What happens when photographers expand editions that collectors assumed to be closed? A pending lawsuit raises hard questions.
What can we see? What do we hear? How do image and sound relate? What is an image, or an object? How separate is one thing from the next? Such questions proliferate when we watch a work by British filmmaker Emily Wardill, often a somewhat bewildering experience at first. Despite their ostensible narrative frameworks, her recent feature-length films, such as Game Keepers without Game (2009) or Fulll Firearms (2011), are so fraught with ontological issues and strategies of disruption that any hope of straightforward interpretation is deeply shaken, if not totally shattered.
For those who have the 55th Venice Biennale on their itineraries, we've been offering quick picks in t… Read More
Nice-born artist Martial Raysse began his career by making work that straddled American Pop and Frenc… Read More
Collage and acrylic on paper, thread, string, plastic lid
48 x 30 ¼ in.