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Installation Image, Garble, 2015
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Installation Image, Garble, 2015
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Installation Image, Garble, 2015
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Installation Image, Garble, 2015
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SOLD
Sandow Birk
Revisiting the Ruins of the Temple of Intolerance from the series Imaginary Monuments, 2014
Ink on paper
64 1/4 x 46 1/16 inches framed
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SOLD
Sandow Birk
Proposal for a Monument to the Economic Bill of Rights from the series Imaginary Monuments, 2014
Ink on paper
64 1/4 x 46 1/16 inches framed
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Anthony Discenza
The Dawn Equations, 2014
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 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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SOLD
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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SOLD
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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Charles Gute
@marizzlebk from the series, "Random Tweets Reformatted as Telegrams", 2014
Letterpress and mixed media on vintage paper, 8 ¼ x 10 ¼ inches framed
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SOLD
Charles Gute
@blackxjeezus from the series, "Random Tweets Reformatted as Telegrams", 2014
Letterpress and mixed media on vintage paper, 7 1/8 x 10 1/8 inches framed
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SOLD
Charles Gute
@juicymusy505 from the series, "Random Tweets Reformatted as Telegrams", 2014
Letterpress and mixed media on vintage paper, 7 ½ x 9 5/8 inches framed
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SOLD
Charles Gute
@giogomez16 from the series, "Random Tweets Reformatted as Telegrams", 2014
Letterpress and mixed media on vintage paper, 7 1/8 x 10 1/8 inches framed
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SOLD
Charles Gute
@buckyboy29 from the series "Random Tweets Reformatted as Telegrams", 2014
Letterpress and mixed media on vintage paper, 7 1/2 x 9 5/8 inches framed
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Charles Gute
@tweetuani from the series "Random Tweets Reformatted as Telegrams", 2014
Letterpress and mixed media on vintage paper, 7 ½ x 9 5/8 inches framed
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SOLD
Charles Gute
@dorkkart99 from the series "Random Tweets Reformatted as Telegrams", 2014
Letterpress and mixed media on vintage paper, 7 ½ x 9 5/8 inches framed
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SOLD
Charles Gute
@mmmooorrggaannn from the series "Random Tweets Reformatted as Telegrams", 2014
Letterpress and mixed media on vintage paper, 7 ½ x 9 5/8 inches framed
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Charles Gute
@bshhh_whut from the series "Random Tweets Reformatted as Telegrams", 2014
Letterpress and mixed media on vintage paper, 7 1/2 x 9 5/8 inches framed
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Nina Katchadourian
"Cats, Holy Terror" from Kansas Cut-Up, 2014
Digital c-print
Edition of 5 + 2AP
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"How Did Sex Begin" from Kansas Cut-Up, 2014
Digital c-print
Edition of 5 + 2AP
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"Memoirs of a Bastard Angel" from Kansas Cut-Up, 2014
Digital c-print
Edition of 5 + 2AP
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"What Did I Do?" from Kansas Cut-Up, 2014
Digital c-print
Edition of 5 + 2AP
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"Voices from the Tapes" Kansas Cut-Up , 2014
Digital c-print
Edition of 5 + 2 AP
13 5/8 x 20 1/8 inches framed
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LigoranoReese
Video of the public art installation Dawn of the Anthropocene, 2014
MORE about this artworkOn the morning of September 21, 2014, LigoranoReese installed a 3,000-pound ice sculpture of the words THE FUTURE at the intersection of Broadway and 23rd Streets at Flat Iron North Plaza in New York City. This public art work coincided with the U.N. Climate Summit and the People's Climate March--underscoring the necessity for immediate action to confront global warming. The ice sculpture, which originally measured 21 feet wide and 5 feet tall, eventually melted away. During this process, LigoranoReese photographed and filmed the installation’s disappearance, posting it on the internet in real-time. The event combined many forms: sculpture, installation, performance, and internet media event. Dawn of the Anthropocene was so named to describe the effect of humanity on the Earth’s systems. The term comes from Nobel prize scientist Paul Crutzen. In his and other scientists’ view, humanity has entered an age when the power and impact of humans is as great, if not greater, than nature’s.
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LigoranoReese
Photograph of the public art installation Dawn of the Anthropocene, 2014
MORE about this artworkOn the morning of September 21, 2014, LigoranoReese installed a 3,000-pound ice sculpture of the words THE FUTURE at the intersection of Broadway and 23rd Streets at Flat Iron North Plaza in New York City. This public art work coincided with the U.N. Climate Summit and the People's Climate March--underscoring the necessity for immediate action to confront global warming. The ice sculpture, which originally measured 21 feet wide and 5 feet tall, eventually melted away. During this process, LigoranoReese photographed and filmed the installation’s disappearance, posting it on the internet in real-time. The event combined many forms: sculpture, installation, performance, and internet media event. Dawn of the Anthropocene was so named to describe the effect of humanity on the Earth’s systems. The term comes from Nobel prize scientist Paul Crutzen. In his and other scientists’ view, humanity has entered an age when the power and impact of humans is as great, if not greater, than nature’s.
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LigoranoReese
Photograph of the public art installation Dawn of the Anthropocene, 2014
MORE about this artworkOn the morning of September 21, 2014, LigoranoReese installed a 3,000-pound ice sculpture of the words "The Future" at the intersection of Broadway and 23rd Streets at Flat Iron North Plazain New York City. This public art work coincided with the U.N.Climate Summit and the People's Climate March--underscoring the necessity for immediate action to confront global warming. The ice sculpture, which originally measured 21 feet wide and 5 feet tall, eventually melted away. During this process, LigoranoReese photographed and film the installation’s disappearance, posting it on the internet in real-time. The event combined many forms: sculpture, installation, performance, and internet media event. Dawn of the Anthropocene was so named to describe the effect of humanity on the Earth’s systems. The term comes from Nobel prize scientist Paul Crutzen. In his and other scientists’ view, humanity has entered an age when the power and impact of humans is as great, if not greater, than nature’s.
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Ligorano/Reese
You only live twice..., 2012
Mirror, polished edges, sandblasted word, gold leaf, MDF back
Edition of 50 + 5 AP
14 x 6 1/4 inches
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SOLD
Walter Robinson
Theory, 2011
MDF
32 x 32 x 1 5/8 inches
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SOLD
Walter Robinson
Worth (uncollectible), 2010
MDF, epoxy, metal flake
32 3/4 x 39 x 2 inches
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SOLD
Walter Robinson
Non, 2006
Epoxy on carved wood
9 1/4 x 14 inches
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John Slepian
Readymade (library catalog subject search), 2014
Archival inkjet print on stretched canvas
Edition of 3; 1/3
40 x 40 inches
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John Slepian
Still photo of SOL, 2014
Vintage Commodore 64 computer and speech module, BASIC code, quote from Sol LeWitt’s “Paragraphs on Conceptual Art”
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John Slepian
SOL, 2014
Vintage Commodore 64 computer and speech module, BASIC code, quote from Sol LeWitt’s “Paragraphs on Conceptual Art”