Concept Conic I: Points, Lines, Planes
Eating the feathers and then pretending not to be hungry
Yes, We Are Satanists (666 Video Stills)
Image is comprised of 6 digital stills (a) candle with 666; (b) image with totem head; © female in white; (d) screaming woman; (e) Male head.
B.R. & Joseph S. (Bill Roper)
Oil, acrylic, and mylar on birch plywood
Stretchers, white patent leather, galvanized clamps and inspection device with mirror
Diptych of female squatting in red and yellows joined by a torquoise-colored panel.
COUGHLAN, Michael & FELICE, Jory
COUGLAN, Michael & FELICE, Jory
Drawing is Joseph Biel’s preferred medium as he believes its directness and immediacy allow him to more readily connect with, and engage the viewer. His drawings with their emphasis on precision give one the sense that he is capturing situations, people and things he has directly observed. In this drawing, Biel seems to convey that he is documenting, with diagrammatical glee, the suicide of a teacher.
Untitled 16 (garden hose in the face)
Untitled 11 (man in bowtie and jacket)
graphite on found sofa upholstery fabric (vinyl and leather
Peers grew up working in kennels and drew dog portraits, a secret pleasure, throughout her life. During Peers’ graduate studies, she was told to paint “the most embarrassing thing you can think of,” which led to her series of dog portraits inspired by the purebreds featured on dog food labels. They are executed on old covers from sofas and chairs Peers found on the streets of Los Angeles.
Liz Young is interested in the body, the human condition and our relationship to nature. Young uses materials, often recycled, that evoke history, memory and nostalgia. In the two works Eagle and Deer, Young has covered figures of animals in nude colored fabric that simulates our own skin. By creating an extra skin for these animals Young refers to the human desire to modify, often drastically, our bodies and attempt to avoid aging.
Untitled (As tender as I want him to be)
Two Sets of Twins Pair A:Regular/Dark (diptych)
two-sided circular print on poster, supplement to performance
Amy Sarkisian has always been fascinated by Halloween and the sight of children trick-or-treating. At one point in her career it inspired her to use the images of skulls and zombies. By placing these figures, normally seen in B-movies and Halloween decorations, within an art context, Sarkisian alludes to the difference between high and low culture. Moreover, she emphasizes the dialectic between the seductive and the repulsive by making these foul creatures and macabre objects out of faux pearls and sparkling beads.
SANCHEZ, Pauline Stella
…the annunciation that place on the other side of the room where there was the
Enantiomorphosis (Semi-Transparent and Reflective - Green, Blues, Grey)
Enantiomorphosis (Corner-Blue, Red, Cream, Black)
Lt. Grey-B: Aspects layed out entering or instead of the interior here or there
The uncanny is defined by the experience of something familiar and at the same time unfamiliar which instills a sense of unease and fear. These ideas find resonance with Jason Pilarski who, in the 1990’s, took inspiration from everyday objects such as office dividers, the sides of vans and plastic covers. While viewers may recognize their stylistic language as having been drawn from industrial design, their new context and reconfiguration give them an oddly confounding appearance which does not allow for easy identification or categorization.
black and white fiber print, vinyl, tape and push pins, 2/5
Day 23.5 is part of a series consisting of photographs taken in a spare bedroom in Perlman’s house. As in most of the pictures part of the series, this one shows the room filled with cardboard boxes, papers, packaging materials and other detritus, all of which have been formed into life-size figures Perlman posed in various ways. In different images they appear almost human as a result of their suggestive stances, while in others they look mechanical and menacing. With its resemblance to a dissembled machine, Day 23.5 demonstrates both the pure joy of creation, in working with whatever is at hand, and the artists’ skillful ability to suggest mood, character and even, possibly, narrative through his evocative works. The titles are sequential indicating that this photograph was made on the 23rd day of the project, and was the fifth photo of the day.
Spatial Relationship #56, 30 January, 1998
Spatial Relationship #49, 3 January- 4 January 1998
Daniel Marlos’ work is based on traditional film editing theories by, among others, Lev Kuleshov, an influential Russian filmmaker and theorist. Spatial Relationship #49 is part of a series in which each work is comprised of two images. The top image is the home of the photographer while the second is the home of the photographer’s model. However, only one person is ever depicted leaving the viewer uncertain as to the identity of either the model or the photographer.
