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Sandow Birk
Universal Declaration of Human Rights, from the series Imaginary Monuments, 2013, Edition of 25 + 8 AP
MORE about this artworkThis print, the second work in the Imaginary Monuments series, is the representation of a fictional monument to the United Nations’ Universal Declaration of Human Rights—a document intended to solidify the belief in and commitment to basic human rights for all people. The historic pillar or column inscribed with the entire (legible) text of the United Nations’ document is based on the 1871 monument to Napoleon’s victory at the Place Vendôme in Paris. It is shown in a state of decay, as if its foundation were crumbling. The teetering pillar is supported by a makeshift system of pipes, scaffolding, and bamboo, and enclosed behind security fencing, making it inaccessible. The encircling cityscape spans the breadth of the globe, from the floating slums of Asia and shantytowns of Latin America and Africa in the foreground, to a skyline of iconic skyscrapers from international cities.
Co-published by Paul Mullowney and Catharine Clark Gallery
Medium: Direct gravure etching in four panels on handmade gampi paper, backed with sekishu kozo paper
Edition 25 + 8 AP
Dimensions: 62 ½ x 48 inches unframed, 66 x 53 inches framed
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SOLD
Sandow Birk and Elyse Pignolet
99 Names of God (U.S.A.), 2011
Ink and gouache on paper
38 x 50 inches unframed
41 1/2 x 53 1/2 inches framed
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Sandow Birk
American Qur’an/Sura 14 (A), 2011
Gouache, acrylic, and ink on paper
16 x 24 inches unframed
19 x 27 inches framed
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Sandow Birk
American Qur’an/Sura 14 (B), 2011
Gouache, acrylic, and ink on paper
16 x 24 inches unframed
19 x 27 inches framed
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Sandow Birk
American Qur’an/Sura 31 (A), 2011
Gouache, acrylic, and ink on paper
16 x 24 inches unframed
19 x 27 inches framed
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Sandow Birk
American Qur’an/Sura 31 (B), 2011
Gouache, acrylic, and ink on paper
16 x 24 inches unframed
19 x 27 inches framed
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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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SOLD
Walter Robinson
Theory, 2011
MDF
32 x 32 x 1 5/8 inches
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Anthony Discenza
Teaser #8, 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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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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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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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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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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Installation view of John Slepian's Media Room exhibition Art Is Not An Object (Sculpture), 2014
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Charles Gute
@ur80085 from the series "Random Tweets Reformatted as Telegrams", 2014
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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SOLD
Charles Gute
@a2zxolutions from the series "Random Tweets Reformatted as Telegrams", 2014
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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SOLD
Charles Gute
@brookeaaallen from the series "Random Tweets Reformatted as Telegrams", 2014
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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SOLD
Charles Gute
@k7k22togs from the series "Random Tweets Reformatted as Telegrams", 2014
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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SOLD
Charles Gute
@rosiesmith39 from the series "Random Tweets Reformatted as Telegrams", 2014
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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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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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
"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
"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
"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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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
"The New Texas Cuisine" from Family Gathering, 2013
Digital c-print
Edition of 5+2AP
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"God Is No Laughing Matter" from Family Gathering , 2013
Digital c-print
Edition of 5+2AP
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"Crocodiles and Alligators" from Family Gathering, 2013
Digital c-print
Edition of 5 + 2AP
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"Rich in Love" from Family Gathering, 2013
Digital c-print
Edition of 5+2AP
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"Bush on the Couch" from Family Gathering, 2013
Digital c-print
Edition of 5 + 2AP
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"Where Good Ideas Come From" from Family Gathering, 2013
Digital c-print
Edition of 5+2AP
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"The Great Airport Mystery" from Family Gathering, 2013
Digital c-print
Edition of 5+2AP
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"Therapy" from Family Gathering, 2013
Digital c-print
Edition of 5 + 2AP
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed
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Nina Katchadourian
"Don't Forget" from Family Gathering, 2013
Digital c-print
Edition of 5 + 2AP
12 x 19 inches unframed
13 5/8 x 20 1/8 inches framed