George Goodridge

Number 26, Vertebrate Companion Series, 2012, acrylic on canvas, wall sculpture

2012

Acrylic on 3-D stretched canvas, dimensions listed for piece as shown. Dimensions are variable depending on hanging formation. Wall sculpture, yellow, red, orange, gray and white.

Acrylic and resin on 3-D stretched canvas. Sculpture, blue, green, orange. Abstract, biomorphic.

Acrylic on 3-D stretched canvas, dimensions listed for piece as shown. Dimensions are variable depending on hanging formation. Wall sculpture, orange, green, purple, gray and white. ...

Acrylic and resin on 3-D stretched canvas. Sculpture, blue, green, orange. Abstract, biomorphic.

Acrylic on 3-D stretched canvas with wood armature. Dimensions listed for piece as shown. Dimensions are variable depending on hanging formation. Wall sculpture, white, tan, and gray.

Acrylic on 3-D stretched canvas with wood armature. Dimensions listed for piece as shown. Dimensions are variable depending on hanging formation. Wall sculpture, black, orange, red a...

acrylic on linen b. 1964, Arnhem Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geometric...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. While typically, King Ferguson paints both sides of the canvas and cuts a flap on the the frontside to reveal the color of the back of the canvas, she unexpectedly does the opposite here. The painting is hung from the "frontside" of the canvas, revealing to us the raw edges of her linen canvas, stapled to the stretchers. Two oblong shapes of pink and red dominate the center of the painting. A thin semioval cut has been made inside of both of these shapes. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...

b. 1964, Arnhem Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geometric principles: the c...

b. 1964, Arnhem Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geometric principles: the c...

b. 1964, Arnhem Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geometric principles: the c...

b. 1964, Arnhem Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geometric principles: the c...