A Detached Hand

Hans Bellmer, Elaine Cameron-Weir, Cameron Clayborn, Nicolás Guagnini, Dan Herschlein, Brook Hsu, Caitlin Keogh, Kiki Kogelnik, Israel Lund, Ebecho Muslimova, Narcissister, Bruce Nauman, Christina Ramberg, Penny Slinger

June 28–July 26 2019

Press Release Selected Press

Elaine Cameron-Weir, zone in which the shell material was essentially solid and an axial zone in which cup-shaped cavities remain in the camerae; with growth, the axial zone widens adorally at the expense of the peripheral zone, 2019, stainless steel, aluminum, pewter, parachute silk, parachute harness clips and ripcord hardware, laboratory clamps, orthopedic jaw fixation hardware, leather, shells, 79.50h x 24w x 8d in.

Elaine Cameron-Weir, zone in which the shell material was essentially solid and an axial zone in which cup-shaped cavities remain in the camerae; with growth, the axial zone widens adorally at the expense of the peripheral zone (detail), 2019, stainless steel, aluminum, pewter, parachute silk, parachute harness clips and ripcord hardware, laboratory clamps, orthopedic jaw fixation hardware, leather, shells, 79.50h x 24w x 8d in.

Bruce Nauman, Soft Ground Etching - Coral, 2007, 2-color etching, 29.75h x 34w in.

Bruce Nauman, Soft Ground Etching - Green, 2007, 2-color etching, 29.75h x 34w in.

Cameron Clayborn, toolholder, 2017, glitter, vinyl, steel, 37.50h x 31w x 11d in.

Bruce Nauman, Soft Ground Etching - Yellow, 2007, 2-color etching, 29.75h x 34w in.

Bruce Nauman, Soft Ground Etching - Rose, 2007, 2-color etching, 29.75h x 34w in.

Ebecho Muslimova, Fatebe Bottom First, 2019, sumi ink and watercolor on paper, 9h x 12w in.

Ebecho Muslimova, Fatebe Poop Act, 2019, sumi ink on paper, 9h x 12w in.

Ebecho Muslimova, Fatebe Ball Toss, 2019, sumi ink on paper, 9h x 12w in.

Ebecho Muslimova, Fatebe Untitled, 2019, sumi ink on paper, 9h x 12w in.

Nicolás Guagnini, The Bewitched Man, 2016, virtified glazed ceramic, book (I. Goya, Dagmar Feghelm, Prestel [2004]), 17.01h x 13.5w x 9.76d in.

Israel Lund, Untitled (Severed Information), 2018, acrylic on raw canvas, 10.75h x 6.13w in.

Caitlin Keogh, Study for Hands (After Dante Gabriel Rossetti), 2019, graphite and colored pencil on paper, 16.54h x 11.81w in.

Hans Bellmer, Untitled, 1946, graphite and white gouache on paper, 5.5h x 3.63w in.

Penny Slinger, The Safe Period, 1969-2014, c-print from original collage, 16h x 10.63w in.

Christina Ramberg, Untitled, 1983, ink, graphite, and colored pencil on paper, 11h x 8.5w in.

Christina Ramberg, Untitled, 1981, graphite on paper, 11h x 8.5w in.

Narcissister, Mask Art Series (Profile with red braids and bowls), 2015, digital print, 24h x 18w in.

Hans Bellmer, Untitled, 1946, vintage silver gelatin print, 3.13h x 2.38w in.

Brooke Hsu, ear stick, 2014-2019, bronze, urine, acrylic plexiglass, 6h x 12w x 6d in.

Brooke Hsu, ear stick (detail), 2014-2019, bronze, urine, acrylic plexiglass, 6h x 12d x 6w in.

Kiki Kogelnik, Life Hangs on a String!, 1970, color pencil on paper, 14h x 10.63w in.

Dan Herschlein, The Long Dumb Voice, 2017, wood, pigmented joint compound, paint, wax, graphite, grass, and soil, 42h x 17w x 4d in.

Kiki Kogelnik, Untitled (Robot), c. 1967, enamel and ink on paper, 25.75h x 19.75w in.

Kiki Kogelnik, Untitled (Figure), c. 1965, india ink and ink on paper, 16.5h x 20.94w in.

With the emergence of the guillotine came an archetype of human dismemberment and a castration of power: sacrificial, ritualistic and psychosexual fetish bolstered the artistic mind, serving as a template for reinvention.

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