Marlene Dumas

Faceless

1993

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant cont...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant contribution to postmodern and conceptual art in Canada and beyond. The group was both prolific and multi-disciplinary long before it became de rigueur. They use photography, sculpture, painting, mail art, video, installation, multiples, and performance. With their subversive approach and interest in parody and appropriation, General Idea addressed a broad range of social (and art-world) issues such as the cult of the artist, mass media, queer identity, and consumerism. Thematic continuity was a key element in General Idea's work. Early on they introduced talismans or logos that they would revisit and re-envision, including skulls, ziggurats, and poodles. This print comes from "Fear Management": a set of 8 prints...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant contribution to postmodern and conceptual art in Canada and beyond. The group was both prolific and multi-disciplinary long before it became de rigueur. They with photography, sculpture, painting, mail art, video, installation, multiples, and performance. With their subversive approach and interest in parody and appropriation, General Idea addressed a broad range of social (and art-world) issues such as the cult of the artist, mass media, queer identity, and consumerism. Thematic continuity was a key element in General Idea's work. Early on they introduced talismans or logos that they would revisit and re-envision, including skulls, ziggurats, and poodles. This print comes from "Fear Management": a set of 8 prints that celebrates some of General Idea's defining and most beloved motifs by situating them on a crest. This showcases their clever blend of historical fantasy and invented patrimony. Many of these self-mythologizing crests debuted in 1986 during their exhibition at the Albright-Knox Art Gallery in Buffalo entitled: The Armoury of the 1984 Miss General Idea Pavillion. This series is a defining example of one of General Idea's most iconic motifs, the crest, which showcases their clever blend of historical fantasy and invented patrimony. Centered on a handpainted background, "The Honeymoon...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant contribution to postmodern and conceptual art in Canada and beyond. The group was both prolific and multi-disciplinary long before it became de rigueur. They with photography, sculpture, painting, mail art, video, installation, multiples, and performance. With their subversive approach and interest in parody and appropriation, General Idea addressed a broad range of social (and art-world) issues such as the cult of the artist, mass media, queer identity, and consumerism. Thematic continuity was a key element in General Idea's work. Early on they introduced talismans or logos that they would revisit and re-envision, including skulls, ziggurats, and poodles. Perhaps one of the earliest of these icons is the pinching hand, or "Hand of the Spirit" which debuts around 1972 and appears frequently throughout the decade. Centered on a hand-painted background, "The Hand of the Spirit of Miss General Idea" features a vibrant crest that displays a hand with fingers curled in a mystical gesture. This print comes from "Fear Management": a set of 8 prints...

Yes You Can Can (Splats Edition) by Amy Gardner [2020] limited_edition Screen Print, Watercolour Edition number 40 Image size: H:50 cm x W:50 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Only AP works left in this edition. This print is about women supporting women. 'YES YOU CAN CAN' splats edition limited edition of 40 Archival Bread & Butter bright white paper 270gsm 50x 50cms 5 screen...

In Acts 2:3 of the Bible, flaming tongues lap at the disciples, conferring upon them the ability to speak languages not their own. These fiery tongues have signified the power of speech, persuasion, and the ability to preach to the masses. Ingrid Bachmann’s tongues in Pinocchio’s Dilemma are glossy as if sugarcoated and boiled into hard candies—a crystallization process. They are the only of her works that people have tried to lick. Alternately seductive and repulsive, they wag mechanically at eye-level, emitting a small wind-up machine language of their own. The tongue gives the impression an attempt to tell, a revealing of secrets. On the opposing side of the room, a rod extends slowly from a hole in the wall, inching out, then back in. Pinocchio’s nose is an instantly recognizable stand-in for lies, liars, fakes. Pinocchio originated as the protagonist of a 19th-century children’s book by the Italian writer Carlo Collodi, and was most famously adapted by The Walt Disney Company. The pre-Disney Pinocchio is unruly, violent and mischievous; his story was originally intended to be a tragedy in which the marionette is hung from an oak tree branch by his enemies. Angry Work contains a latent violence—that which is found in childhood games, stories, myths, novels, and in the tools of the everyday. Two 14-foot-long knitting needles—domestic weaponry—lean as dead as stones, cool and silent, against the wall. These weighted objects commune with three bronze tongues, pre-vocalizations, embalmed. Bronze is a silent material. Two drawings invoke Cassandra, who was promised the gift of prophecy by Apollo. When Apollo appeared to her, she refused his sexual advances. In some iterations of the story, Apollo appeared as a wolf surrounded by mice and spat on her tongue. She awoke with a taste on her tongue. Maybe metallic, maybe red. She had been granted the gift of prophecy, with one condition: no one would believe her. This burdened us with one of the earliest models of hysteria—speaking in tongues, speaking marred truths. Bachmann maintains that Angry Work is not limited to women’s anger, or to personal anger. It’s about generalized anger. “The red world And corresponding red breezes.” [1] A cloud of anger, hints of red. An amorphous unknown. “The Airborne Toxic Event” [2] that encapsulates truth, lies, histories repeated, struggle, strife, shock, grappling and anger, anger, anger. I am told that The Angry Machine weighs 400 pounds and emits a mechanized hum. It will be fenced in, for the protection of both viewers and itself. It will not perform on demand, but at scheduled intervals, only occasionally. It has a projectile that is red. Red is the memory of a children’s game, trying to avoid hitting yourself, to avoid the smack of something against your skin. Red is interiority: the tongue, cheeks, throat and kisses. One can “see red” in a fit of rage. Red is blood, and red is romance — “roses being burned alive.” [3] [1] Anne Carson...

"Juan Sebastian Barbera (Mexico, 1964) 'Personaje', 1991 Silkscreen and Watercolor on paper Velin Arches 300 g. 15.8 x 11.9 in. (40 x 30 cm.) ID...

Screen print & hand-finished watercolor on paper. Hand signed and numbered by the artist. Pest Control included. Banksy’s Dumbo is an extremely rare Ban...