Fucks

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Jenny Holzer Someone Wants To Cut A Hole In You And Fuck You Through It, Buddy, 2012

 

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Sarah Bahbah Untitled, 2019
‘Sarah Bahbah, the Palestinian, Australian-raised artist crystallises the universal but rarely captured experience of oversaturated, intense feelings and imperfect relationships. Her protagonists give voice to the vast spectrum of emotion, spanning the desire for inner peace, true love, fear of commitment, playful ambivalence towards life and the paradox of wanting intimacy but craving isolation.’

 

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Dash Snow Fuck the Police, 2005
‘Dash Snow’s Fuck the Police presents a prized collection of newspaper headlines emblazoned with instances cop corruption. Each salacious story is splattered with cum and framed and mounted as a trophy.’

 

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Alfred Steiner Various, 2012 – 2018
‘I spent my elementary school years in rural Ohio—in a big pile of animal parts. My best friend’s dad had a VCR and three VHS tapes, Star Wars, Cheech and Chong’s Next Movie and The Texas Chainsaw Massacre. The latter was my favorite, and not just because its fictional events took place on the day I was born. There’s a scene in it where one of the nubile victims stumbles into a room strewn with bones—mostly animal—at once terrifying and rustic in the yellow Texas sun. Not to be outdone, my friend and I discovered a boneyard ourselves while roaming a nearby farm, and harvested a few cow skulls that we cleaned with bleach. There was also a fur dealer who lived nearby in a dank hovel just past the creek. In our only encounter, I watched this man enthusiastically carve out the heart of a fox and hand it to me. A second canine figures into this period, this time a Jack Russell terrier that leapt into the air to catch the freshly severed testicles of a goat that my mom was kid-proofing for a petting zoo. But none of those experiences prepared me for the day I stepped off my bus and opened the mailbox to find a severed blue eye staring back at me. Lowering the door of the box, I peered in to find the milky, apple-sized orb suspended in a jar of formaldehyde. It was an unsolicited gift from our veterinarian, who was ostensibly indulging my predilection for the anatomical. Pressing my memory for other seminal experiences involving entrails, I come up empty. But I do remember my friend telling me that his dad had a fourth videotape: Adult Cartoons.’ — AS

 

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Elizabeth Jaeger Maybe We Die So The Love Doesn’t Have To, 2015
Hydrocal, latex paint and hair

 

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Tony Matelli Fuck’d, 2004

 

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Kathe Burkhart Various, 1983 – 2007
‘Elizabeth Taylor’s multiple personae–actress, vixen, Hollywood royalty, serial wife and divorcée, party girl, charitable humanitarian, entrepreneur, rebel, dominant woman–acts as a media-based mirror of contemporary female identity. For Kathe Burkhart, Taylor becomes a doppelganger in her paintings, in which tabloid, paparazzi shots and publicity stills from Taylor’s films are emblazoned with profanities that reclaim female sexuality and power. “I locate my position as oppositional on several levels: as a critique of representation, particularly that of women and also as a rupturing of idiomatic packaging/presentation devices,” notes the artist.’

 

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Miss Fuck Oups raté, 2020

 

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Mladen Stilinović Fuck the Wall, 1975

 

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Betty Tompkins Fuck Paintings, 2002 – 2006
‘Tompkins’ paintings are often described as “photorealist”. Yet she says: “My work compared to an actual photorealist is lame. They’re interested in getting everything. I’m interested in getting just enough.” She made the first of her Fuck Paintings straight out of grad school in 1969, a time when almost every female artist was ignored, whatever she was making. As for a young woman making enormous paintings of penises: “Nobody wanted to have anything to do with them or me.”’

 

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Awol Erizku Oh what a feeling, aw, fuck it, I want a Trillion, 2014

 

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Brazzers Hot sex with the girls at the exhibition of contemporary art, 2015
‘Modern Museum of Fine Ass Only the finest booties have a shot at getting into the Modern Museum of Fine Ass, the world’s biggest collection of perfect juicy butts. When Danny heard they had a gallery where any bum-loving ticket holder could poke, spank, and tickle huge, roundest white asses around. Danny got to his knees spanking, sniffing, and fondling every butt in front of him. When Julie Cash couldn’t wait another second to get some cock, she turned her face around and offered her mouth for a deep throat blowjob. Knowing there was a big hammer like Danny’s in the room, Richelle Ryan got jealous, and invited him to pound her body-painted posterior.’

 

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Andrei Molodkin YES WE CAN FUCK YOU, 2011
black and green ballpoint pens on canvas, acrylic block and plastic hoses filled with crude oil, pump, compressor

 

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Shauna Born All The Boys I’d Like To Fuck, 2012
‘Freezing in time the fleeting beauty of life, and in particular the brevity and transience of youth, has long been a concern of visual art. It’s a natural fit, understandable, bordering on the obvious, that a medium like painting be used in such a way. The ability of painting and drawing to freeze a moment in time gives it the enviable power of making immortal (and timeless) the imagery it conveys. That which is portrayed in a picture stays immutable and constant while the rest of us poor souls submit to the humbling humilities brought about by the merciless elements of time, aging and gravity. The work of Shauna Born, who up to now has focused principally on youthful portraiture, is no exception to this described desire to make the world stop spinning. Her painted portraits of pretty young things ooze with a lightness of being. Ethereal and decadent, they often appear to be contemplating nothing more than their own fleeting existence, which in turn reminds the viewer of theirs. A momento mori minus the skulls-and-spook-show imagery.’

