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Anthony Discenza
Teaser #10, 2013
Duratrans, aluminum, Plexiglass, fluorescent lights
24 x 30 x 5 inches
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Anthony Discenza
Teaser #11, 2013
Duratrans, aluminum, Plexiglas, fluorescent lights
24 x 30 x 5 inches
MORE about this artworkWorking again with the linguistic meme of the elevator pitch, the Teaser series addresses similar issues as the companion work “Sometimes a Great Notion,” but here the combinations are more complex, forming a run-on construction intended to function as an individual, autonomous mental object. Using the text as a prompt, viewers are cued to imagine some undefined production suggested by the association of five disparate elements. The use of a commercial light box for presentation references mainstream advertising systems, as well as the appropriation of those systems by earlier conceptual artists.
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Anthony Discenza
The Goddess Plague, 2012
Inkjet on found paper
7 x 4 1/4 inches unframed
MORE about this artworkThe Pulps series presents a collection of narrative fragments that appear to be lifted directly from the pages of various pulp novels. These “novels” are in fact imaginary constructions that mimic a variety of literary genres: Horror, mystery, science fiction, etc. In each fragment, an image or visual scenario is described or implicated. These brief excerpts from literary works that do not actually exist encourage viewers to visualize both this scenario, along with the larger narrative it possibly occupies.
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Anthony Discenza
The Visage, 2012
Inkjet on found paper
7 x 4 1/4 inches unframed
MORE about this artworkThe Pulps series presents a collection of narrative fragments that appear to be lifted directly from the pages of various pulp novels. These “novels” are in fact imaginary constructions that mimic a variety of literary genres: Horror, mystery, science fiction, etc. In each fragment, an image or visual scenario is described or implicated. These brief excerpts from literary works that do not actually exist encourage viewers to visualize both this scenario, along with the larger narrative it possibly occupies.
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Anthony Discenza
A Master at Work, 2012
Inkjet on found paper
7 x 4 1/4 inches unframed
MORE about this artworkThe Pulps series presents a collection of narrative fragments that appear to be lifted directly from the pages of various pulp novels. These “novels” are in fact imaginary constructions that mimic a variety of literary genres: Horror, mystery, science fiction, etc. In each fragment, an image or visual scenario is described or implicated. These brief excerpts from literary works that do not actually exist encourage viewers to visualize both this scenario, along with the larger narrative it possibly occupies.
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Anthony Discenza
The Tomb, 2012
Inkjet on found paper
7 x 4 1/4 inches unframed
MORE about this artworkThe Pulps series presents a collection of narrative fragments that appear to be lifted directly from the pages of various pulp novels. These “novels” are in fact imaginary constructions that mimic a variety of literary genres: Horror, mystery, science fiction, etc. In each fragment, an image or visual scenario is described or implicated. These brief excerpts from literary works that do not actually exist encourage viewers to visualize both this scenario, along with the larger narrative it possibly occupies.
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Sandow Birk
Proposal for a Monument to the Emergency Medical Treatment and Active Labor Act (EMTALA)
from the series Imaginary Monuments, 2014Ink on paper
60 x 48 inches unframed
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Sandow Birk
Wave World, 2014
Ink on paper
22 x 20 inches
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Nina Katchadourian
"In a Room Full of Strangers" from Lavatory Self-Portraits in the Flemish Style, 2013
Brightsign media players, monitors and wooden frames; Edition 5 + 2AP; 20 x 56 inches; 4:31
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Nina Katchadourian
Lavatory Self-Portrait in the Flemish Style # 13, 2011
Photograph
10x8 inches
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Nina Katchadourian
Lavatory Self-Portrait in the Flemish Style #8, 2011
From the series Seat Assignment
C-print
Edition of 8 + proofs
13.333 x 10 inches
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Nina Katchadourian
Lavatory Self-Portrait in the Flemish Style #2, 2011
Photograph
4/8
13x10 inches
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Nina Katchadourian
Lavatory Self-Portrait in the Flemish Style #6, 2011
From the series Seat Assignment
C-print
Edition of 8 + proofs
13.78 x 10 inches
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Stephanie Syjuco
Dark Matter (Grey Cloud), 2013
24 hoodies with black tags and labels, wooden hangers, metal stand
72 x 33 x 33 inches
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leonardogillesfleur
Installation view of Self, 2011
Faux-taxidermy of a puma using resin, glass, polyurethane, and discarded domestic Argentinean white goose feathers
24 x 60 x 19 inches (sculpture)
63 x 72 x 34 inches (installation)
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Walter Robinson
Revisionary, 2014
Mdf, epoxy, mirrored Plexiglas, vintage books, acrylic paint
Glasses: 20 x 48 x 28 inches
Books: 30 x 22 3/4 x 1 3/4 inches; 26 x 20 1/4 inches x 1 3/4 inches
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Walter Robinson
Noblesse, 2014
Vintage book cover, acrylic paint
28 x 19 x 1 inches
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Walter Robinson
Exodus, 2014
Wood, fiberglass, taxidermy, glass, leather
75 x 63 x 20 inches
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Chester Arnold
The Ascension Part 1: Half Way Up, 2014
