top of page
Video Killed The Radio Star
April 18 - May 31, 2024
The lyrics of "Video Killed the Radio Star" by The Buggles reflect a transition in media and technology, symbolized by the rise of video and the decline of radio. Similarly, the comparison between art created by AI and art crafted through traditional methods illuminates a shifting landscape in the art world.
Art made by AI, like the "second symphony" mentioned in the song, can be seen as a product of new technology, rewritten by machines. It challenges the notion of authorship and the role of human creativity. Conversely, traditional art forms carry the weight of history and craftsmanship, akin to the nostalgia associated with radio.
The virtual exhibition "Video Killed the Radio Star" explores this dichotomy by reimagining recognized artworks through the lens of AI. By juxtaposing originals with AI-generated reinterpretations, the exhibition invites viewers to contemplate the evolving nature of creativity and technology in art. It examines how AI influences our perception of art and questions the boundaries between human and machine-generated creativity.
Cindy Sherman
Untitled #188, 1989
45 x 67 in (h x w)
Chromogenic development print sheet
After- Cindy Sherman: Untitled #188, 2024
Printed as 43 x 43 in (h x w)
150 USD
GenAI Print on Museum Paper
Untitled #188, 1989:
In Cindy Sherman's Untitled #188, a striking entry in her celebrated "Film Stills" series, crafted in the late 1970s and early 1980s, the artist adeptly inhabits a myriad of personas within meticulously crafted cinematic vignettes. Drawing from the mystique of classic Hollywood film noir, Sherman immerses herself in elaborate costumes, makeup, and props, delving deep into the intricate web of identity, gender, and the representation of characters in the realm of popular media.
After- Cindy Sherman: Untitled #188, 2024:
In the futuristic AI reinterpretation of Cindy Sherman's Untitled #188, the artwork transcends its original form, embracing an augmented reality paradigm that envelops spectators in an immersive journey. Utilizing cutting-edge neural networks and deep learning algorithms, the AI meticulously reconstructs Sherman's iconic tableau with hyper-realistic precision, inviting users to traverse and scrutinize the landscape with a fresh protagonist at its core.
This visionary AI rendition of Untitled #188 not only defies the confines of conventional artistic mediums but also heralds a new era of fusion between technology and imagination. By seamlessly melding innovation with creative vision.
Marlene Dumas
An African Mickey Mouse, 1991
24 x 18 in (h x w)
Ink on paper
After-Marlene Dumas: An African Mickey Mouse, 2024
24 x 18 in (h x w)
100 USD
GenAI Print on Museum Paper
An African Mickey Mouse, 1991:
Marlene Dumas's artwork "An African Mickey Mouse" depicts a reinterpretation of the iconic Disney character, Mickey Mouse, with an African twist. Dumas, known for her provocative and socially conscious pieces, explores themes of cultural appropriation, globalization, or the impact of Western media on African identity through this piece.
After-Marlene Dumas: An African Mickey Mouse, 2024:
Marlene Dumas reigns as one of the most influential painters of our time. Yet, what intriguing possibilities arise when artists of her caliber join forces in collaboration? Thanks to artificial intelligence, we now possess the ability to explore uncharted territories by melding the distinctive styles of talented creators. In this groundbreaking endeavor, Dumas' formidable artistry finds resonance with the visionary perspective of Simone Leigh, resulting in a captivating fusion that celebrates the essence of African diaspora artistry.
Marlene Dumas
The Visitor, 1995
70.9 x 118.1 in (h x w)
Oil on canvas
After-Marlene Dumas: The visitor, 2024
Printed as 40 x 60 in (h x w)
350 USD
GenAI Print on Museum Paper
The Visitor, 1995:
"The Visitor" offers a haunting glimpse into the shadows of human existence. Through the medium of oil on canvas, Dumas captures the essence of a moment frozen in time—a dark alleyway populated by five women in revealing attire, alluding to the harsh realities of sex work.
Yet, beneath the surface lies a deeper exploration of human nature and social dynamics. Dumas's keen eye for detail and her ability to probe the complexities of identity and social roles are on full display, inviting viewers to confront the multifaceted aspects of humanity. Through her art, she challenges us to confront the positives and negatives we have created, shining a light on the intricacies of human experience.
After-Marlene Dumas: The visitor, 2024:
The coding of artificial intelligence emulates representation of cultures, with instruction to display without bounds. Featuring two African women against a backdrop of a forest green, garnet red, and black could evoke a sense of cultural richness and depth. The women are depicted with intricate patterns in their adornments, and their expressions could convey a mix of strength, pride, and perhaps a hint of mystery. The dark, earthy tones of the background could enhance the vibrancy of the women's features, creating a striking contrast and drawing the viewer's attention to their presence.
