Maisons Françaises, une collection n° 544, 2013. B&W pigment print on enhanced matte paper; 41.69 × 63.25 cm. Edition of 3 + 1 AP.

Laëtitia Badaut Haussmann, Maisons Françaises, une collection n° 544, 2013. B&W pigment print on enhanced matte paper; 41.69 × 63.25 cm. Edition of 3 + 1 AP.

(Source: manystuff.org)

@1 month ago with 1 note
#Laëtitia Badaut Haussmann #art #contemporary art #photography #printmaking #2013 #appropriation #intervention #reduction #context 
Andrea Romano, Claque & Shill, 2011. Pencil on paper with meera white granite frame; 36 × 46 × 4 cm.
See also: Claque & Shill @ Gasconade, Milan (28 October – 26 November 2011): Text

Andrea Romano, Claque & Shill, 2011. Pencil on paper with meera white granite frame; 36 × 46 × 4 cm.

See also: Claque & Shill @ Gasconade, Milan (28 October – 26 November 2011): Text

(Source: gasconade.it)

@1 month ago with 1 note
#Andrea Romano #art #contemporary art #drawing #2011 

Gabriel Kuri:

  • stop start exponential growth 01, 2014. Volcanic rock and inflated condoms; 21.5 × 36.22 × 67.72 in (54.6 × 92 × 172 cm).
  • stop start exponential growth 03, 2014. Volcanic rock, whitewater river boulder, Baja Cresta boulder, and inflated condoms; 18.5 × 17.5 × 86.22 in (47 × 44.4 × 219 cm).

(Source: regenprojects.com)

@1 month ago with 12 notes
#Gabriel Kuri #art #contemporary art #sculpture #2014 #materialism 
Simon Dybbroe Møller, Aperture & Orifice, 2014. Washed concrete and plastic bags; 50 × 50 × 50 cm and 65 × 44 × 38 cm.

Simon Dybbroe Møller, Aperture & Orifice, 2014. Washed concrete and plastic bags; 50 × 50 × 50 cm and 65 × 44 × 38 cm.

(Source: moussemagazine.it)

@2 months ago with 112 notes
#Simon Dybbroe Møller #art #contemporary art #sculpture #2014 
Ralph Goings, Donut, 1995. Oil on canvas; 30 × 43.5 in.

Ralph Goings, Donut, 1995. Oil on canvas; 30 × 43.5 in.

(Source: ralphlgoings.com)

@2 months ago with 6 notes
#Ralph Goings #art #contemporary art #painting #1995 #realism #photorealism #still life #Americana 
Mike Bouchet, Flat Desert Diet Cola Pool, 2010. Production still.

Mike Bouchet, Flat Desert Diet Cola Pool, 2010. Production still.

(Source: marlboroughchelsea.com)

@5 months ago with 9 notes
#Mike Bouchet #art #contemporary art #sculpture #installation #action #2010