Codex book connected by a series of eight accordian folds composed of lithographs, woodcuts, chine collé, and collage. The work reads right to left with the rightmost page titled "UtopianCannibal.org" and the leftmost page with the single word "Fin" (translates to "end").
From a series of codex books Enrique Chagoya began making in the 1990s. The work contains a variety of images taken from Western culture such as cartoon characters, dollar bills, Barbie, and Sambo; removing them from their original context and juxtaposing alongside art historical images as well as traditional & religious imagery from his native Mexico. Chagoya calls this approach "reverse anthropology" in the way he cannibalizes material from a wide range of sources and creates new stories and commentaries on European colonization and the appropriation and misrepresentation of indigenous cultures.
Firescreen consists of a rectangular metal frame with glass and metal elements set in rectangular (largely geometric) framing patterns around a central panel of white and purple vertical glass rods. Along the bottom is a border of white, amber, and green glass circular elements in a more naturalistic pattern evoking grapes.
This firescreen was set in the entry hall of the Henry O. Havemeyer house, built in New York City 1890-91 with interior decoration by Louis Comfort Tiffany. As with most of Tiffany's designs for the Havemeyer house, this element combines geometric shapes with more curvilinear elements.
This image has three large figures sitting in a row. The two slightly larger figures (one with a white face; left and the other with a black face; right) flank a smaller yellow faced figure. Painted in a distinct blue-background strip beneath these large figures are several smaller figures. Next to three of these figures are trays holding food.
It is said that five thousand years ago, Lord Krishna, with His elder brother Balarama and Balarama's younger sister Subhadra, once visited Kuruksetra (an area in Northern India) by chariot.
Two thousand years after their visit, King Indradyumna decided to build the temple of Jagannatha in Orissa at Puri. For the temple he wanted a picture commemorating the journey of Krishna, Subhadra, and Balarama to Kuruksetra via chariot. Legend is that the artist was unable to finish the work and that is why they are depicted without distinguishable arms and legs. Still, this original image has since been used as a template for all other works of the Ratnabedi triad.
Cylindrical, wood carved cup with geometric motifs and linear, interlocking surface designs that cover the entire surface of the object.
In the nineteenth and early twentieth centuries, palm wine cups carved elaborately from wood were high prestige objects, and were commissioned or purchased by individuals who could readily afford them. Such cups were public displays of personal success and accomplishment. This cylindrical cup features the Kuba aesthetic preference for geometric motifs and linear, interlocking surface designs that cover the entire surface of the object.