Oil on linen
48 x 60 inches
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Chester Arnold
Gulag 13 Study, 2013
Oil on linen
6 x 8 inches
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Scott Greene
Pup on a Slick, 2014
Oil on canvas on panel
26 x 36 inches
MORE about this artwork"Pup On A Slick is an appropriation of an untitled dog painting by former President George W. Bush. His painting depicts a soft white colored terrier on a plain bright turquoise background. The dog is generic for the most part with nothing very remarkable about the image, except for a peculiar charcoal-like shadow that could not have been cast by the animal, and instead appears to ooze out from underneath the dog like a freeform oil slick. Coined as Black Gold or Texas Tea, from the theme song for the TV show 'The Beverley Hillbillies,' this unexpected quality struck me as the perfect footnote for Bush’s deep connections to the oil industry, as well as his faux rancher cowboy personae. Once I identified his oily paint puddle in this way, I couldn’t get it out of my head." - Scott Greene
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Charles Gute
@bobcephalopod from the series "Random Tweets Reformatted as Telegrams", 2013
Letterpress and mixed media on vintage paper
5 5/8 x 8 inches unframed
7 1/2 x 9 5/8 inches framed
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Charles Gute
@hanannanahh from the series "Random Tweets Reformatted as Telegrams", 2013
Letterpress and mixed media on vintage paper
5 5/8 x 8 inches unframed
7 1/2 x 9 5/8 inches framed
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Charles Gute
@prunes1979 from the series "Random Tweets Reformatted as Telegrams" , 2013
Letterpress and mixed media on vintage paper
5 5/8 x 8 inches unframed
7 1/2 x 9 5/8 inches framed
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Charles Gute
@radaprada from the series "Random Tweets Reformatted as Telegrams", 2012
Letterpress and mixed media on vintage paper
5 5/8 x 8 inches unframed
7 1/2 x 9 5/8 inches framed
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Charles Gute
@zackshack from the series "Random Tweets Reformatted as Telegrams" , 2013
Letterpress and mixed media on vintage paper
5 5/8 x 8 inches unframed
7 1/2 x 9 5/8 inches framed
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Charles Gute
@longliveallyson from the series "Random Tweets Reformatted as Telegrams", 2013
Letterpress and mixed media on vintage paper
7 1/2 x 9 5/8 inches framed
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Charles Gute
@lapurrfekta from the series "Random Tweets Reformatted as Telegrams", 2013
Letterpress and mixed media on vintage paper
7 1/2 x 9 5/8 inches framed
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Stacey Steers
Installation view: Night Hunter Cottage, 2011
Sculpture with embedded video
Edition of 5 + 2AP
12 x 16 x 15 inches
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Masami Teraoka
Marilyn Monroe/Bad Year, 1973
Ink and watercolor on paper
21 ¼ x 15 inches unframed
24 ½ x 17 ½ inches framed
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Masami Teraoka
AIDS Series/Condom Pillow Book, 1987
Lift-ground etching, aquatint, and soft-ground counterproof chine collé on Kitakata backed with German Etching paper.
Plate: 7 x 4 1/2 inches
Sheet: 15 1/4 x 10 1/2 inches
19 1/8 x 14 ½ inches framed
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Masami Teraoka
AIDS Series/Geisha and the Geijin, 1987
Lift-ground etching, aquatint, and soft-ground counterproof chine collé on Kitakata backed with German Etching paper.
Edition of 52; Edition 21/52
Plate: 7 x 4 1/2 inches
Sheet: 15 1/4 x 10 1/2 inches
19 1/8 x 14 ½ inches framed
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Masami Teraoka
McDonald's Hamburgers Invading Japan/Burger and Chopsticks, 1974
Ink and pencil on vellum
24 x 18 7/8 inches unframed
31 x 23 inches framed
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Masami Teraoka
Woman on Bicycle, 1974
Ink on vellum
10 1/8 x 6 3/4 inches
15 1/4 x 11 3/8 inches framed
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Masami Teraoka
Breast on a Hollywood Hill, 1973
Etching
14 1/2 x 22 1/2 inches unframed
22 1/2 x 26 3/4 inches framed
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Masami Teraoka
Study for 31 Flavors Invading Japan, 1976
Pencil on vellum
2 3/4 x 2 3/4 inches drawing
9 3/8 x 4 3/4 inches unframed
17 x 13 inches framed
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Masami Teraoka
McDonald's Hamburgers Invading Japan/Woman with Lantern, 1981
Ink on paper
21 3/4 x 14 3/4 inches unframed
24 3/4 x 17 1/2 inches framed
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Masami Teraoka
Study for AIDS Series/Oiran and Kite #1, 1988
Watercolor on BFK Rives Paper
22 1/4 x 14 3/4 inches unframed
30 1/2 x 23 1/8 inches framed
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Masami Teraoka
Ukiyo Sushi Meguir-Waiting for Sushi Delivery #2, 1981
Black watercolor
6 5/16 x 4 1/2 inches image
15 1/4 x 10 1/2 inches unframed
21 x 16 1/4 inches framed
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Masami Teraoka
Ukiyo-e Series/ Study for Spring Women I, 1970-72
Ink on paper
13 1/4 x 13 1/4 inches unframed
21 x 20 1/2 inches framed
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Masami Teraoka
Ukiyo-e Series/Study for Spring Women II, 1970-72
Ink on paper
13 1/4 x 13 1/4 inches unframed
21 x 20 1/2 inches framed
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Masami Teraoka
Commodore Perry and Sushi Tray, 1982
Ink and pencil on paper
22 1/8 x 15 inches unframed
25 1/2 x 18 inches framed
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Masami Teraoka
Study for Sarah and Octopus, 2001
Pencil and ink on paper
11 x 17 inches unframed
19 1/2 x 24 3/4 inches framed
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Josephine Taylor
Toenails, 2014
Colored ink and colored pencil on paper stretched on panel
66 x 44 1/2 inches
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