Sleeping_Venus.ascii, 2018
Screen print on Belgian linen canvas, hand embroidery, CNC carved frame (foam, wood, gold foil). To-scale representation of Georgione’s Sleeping Venus. 38” x 76” x 6”
Sleeping_Venus.ascii (detail), 2018
Screen print on Belgian linen canvas, hand embroidery, CNC carved frame (foam, wood, gold foil). To-scale representation of Georgione’s Sleeping Venus. 38” x 76” x 6”
Rose Hobart I & II (installation view), 2017
Screen print on silk gauze (overlay), cyanotype on satin, appliqué, hand beading, wood frame. Still taken from Joseph Cornell’s Rose Hobart (1936). 68” (to floor, each)” x 29” x 3”
Rose Hobart II (detail view), 2017
Screen print on silk gauze (overlay), cyanotype on satin, appliqué, hand beading, wood frame. Still taken from Joseph Cornell’s Rose Hobart (1936). 68” (to floor, each)” x 29” x 3”
Rose Hobart III (installation view), 2017
Screen print on silk gauze (overlay), cyanotype on satin, appliqué, hand beading, wood frame. Still taken from Joseph Cornell’s Rose Hobart (1936). 68” (to floor, each)” x 29” x 3”
Rose Hobart III (detail view), 2017
Screen print on silk gauze (overlay), cyanotype on satin, appliqué, hand beading, wood frame. Still taken from Joseph Cornell’s Rose Hobart (1936). 68” (to floor, each)” x 29” x 3”
Untitled (Face, Glitch series), 2018
Screen print on cotton (CMYK separation), appliqué, hand beading. 10” x 14” x 2”
Untitled (Face, Glitch series) (detail), 2018
Screen print on cotton (CMYK separation), appliqué, hand beading. 10” x 14” x 2”
Untitled (Thigh, Glitch series), 2018
Screen print on cotton (CMYK separation), appliqué, hand beading. 10” x 14” x 2”
Untitled (Thigh, Glitch series) (detail), 2018
Screen print on cotton (CMYK separation), appliqué, hand beading. 10” x 14” x 2”
The Venus Effect (installation view), 2018
Series of four art books that uses a feminist lens to trace the impact of the trope of “Venus” through art history. 8” x 10” x 1.5” (each)
Venus’ Reflection, The Venus Effect (book two, installation view), 2018
Series of four art books that uses a feminist lens to trace the impact of the trope of “Venus” through art history. 8” x 10” x 1.5” (each)
Victorine Meurent, The Venus Effect (book one, interior view), 2018
Series of four art books that uses a feminist lens to trace the impact of the trope of “Venus” through art history. 8” x 10” x 1.5” (each)
Untitled (Thumbnail series, Espejo), 2018
Ball-point pen on BFK Rives cotton rag paper. Series of drawings using CNC-plotter to replicate ascii images of classic reclining nudes (here, Velásquez’ Venus del Espejo). 11” x 15”
Untitled (Thumbnail series, Urbino) (detail view), 2018
Ball-point pen on BFK Rives cotton rag paper. Series of drawings using CNC-plotter to replicate ascii images of classic reclining nudes (here, Titian’s Venus of Urbino). 11” x 15”
Untitled (Thumbnail series, Olympia) (detail view), 2018
Ball-point pen on BFK Rives cotton rag paper. Series of drawings using CNC-plotter to replicate ascii images of classic reclining nudes (here, Manet’s Olympia). 11” x 15”
Greatest Hits Collection (installation view), 2016-2017
200+ CDs (artists’ music collection) collaged with images from artists’ childhood art, letterpress labels, plastic jewel cases, wood/acrylic display case. As installed: 24” x 36” x 26”
Greatest Hits Collection (detail view), 2016-17
200+ CDs (artists’ music collection) collaged with images from artists’ childhood art, letterpress labels, plastic jewel cases, wood/acrylic display case. As installed: 24” x 36” x 26”
Greatest Hits Collection (detail view), 2016-17
200+ CDs (artists’ music collection) collaged with images from artists’ childhood art, letterpress labels, plastic jewel cases, wood/acrylic display case. Each CD in case: ~ 6” x 6” x. 25”
Greatest Hits Collection (installation view: wall display), 2016-2017
200+ CDs (artists’ music collection) collaged with images from artists’ childhood art, letterpress labels, plastic jewel cases, wood/acrylic display case. Wall display: 4 rail shelves, each 48”, with CDs on each (40” x 48” x 2”, as installed)
Kate Wilson, 2018
Kate Wilson, 2018
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