Untitled (Landscape), 2012-15. Chipboard, archival foam, paper, aluminum, plastic, rubber, approx. 5 x 3 x 1/2 inches
Alisa U Zemlji Chuda

❣ Chile in a Photography ❣

PR's Tumblrdome

ellievsbear

Andulka

@theartofmadeline

#extradirty
Show & Tell
Cosmic Funnies
i don't do bad sauce passes

Origami Around
TVSTRANGERTHINGS

pixel skylines
Stranger Things
Monterey Bay Aquarium
Cosimo Galluzzi
I'd rather be in outer space 🛸
noise dept.
art blog(derogatory)

seen from United States
seen from Switzerland
seen from United States
seen from China

seen from India

seen from Germany

seen from Ukraine
seen from United States
seen from Netherlands
seen from Armenia

seen from Malaysia

seen from Türkiye

seen from Jordan
seen from Jordan
seen from Jordan

seen from United States
seen from Jordan
seen from United States
seen from United States
seen from United States
@jrider
Untitled (Landscape), 2012-15. Chipboard, archival foam, paper, aluminum, plastic, rubber, approx. 5 x 3 x 1/2 inches

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
These works were conceived as a pair of site-specific architectural interventions for the Palazzo Cesari-Marchesi in Venice, an Eighteenth-century palazzo, which, up until this installation, had been abandoned for over thirty years. Using the palace’s original terrazzo floors as a jumping off point, I cut and inserted small shards of blue painter’s tape and matching paper into the matrix of the terrazzo, referencing the palaces original Trompe l’oeil embellishments. Top: Terrazzo Intervention #1 (studiolo), 2015. Painters tape and archival paper inset into terrazzo. Dimensions variable; Bottom: Terrazzo Intervention #2 (salle à salle), 2015. Painters tape and archival paper inset into terrazzo. Dimensions variable
Installation for three windows, 2013. 243 hand-sanded Styrofoam bricks. Dimensions variable. Installation view
Floor Drawing (6 colors), (Detail) 2013. Archival paper and foam, 25 x 25 inches. Installation view at Josée Bienvenu Gallery, New York
, into his dazzling kingdom, , 2013. archival foam, paper, wood, approx. 2 3/4 x 8 x 1 inches

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Series A #2, 2013. chipboard, paper, paint, 7 1/2 x 4 3/4 x 1/2 inches
1 X, 4 Triangles, 2012. cardboard, chipboard, matte board, paint, paper, wood, 5 x 3 1/2 x 3/4 inches
‘Friendship,’ Aristotle defines in Part VIII of his Nicomachean Ethics, ‘is a virtue or implies virtue, and is besides most necessary with a view to living.’ And while by no means synonymous with contemporary art, ‘friendship’ as set forth by Aristotle - shared between lovers of ‘good’ and not precipitated by ‘utility’ or ‘likeness’- makes for a compelling, resurrected discussion of ‘virtue’ (for Artistotle: arete) within the context of contemporary art. Nicomachean Ethics was a cornerstone of the reading list for this graduating class of the MFA Fine Arts Department, a reading list that seemed to advocate dually for the role of community and for a renewed criticality when it comes to context - beyond institutional critique. This, for a program that seems to allegorize the pluralism of production method: The artists here, working in painting, sculpture, installation, film, video, performance, robotics, airbrush... And what brought them to the discrete context of art? Certainly not ‘likeness.’ In spite of its long history in the human language, ‘virtue’ is a word that so powerfully connotes traditional moralities, that it’s difficult to deal with it in the context of ‘progressive,’ ‘secular’ contemporary art. And yet ‘value,’ a term much more au courant and with resilient use but no less secular via-a-vis the market, doesn’t begin to explain the complex cultural heritage of art today, nor why these artists came to Manhattan to work in tightly-fitted, loosely organized, small and modular studios. It does not explain the deep issues unleashed when, say, a truncated archival video clip by David Wojnarowicz is censored from a public museum. Reminded of the culture wars of one generation ago, we ask, What does art have to communicate on an axis of today’s morality, one no less necessarily recursive than modernism? What permissions does contemporary art offer, and what constraints?
Text: Gartenfeld, Alex, "Implied Virtue," SVA MFA Thesis Exhibition, January 2011
Stringcourse, 2011. archival foam, matte board, paper, 67 feet x 1/8 inch
Composite, 2011, plywood, chipboard, paper, archival foam, spray paint, 5 x 4 3/4 x 3 inches
Series A #1, 2012. chipboard, paper, paint, approx. 5 x 8 x 1/2 inches

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
HGL(G), 2012. archival paper, wood, approx. 11 x 5 x 3/4 inches
Red, 2010. paper, wood, approx. 2 1/4 x 3 1/4 x 3 3/4 inches
Horizontal Green Envelope, 2011. archival foam, staple, approx. 12 x 18 x 2 inches (destroyed)
In Excelsis, 2010, cardboard, wood, approx. 9 x 4 1/2 x 1/2 inches
Vertical Red Envelope, 2010. archival foam, staple, approx. 18 x 12 x 2 inches (destroyed)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Horizontal Red Envelope, 2010. archival foam, staple, approx. 8 X 18 x 2 inches (destroyed)
bit, 2011. paper, cardboard, plastic, aluminum and wood, 1 ¾ x 1 ½ x ¾ inches