Installation View. L to R: Nancy Baker, Kendell Carter, Jennifer Nehrbass
Installation View. L to R: Kendell Carter, Klaus Wanker
Installation View. Kendell Carter
Installation View. Klaus Wanker
Installation View: L to R: Klaus Wanker, Jennifer Nehrbass
Kendell Carter
Tradizzle Arm Chair (red), 2006
mixed media
31 x 29 x 43 inches
Kendell Carter
Tradizzle Arm Chair (red), 2006
DETAIL
Kendell Carter
Tradizzle Arm Chair (red), 2006
DETAIL
Kendell Carter
Tradizzle Arm Chair (black), 2006
mixed media
31 x 29 x 43 inches
Kendell Carter
Tradizzle Arm Chair (black), 2006
DETAIL
Kendell Carter
Tradizzle Arm Chair (black), 2006
DETAIL
Kendell Carter
Mark, 2006
polished brass and gold plate
edition of 3 (+1 AP)
14 x 30 inches
Nancy Baker
Waiting for My Prince, 2006
oil on wood panel
36 x 36 inches
Nancy Baker
City of God, 2005
oil on wood panel
36 x 36 inches
Klaus Wanker
Don't Dare Anyone Over 18 (We're the Only Big Minds in the World), 2006
oil on canvas
78 3/4 x 59 inches
Klaus Wanker
Suddenly I Felt a Paranoia of a Momentary Schizothymia, 2006
oil on canvas
78 3/4 x 59 inches
Klaus Wanker
Low Budget Satisfaction, 2005
oil on canvas
59 x 86 1/2 inches
Jennifer Nehrbass
Rebecca, 2006
oil on canvas
45 x 60 inches
Jennifer Nehrbass
Phase, 2005
oil on canvas
58 x 44 inches
Jennifer Nehrbass
Imperialista, 2006
oil on canvas
50 x 65 inches
Zeit_geist [tsahyt-gahyst] –noun German.
the spirit of the time; general trend of thought or feeling characteristic of a particular period of time.
heist [hahyst] Slang. –noun
a robbery or holdup: Four people were involved in the armored car heist.
[Origin: 1925–30, American; alter. of hoist]
ZeitHeist; for the artists, a combination between, and of, the sign of the times and the particular sensibilities of our age and the freedom to take what is needed visually, from wherever, for whatever, to create what is relevant to themselves. Good artists borrow, great artists steal, to paraphrase Picasso.
The resurgence in figurative art has seen these artists re-look at the contextualization of their work within both a historical relationship to the art of the past, but also in terms of its connection to modes of production from other sources, from graffiti to fashion, design to magazines. These four artists spread their nets wide to self-reflexively situate their particular practices in a direct interaction with the elements, concerns and social codes of these divergent activities.