Glacial Ice Floating on Prince William Sound, Near Columbia Glacier, Alaska, No. 14.32
View from Root Glacier Looking East, Alaska No. 13.05
In her practice as a photographer, Laura London explores the inner life of teens. In the summer of 1996 London met and befriended Naomi, a punk rock teenager whom she photographed several times. London came to see that the tough and seemingly invulnerable person Naomi projected was actually masking a sweet, young girl. For Rickels, adolescents are representations of the unconscious, as they absorb and reflect all manner of mass media which in turn represents our secret wishes and desires. In an essay on London’s work, Rickels explains his thoughts, even co-opting a manner similar to the way teens typically talk: “London is an explorer of the Teen Age, you know the age, like, you know, I don’t know, the one we live in. The teen in our midst, the inner teen, is the measure and metabolism of what’s most pressing right now on the edge of the time to come.”
Untitled (Studio Portrait with Fake Tattoos #2)
Brick 1 & Brick 2 (diptych)
Nylons, altered coat hanger, wax and acrylic on panel
1970, Claremont, California, Pomona College, Gladys K. Montgomery Art Center Gallery (Michael Asher): primary image test #5
M20 The Trifid Nebula in Sagittarius
Carson completed this work when she was teaching in Las Vegas in the 1990s. Las Vegas is what the artist characterizes as a “total here and now culture” where people can forget their past and pay no attention to the future. Carson found this ethos, along with a gratitude for life, reflected in Zen Buddhism, which she embraced following a health crisis. Study for Sandwich uses the same pop signage associated with Las Vegas and a pithy statement (“birth—thank you—death”) to encapsulate these concepts.
Brightly colored painting of an abstracted horse; image flush with edges
White Sands, New Mexcio/16th Centruy British Maze
Mediterranean Subtitles for Snowy Landscapes
monitor, laser disc player, acrylic cart and cables, 2/3
Study for Large Horizontal Fold
Watercolor, colored pencil, gouache collage on paper
Punctuation: Where we agree, quotation marks
BARTON, Nancy; GLASS, Michael
BARTON, Nancy and GLASS, Michael
BARTON, Nancy and GIL, Alexander
Untitled (computer sketch for Bottle Baby installation)
In Freudianism mourning allows an individual to fully divest themselves of the burden of grief and accompanying anxiety, allowing an individual to move on and fully embrace new experiences and people. In his writings, Rickels makes the case that the population of California suffers from an inability to mourn or even acknowledge death, which he refers to as “unmourning.” Unmourning is an important concept in both Rickels’ and artist Nancy Barton’s work. In a catalog essay Rickels writes about this work, part of an installation, stating that it “excavates a séance showdown between double aspects and agents of unmourning.”
Two Panels: 24 1/2 x 17"(a,c) each and central panel 27 1/4 x 17" (b)
In this triptych Nancy Barton makes a pun between the phrase “mom and dad” and mummy and dada. Like a child that rebels against her parents, Barton rebels against Dada, the pivotal avant-garde art movement from the early 20th c. that emphasized the absurd. By writing derogatory things in the books of famous French authors, George Ribemont-Dessaignes and Francis Picabia, both associated with Dada, Barton registers her disdain for the movement.
These five portraits of Rickels were originally made as book covers for Nazi Psych- analysis his three-volume scholarly publication. In the end, however, the portraits were reproduced as black-and-white images in the books. The title and doll figures in this portrait refer to an essay Rickels wrote called “Tot’s Tomb.” Of Nancy Barton, Rickels has said: “Barton’s ongoing work of mourning (or unmourning) inspired me to write about and with her. But what underwrites our collaboration of writing and light-writing is the hold the missing have on us and through us.”
These five portraits of Rickels were originally made as book covers for Nazi Psych- analysis his three-volume scholarly publication. In the end, however, the portraits were reproduced as black-and-white images in the books.
The title of this work comes from the expression “Fort/da” which refers to the game Freud observed his eighteen-month old grandson playing. The child would repeatedly throw objects while saying “fort” (gone) and upon finding them say “da” (there). In this game, according to Freud, the child was staging and restaging the disappearance of his mother and this, in turn, was akin to processing a traumatic event. In Fort da Souvenir #3 Barton uses this work as a means of similarly processing the traumatic death of her brother Bruce Barton.