“Studio 54 is a way of life. People live there. They dance there. They drink there. They make friends there. They make love there. They break up there. They become stars there. They do business there. They sleep there…We’ve never had an earthquake in New York, but if we did, it would be at Studio 54.” —Andy Warhol
All pictures by Andy warhol in Studio 54
Akira Kanayama - Remote-Controlled Painting Machine, 1957
(Source: blue-voids)
Matthew Barney / Photographed / Mark Seliger
- Matthew Barney
Coco Fusco and Guillermo Gomez-Pena - The Year of the White Bear, 1992. Photo: Glenn Halvorsen
Fusco and Gómez-Peña, The Year of the White Bear, 1992. Two Amerindians on display for three days at Columbus Plaza, Madrid, Spain, 1992. Photo by Peter Barker.
Artists Fusco and Gomez-Pena placed themselves in a cage and presented themselves to the world as undiscovered indigenous people of an undiscovered island of the Gulf of Mexico.
“Enacting rituals of “authentic” daily life such as writing on a laptop computer, watching TV, making voodoo dolls, and pacing the cage garbed in Converse high-tops, raffia skirts, plastic beads, and a wrestler’s mask, the two “Amerindians” rendered a hybrid pseudo primitivism that struck a nerve. Interested members of the audience could pay for dances, stories, and Polaroids. Guilt, molestation, confusion, and letters to the humane society were among audience responses. Nearly half the visitors that saw the cage in Irvine, London, Madrid, Minneapolis, and the Smithsonian in Washington D.C. believed that the two were real captives, true natives somehow tainted by the detritus of technology and popular culture.” Excerpt from this article at Bombsite written by Anna Johnson with an interview with both artists.
by Janine Antoni, Mortar and Pestle, 1999.
Janine Antoni - Lick and Lather, 1993, 7 soap and 7 chocolate self portrait busts.
Janine Antoni, Loving Care (1992-1994)
by Gillian Wearing
Gillian Wearing in Balenciaga I Guggenheim shot by Paul Cox for PoP S/S 2011
“THE END OF THE WORLD” - Jack Pierson, installation view, Regen Projects, Los Angeles January 12 - February 16, 2013 © Jack Pierson - Photo: Brian Forrest Courtesy Regen Projects, Los Angeles © Jack Pierson via ArtAddict
From Metallica’s album cover Load - “Semen and Blood III” is one of three photographic studies by Andres Serrano created in 1990 by mingling bovine blood and the artist’s own semen between two sheets of Plexiglas. The source used for the front cover of the album is taken from the music video of Godflesh’s “Crush My Soul”, which Serrano directed.
Andres Serrano - The Morgue, 1992
by Andres Serrano