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Nina Katchadourian
SkyMall Kitties, 2010
Digital video with sound
Edition of 50 + APs
2:25 minutes
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Nina Katchadourian
Cats Holy Terror from the series Kansas Cut-Up ("Sorted Books" project, 1993-ongoing), 2014
C-Print
Edition of 5
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed -
Nina Katchadourian
Untitled (from the Paranormal Postcard Series), 2002
Postcard, thread
6 x 4 inches unframed
11 x 9 inches framed -
SOLD
Chester Arnold
Notes on Conformity, 2016
10 x 8 inches
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Sandow Birk
Scene from the Desolation (SFMOMA), 2016
Digital print
Edition of 50 + 6AP
18 x 24 inches unframed
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Sandow Birk
Proposal for a Monument to the Internet Protocol from the series "Imaginary Monuments" (small version), 2016
Ink on paper
24 x 20 inches unframed
27 x 23 inches framed
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SOLD
Charles Gute
@_joxic from the series Random Tweets Reformatted as Telegram, 2016
Letterpress and mixed media on vintage paper
5 5/8 x 8 inches unframed
7 ½ x 9 5/8 inches framed -
SOLD
Charles Gute
@frenchiefff from the series Random Tweets Reformatted as Telegrams, 2016
Letterpress and mixed media on vintage paper
5 5/8 x 8 inches unframed
7 ½ x 9 5/8 inches framed -
Charles Gute
@realdonaldtrump from the series Random Tweets Reformatted as Telegrams, 2016
Letterpress and mixed media on vintage paper
5 5/8 x 8 inches unframed
7 ½ x 9 5/8 inches framed -
Stacey Steers
Edge of Alchemy, 2017
35mm to 4K
Edition of 5 + 2AP; edition 2/5
19 minutes, with music by Lech Jankowski
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Stacey SteersPhantom Canyon, 2006
Film
35mm black and white
Stereo sound10:00
MORE about this artworkSteers’ film Phantom Canyon (2006), is an exploration of memories, a reflection on a pivotal journey taken many years ago, and a surreal circumnavigation of that experience. Collages composing this film incorporate photocopied elements from 18th and 19th century engravings with figures from Eadweard Muybridge’s Human and Animal Locomotion, first published in 1887. The Muybridge figures were recombined to create the movements necessary for the narrative flow of the film.
"In 2001, I was searching for a new way of working with materials and I chanced upon a collage technique where I incorporated antique photographic materials and clip art (originally Eadweard Muybridge's human motion studies from 1887) for the film Phantom Canyon. Historic materials carry a certain nostalgic resonance for me that evokes a timeless quality, and I like the neutrality of the found image.
In Phantom Canyon, I started creating collage sequences and decided not to think at all about subject or developing a narrative direction. I was just exploring the technique. About a third of the way into the film I began to see the images and events I was working with had some relationship to an early pivotal trip I had take to Latin American where I had married a young Venezuelan and had a child. Metaphorically, memories of that time were being expressed through me in the collage process. Once I recognized this, I began to allow that inclination to drive the film." - Stacey Steers
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Stacey SteersVideo clip of Night Hunter , 2011
Film
35mm to HD
Stereo sound15:30
MORE about this artworkNight Hunter (2011), incorporates images of Lillian Gish taken from silent-era, live-action cinema. The narraitve unfolds intuitively, and reveals itself in the process of construction. To produce the film, Steers generated over 4,000 paper collages which combine fragments of 19th century illustrations with images from four silent-era moving pictures. Steers’ process is painstaking and meticulous—Night Hunter took over four years to make, with approximately eight collages required to produce a single second of film time. In some instances, Gish is cut out of specific scenes and reconfigured in collage environments, while collage materials are applied directly to printed film frames in others. The subsequent fluidity becomes a critical element in the texture of the film, and the identity of the principal character. Transitions, both biological and metaphorical, are central themes. The collages were photographed in 35mm on an Oxberry animation stand. Larry Polansky composed the music and sound elements.
"For my film Night Hunter, I was looking for a character with strong emotional resonance and decided to take the preeminent actress Lillian Gish out of scenes from her early silent-era films and re-contextualize her actions. Her work in those films is deeply compelling. She has an evocative presence and vast range and depth of feeling in her performances. I combined her images with fragments of 19th century illustrations, primarily from the work of Pre-Raphaelite artists." - Stacey Steers