WHIZ _ Magazine

RICHARD MISRACH
Road, Moab, 1997

Baatarzorig Batjargal - Wolf Totem (2017)

Max Beckmann
Gesellschaft Paris (Paris Society) - 1931
è il ritratto di Max Beckmann di emigrati, aristocratici, uomini d'affari e intellettuali impegnati in festeggiamenti sconnessi alla vigilia del Terzo Reich. Beckmann ha dipinto l'opera su invito dell'ambasciata tedesca a Parigi. Una serie di schizzi mostra che aveva concepito la composizione già nel 1925. Nel 1931, quando la completò, in Germania iniziarono a mo***re accuse e calunnie contro l'artista dal pensiero libero, e il carattere cupo della Società parigina sembra riflettere il suo senso di presagio.

Richard Misrach - Cabbage Crop Near Brownsville, Texas, 2015

Nikita Teryoshin - Game of Chairs, 2016-17
| german party conventions |
www.nikitateryoshin.com/

Renato Guttuso
La spiaggia | 1955-1956

Heemin Chung
Juicy Fruity Imported Body
acrylic, oil and gel medium on canvas.
2020

Vadim Zakharov
Brooklyn Bridge VI, 1984
Indian ink, felt-tip pen on paper
www.vadimzakharov.com/

Sigmar Polke
"Flüchtende", 1992

ILYA KABAKOV
"CHARLES ROSENTHAL: THEY ARE DISCUSSING THE NEW PLAN, 1930"
ball point pen, adhesive tape, oil on canvas
- 1998

Daniel Stier Photography
These photographs take the viewer to a place that could be almost any US or European city. It is the familiar objects that cause the viewer to spend extra time with the images in this series.
www.danielstier.com

Hanne Darboven
Dostojewski, Monat Januar, 1990
Ink and gelatin silver print collage on paper in 16 parts.

TOMORY DODGE
Goodbye Dragonfly, 2019
Oil on canvas
213 x 365 cm

Olaf Otto Becker
Broken Line, Greenland
KUVDLORSSUAQ, 2006
www.olafottobecker.de

Matthew King | #406
2021
Diptych;
acrylic and paper on aluminum

Richard Misrach
Lake Mead #1, 1986

JIM NAUGHTEN - The Monkey Tree
(Mountains of Kong)
The Mountains of Kong can be found on printed British maps of West Africa from 1798 through to the late 1880s when they were finally declared to be non-existent. Naughten has created a series of stereoscopic images that tell a very different story as he imagines a fictitious record made for posterity and scientific purposes during an expedition of the mountain range. The resulting images are viewable in three dimensions by using the same stereoscopic technology made popular in the late 1800s which allowed Victorians to travel to the four corners of the world whilst sitting at home in their armchairs. Naughten presents us with the evidence for the existence of the mythical kingdom in irrefutable three-dimensional forms.

“In the Mountains of Kong I discovered extraordinary, otherworldly landscapes, encountered strange hitherto unknown creatures that seemed to dwell in a parallel universe. I faithfully recorded these true events with my stereoscopic camera, aping the explorers and expedition scientists and photographers of the past.
The work aims to be both engaging and playful, but also will function as a comment on the mutability of history and our ever evolving and malleable relationship with the past.”
- Jim Naughten -

Nicola Verlato
End of The Illusions, 2005
Nicola Verlato

Alfredo Jaar
Gold in the Morning
1985/2018
Galerie Lelong & Co., New York

Slim Aarons
Poolside Glamour
1970

Will Cotton
Airborne, 2020

Darren Almond
Fullmoon
Cape Verde Breakers, 2013

Bill Beckley
War of the Roses 69i, 2017
Pigment print
Galleria Studio G7

Cody Cobb
Rift, 2018
Archival Pigment Print
www.codycobb.com

Thomas Dworzak
During the night after the "revolution" bands of thugs had looted the main shops.
Bishkek, Kyrgyzstan.
2005
Magnum Photos

Alex Gross
Spores - 2014
www.alexgross.com
Gross is known for his gallery work - oil paintings on canvas and mixed media, which include oils, acrylics and collage. His pop surrealist figurative painting focuses on globalization, advertising, consumerism, and the passage of time. His works reference comic books, classic television characters, and other pop imagery. In that way, the artist succeeds in creating a blend of propaganda, advertising and Surrealism. His goal is to provoke the viewers to think about the effects of branding on their lives and the way they make decisions. It seems to the artist that technology has been developing with the only aim to facilitate promotion of consumption and spending. His works show people who stare at their phones, resembling zombies, or men and women, holding phones, ci******es and drinks, representing the consumer society. To show that he is not immune to the power of branding, technology and social media, the artist painted a piece entitled Narcissism, which shows a multitude of his self portraits texting, eating junk food and reading a tabloid magazine.

Josef Albers
Study for glass construction
1927
ink and pencil on paper

Broomberg and Chanarin
Afterlife
2009
Afterlife offers a re-reading of a controversial photograph taken in Iran on 6 August 1979. This remarkable image, taken just months after the revolution, records the ex*****on of 11 blindfolded Kurdish prisoners by firing squad. The photograph captures the decisive moment the guns were fired, and was immediately reproduced in newspapers and magazines across the world. The following year it was awarded a Pulitzer Prize and for the next 30 years it's author was simply known as “Anonymous.” Only recently has the photographer’s identity been revealed as Jahangir Razmi, a commercial studio photographer working in the suburbs of Tehran. He was located and interviewed by Joshua Prager of the Wall Street Journal.

Kevin Hoth
FLOWERS FOR A
www.kevinhoth.com