Yoshinori Kondo

Billyken

2016

Joe Peters and Peter Muller Frog Vase Blown and Flameworked Glass 10h x 8w x 6d in

Kiva Ford and Jupiter Nielsen Persistence of Nature, 2015 Borosilicate glass 15h x 6w x 6d in

Kiva Ford Red Bottle in a Bottle, 2014 Borosilicate glass 19h x 5.5w x 5.5d in

Joshua Bernbaum Black Goblet with Green Stem, from the Black Goblet Trio Blown glass 8h x 4w x 4d in

Joshua Bernbaum Sonoran (green/black/amethyst), 2019 Blown glass 18h x 10.50w x 7d in

Joshua Bernbaum Sonoran (grey/blue), 2019 Blown glass 16.50h x 12w x 7d in

Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all ...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

Doug Aitken EveryThing, 2015 Mirror, Fibreglass & resin 92.5 x 119.5 x 12.5 inches Edition of 4 plus 2 AP's Provenance: NB: Available on sale

medium: installation, table, mirror, 20 glass and metal beaded clay sculptures Esperanza Cortés is a Colombian born multidisciplinary artist based in New York City. Cortés has been ...

Since the 1980s, Eric Fischl (b. 1948) has been renowned internationally as one of the most daring and distinct figurative artists. Over the course of his career, Fischl has branched...

Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...