Influenced by readymades of Duchamp, Warhol, Rauschenberg and Johns.
Citizens' Investigation on Sichuan earthquake student casualties, 2009
"To remember the departed, to show concern for life, to take responsibility, and for the potential happiness of the survivors, we are initiating a 'Citizens' Investigation.' We will seek out the names of each departed child, and we will
Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991
Tiger shark, glass, steel, 5% formaldehyde solution
213 x 518 x 213 cm
Charles Saatchi
David Teniers (1610-90) Archduke Leopold Wilhelm in his Picture Gallery in Brussels, c. 1651. Oil on copper, 105 x 130 cm. MuseoNacional del Prado, Madrid
“I don’t care if people call it art or not – that’s really not my question, you know. As far as I know that question was solved…Duchamp’s urinal was you know, complacently sitting in MoMA before I wet my first diaper.
So those are not my issues; what I care about is, ‘is it interesting?’ Am I making a contribution to visual culture that’s engaging, that brings up questions, that produces dialogue and discourse?” Mark Dion
Walton Ford, Madagascar (Elephant Bird), 2002
Walton Ford, Passenger Pigeons,
"The dreamlike quality gave me all this room to pack it with all narrative" That seems to happen independent of the fact that this thing was crashing down." Walton Ford
Walton Ford,
Walton Ford, Installation view of Tigers of Wrath, Brooklyn Museum, 2007
"I wanted to make the largest watercolors ever. Ultimately that because fun all by itself. Sounds like I have all these intellectual reasons for painting these things but ultimately I want to paint a sexy monkey and a big elephant with an erection.... big overwrought emotion, melodrama... I am a maximalist...." Walton Ford.
pieter hugo, abdullahi mohammed with mainasara, lagos, nigeria, 2007, c-print
pieter hugo, abdullahi mohammed with mainasara, ogre-remo, nigeria, 2007, c-print
pieter hugo, mummy ahmadu and mallam mantari lamal with mainasara, abuja, nigeria, 2005, c-print
I've always enjoyed using beauty and seduction as a way of engaging people with
Yinka Shonibare, Odile and Odette, 2005, color film
"To be an artist, you have to be a good liar. There's no question about that. If you're not, you can't be a good artist. Basically, you have to know how to fabricate, how to weave tales, how to tell lies, because you're taking your audience to a nonexistent space and telling them that it does exist. " Yinka Shonibare
Yinka Shonibare, How to Blow up Two heads at once, 2006 how does headlessness function here?
Yinka Shonibare, Scramble for Africa
Yinka Shonibare, Mr. and Mrs. Andrews without their Heads,
thomas Gainsborough, MR. and Mrs. Andrews, 1750
Maurizio Cattelan, La Nona Hora, 1999
Maurizio Cattelan, Him, 2006
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The Guggenheim retrospective
Maurizio Cattelan, Super Us, 1996
Maurizio Cattelan, Bidibidobidiboo, 1996
‘‘The thing about this award on some levels is that my work ... all of it has this first impact, the sort of impact of spectacle. It’s beautifully made, strong, aesthetic, so people are interested in that and it draws them in, and then they get interested in the idea. It takes a while to get to the idea. It’s not easy. So this award says, 'We get it, we get what you’re trying to do, we’ve gone beyond the surface, we can see that there are ideas underneath, and these ideas are about the opportunity for connection’.’’
Patricia Piccinini, The Young Family, 2002
Silicone, polyurethane, leather, plywood, human hair