Three black and white photographs of young people's faces are vertically arranged. Above each and below the center image are smaller versions of similar portrait photographs. Four of these smaller photos are also arranged in the line of the large photographs, one on each end, and two separating the larger pictues. All the photos are surrounded by an arrangement of light bulbs, which are connected by a network of electrical cables that snake along the walls and over the photos.
The subject of Boltanski's mixed media piece is the Holocaust and Holocaust memory. The photographs in the piece are enlargements from a 1931 graduating class picture from a Jewish high school in Vienna, the Lycée Chases. The piece is both a memorial to the victims and an engagement with the fate of the memory of the dead.
A base composed of a red section that lies on the floor and a black section that rises to narrow point. On the point rests the moving part of the "mobile"--one arm extends out and ends in a black boomerang; the other extends out then attaches to a vertical arm that has yellow polygons on either end.
The abstractionist's interest in the rhythm and motion created by the way shapes, lines, and colors interact with one another is here put in actual motion in the form of a mobile.
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.
Three plastic long-stemmed red roses wrapped in thick transparent polyethylene, tied with twine, ends stapled
Wrapping something in plastic is usually meant to preserve or protect it; however, in “Wrapped Roses” Christo wraps something made of plastic in more plastic. Throughout his career, Christo, with collaborator Jeanne-Claude, has wrapped numerous items in cloth or plastic, including small boxes, furniture, even buildings. The artists deny that their projects contain any deeper meaning than their immediate aesthetic, contending that the purpose of their art is to simply create new ways of seeing familiar objects.
Ombre orange and black abstract forms painted on paper cut out and attached to wood, laid on top of another larger cutout of pink abstract form with “shadows” from the cutout above it painted in red; the paper collage is centered on a large sheet of white paper. Signed “D[orothy] & H[erb] Rogue” in bottom left corner, “R. J. Francisco ‘82” in bottom right corner.
This small collage of geometric forms rendered in watercolor is a whimsical play on the difference between depicted (painted) and literal (in being composed of different layers of paper) depth and space.
A long wooden box divided into two compartments, one small and one large. The small compartment contains an intricately worked gold thimble inscribed with a poem. The long compartment contains a silver thimble in which horse hairs have been threaded. The tuft of horse hair runs the length of the long compartment.
Scripts of love and romance. The failure of language to communicate clearly. Fairy tale fantasies of children.
color photograph with comic-strip-style illustrations in black acrylic on white paper, mounted and framed
The comic strip comments on the sky-high prices of the art market, the deep pockets needed to enter into that market, and the exclusive, insider nature of art collecting. This is juxtaposed against a photograph that “represents at least one person who never looks back” at a homeless man you’ve passed on the street.
7-sided frame made of reclaimed wood moulding and slats nailed together and backed with strips of green felt, possibly from a pool table. Gold wire traces the wood frame, and is accented with a fuzz ball or googly eye at each corner. A toy car is placed on the gold wire “track” at bottom center; car racing flag stickers attached to the frame in a couple places. Three pieces of thread are strung horizontally across the frame, a “spider web” attached to top two lines with puffy paint. A wood (?) cutout of a smiling joker mouth hung from web by wire.
This assemblage made of found materials makes reference to childhood themes, such as toy car racing and comic books. The association is further supported by the materials sued, which are items one would typically find in a craft box, such as googly eyes and fuzz balls, brightly colored nylon thread and puffy paint.
A collage drawing with "When was the future?" in the middle of the object. The words are cut out of pictures of trees and a city's skyline. The background of the collage is the view of of a tall building and a cutout of a youth doing a handstand is placed on the balcony. A picture of a tree is included by the person.
Inscribed in black ink, on pipe, along length of stem: E/A ce que (sic) manque à nous tous - Man Ray 69; verso, to the r: E/A; on second (larger) pipe: ce que (sic) manque à nous tous - Man Ray 69; verso, to the r.: E/A [upside down]
16.5 cm x 11.6 cm x 2 cm (6 1/2 in. x 4 9/16 in. x 13/16 in.)
A clear glass bubble rests on the bowl of a plain white clay pipe. Along the stem of the pipe are the words, "Ce que [sic] manque à nous tous."
Playing with the meaning attached to the pipe, a staple of Dadaist and Surrealist conceptual art, Man Ray invites us to make a story that connects the objects, the pipe and the bubble, and the title, "What We All Lack."
folded kraft paper marked with blue pencil affixed to linen
The “golden section” is when the ratio of the whole line (A) to the large segment (B) is the same as the ratio of the large segment (B) to the small segment (C); ie, A is to B as B is to C. Rockburne derives her rectangular golden sections from the square. The blue pencil lines follow the principles of dynamic symmetry.