 

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Aldo Chaparro Too Drunk to Fuck, 2009

 

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Mom and Jerry Be free fuck it all!, 2011
‘Throughout an illustrious career, starting as street artists and working their way up to the top of the international contemporary art scene, Mom & Jerry are today considered cultural and civic icons. The multi-faceted Mom, and her dirty son Jerry have a passion for art, music, parties, glitter and fashion. In addition to being artists, they consider themselves rebels, outlaws, DJs, living sculptures, talk show hosts, TV personalities, movie stars, and most recently, progressive Broadway dancers.’

 

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Özgür Kar It is all in his head, 2020
Two 4K videos with sound, 20 mins loop. Two 75” TVs, TV stands, Media players, Cord-reel.

 

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Hudinilson Jr. Cadernos de Referênci, 1979 – 2010
‘The artist Hudinilson Jr. truly transformed himself and his life into an ongoing record of his relationship with images. When he died in 2013, he left an apartment that could be mistaken for an archive, overrun as it was with artworks, magazine and newspaper clippings, notes and notebooks. He’d spent decades hoarding and editing thousands of fragments, many of which ended up glued to the more than one hundred and thirty Cadernos de Referência (Reference Notebooks), his name for the notebooks and address books of various shapes and sizes in which he worked daily. His process was singular—and nonlinear. Images clipped in the 1970s might be fished out and juxtaposed or overlapped with others selected in 2010; a page that had seemingly been finished for years could be reopened and filled some more at any given time. The limit was the utter saturation of every single page.

‘In the collages, sexually explicit images frequently coexist with news about the art world; posed portraits of local TV stars rub elbows with reproductions of religious artworks or shocking scenes of accidents and deaths. Each assemblage was guided by the power of attraction and contrast between the manipulated images. Leafing through these notebooks it is clear that, to this artist, images had a haptic nature that surpassed their referential significance or visual appearance. Images can be caressed, shaped, compressed or loosened; they have weight, taste, and consistency. One can play a synesthetic game with them, or a sensual one. This principle is inherent to Hudinilson Jr.’s practice, and that is why he was able to glimpse the act of anal penetration in a sequence of photocopies of a banana being peeled.’

 

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Harland Miller I’m So Fucking Hard–Ernest Hemingway, 2002

 

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Tracey Emin & Louise Bourgeois And so I kissed you, 2009 – 2010
‘The ‘Do Not Abandon Me’ series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin. This suite of prints was one of the last projects Louise Bourgeois completed before her death.’

 

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Liu Ding A man fucking a chicken, 2007
Marble, taxidermy

 

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Anna Uddenberg Transit Mode – Abenteuer, 2014 – 2016
fiberglass, aqua resin, synthetic hair, fabric spray filler, denim, glass, steel

 

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Nikola Tamindzic Stoya fucking New York, 2016
‘Fucking New York. Is it a statement about the awesomeness of the city? Is it a whine about the city’s unapologetic cruelty? Is it literally fucking the NYC? How do you interpret this title?’

 

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Mieko Meguro Dan, Fuck kale, 2019
‘Mieko Meguro displays a variety of portraits of the public figure with whom she shares her life, the artist Dan Graham. The contrasts and contradictions of life together appear quickly from the harmless lightness of the images — an accumulation of everyday scenes shakes this narrative, then moves it to cushions, embroidered with the image of Dan Graham wearing a “Fuck Kale” T-shirt.’

 

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Bruce Nauman Seven Figures, 1985
‘For the neons, Bruce Nauman made sketches in pencil, charcoal and watercolour. For the figures, he used the outlines of the bodies of himself and his wife. The double outlines in different colours indicate where neon is to be used, and the layered figures indicate how they will appear when the neon flashes on and off. The primary colours red, yellow and blue are used for the male figures, while the female figures are represented in softer shades like pink, green and orange. The timing of the sequences is very important and is fixed and repeated in a continual loop, each figure having its own individual programme.’

 

 

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p.s. Hey. So my laptop died on Thursday morning, as I was doing the p.s. in fact, and it has been in the repair shop until just now, and I haven’t been able to access my blog the whole time, which is why this place was on hold. Anyway, we’re back, but it’s very late in the day, so I’m going to speed quickly through the p.s. today, sorry, but I’ll be usual verbose self tomorrow. ** Dominick, Hi, D! For the aforementioned reason I just have to say a warm hello today, and send you love like a successful computer repair person. More talkative tomorrow. ** David Ehrenstein, Actually they were two hers and two thems among the authors. Fingers crossed for us (all) on this scary but increasingly hopeful seeming day. ** _Black_Acrylic, Hi, Ben. My wish is still on hold, eek. ** Steve Erickson, Good luck getting through the day, and here’s still fervently hoping. ** Armando, Hi. I’m better now that I have a laptop and Biden ‘seems’ to be the winner. No, no package, but that’s possibly because our concierge is barely here right now because of the quarantine, so I just have to wait until I see him. Maybe even today. ** Okay. Today’s post is my attempt by default to please you all and distract you in the US from the hopeful but as yet uncertain state of today. Very sorry again for rushing. See you in normal mode tomorrow.