After-Kara Walker: Procession for the Negro Folk (Hero), 2024
60 x 84 in (h x w)
400 USD
GenAI Print on Museum Paper
Kara Walker
Procession for the Negro Folk (Hero), 2007
60 x 84 in (h x w)
Mixed media, cut paper and acrylic on gesso on a panel
Procession for the Negro Folk (Hero), 2007:
In the vast tapestry of contemporary art, few figures loom as large and enigmatic as Kara Walker. A virtuoso of the visual narrative, Walker has shattered the confines of expectation, transcending the mere status of an artist to become an indomitable force of social commentary and historical reckoning. Her canvases, or rather, her silhouettes, serve as haunting portals into the tumultuous annals of African American history, where anguish and hostility intertwine with resilience and defiance.
After-Kara Walker: Procession for the Negro Folk (Hero), 2024:
In the realm of artificial intelligence, Walker's influence is no less profound. Here, in the digital atelier of the algorithm, her vision takes on new dimensions, as the cold logic of code gives birth to images that echo with the resonance of her silhouettes. Through the alchemy of technology, her legacy endures, a testament to the enduring power of art to provoke, to challenge, and to inspire.
Rachel Ruysch
Still Life with Bouquet of Flowers, 1690-1720
26 x 21.1 in (h x w)
Oil on Canvas
After-Rachel Ruysch: Still Life with Bouquet of Flowers, 2024
26 x 21.1 in (h x w)
150 USD
GenAI Print on Museum Paper
Still Life with Bouquet of Flowers, 1690-1720:
Rachel Ruysch, hailed as the paramount female artist of her epoch, cast a spellbinding allure upon the art world with her prodigious talent. Among her illustrious oeuvre, "Still Life with Bouquet of Flowers" emerges as a luminous gem, resplendent with the opulence of floral exuberance.
Crafted sometime between 1690 and 1720, this exquisite composition transports viewers to a realm where nature's bounty is exalted in all its glory. Each petal, each leaf, each dew-kissed blossom is meticulously rendered, infusing the canvas with a sense of vibrancy and life. It is a testament to Ruysch's consummate skill and unwavering dedication to her craft.
After-Rachel Ruysch: Still Life with Bouquet of Flowers, 2024:
In the AI-generated rendition of "Still Life with Bouquet of Flowers," a mesmerizing tapestry unfolds, weaving together a rich tapestry of flora and fauna, within which a human form delicately emerges. This innovative interpretation breathes new life into Rachel Ruysch's timeless composition, offering viewers a fresh perspective on her masterful work.
Eva Hesse
Untitled, 1960
36 x 36 in (h x w)
Oil on Canvas
After-Eva Hesse: Untitled, 2024
36 x 36 in (h x w)
200 USD
GenAI Print on Museum Paper
Untitled, 1960:
In Hesse's "Untitled," created in 1960 during her emergence in the art world, the artist channels the restless energy of youth into a canvas alive with vibrant hues and irregular mixtures. Through oil on canvas, Hesse explores the possibilities of abstraction, fearlessly experimenting with color and form.
Hues of green, orange, and pink dance across the canvas, each brushstroke a testament to Hesse's unbridled creativity. In this evocative piece, she captures the essence of a young and creative mind, unafraid to challenge convention and express herself authentically. Through her art, Hesse invites viewers to embrace the inherent beauty of imperfection and to celebrate the boundless potential of the human spirit.
After-Eva Hesse: Untitled, 2024:
Eva Hesse, renowned for her audacious and cunning maneuvers upon the canvas, finds herself thrust into the whirlwind of technological advancement. Here, her unrestrained brushstrokes encounter confinement and scrutiny under the relentless gaze of AI programming, rendering the audience with a portrayal emblematic of contemporary society's interpretation of artistry.
Chakaia Booker
Urban Butterfly, 2001
57 x 53 in (h x w)
Rubber Tires
After-Chakaia Booker: Urban Butterfly, 2024
57 x 53 in (h x w)
150 USD
GenAI Print on Museum Paper
Urban Butterfly, 2001:
With a deft hand and an unyielding vision, Booker transforms the mundane into the extraordinary, fashioning abstract marvels from the humble confines of recycled tires and gleaming stainless steel. Her monumental creations, imposing and ethereal, command attention.
Beyond their sheer aesthetic prowess, her works serve as poignant reflections of our modern spirit, delving into the complexities of sustainability, the seductive allure of consumerism, and the delicate dance between nature's grace and industry's relentless march.
After-Chakaia Booker: Urban Butterfly, 2024:
By harnessing the power of artificial intelligence algorithms, Booker’s creations achieve an unprecedented level of complexity and depth, imbued with an organic fluidity that belies their origins in recycled materials. It is almost as if Booker herself elaborated on her artwork, creating the theory that AI can expertly mimic and surpass our human abilities.
Dorothea Tanning
Still Life with Bouquet of Flowers, 1690-1720
26 x 21.1 in (h x w)
Oil on Canvas
After-Dorothea Tanning: On Fire, 2024
Printed as 20 x 16 in (h x w)
100 USD
GenAI Print on Museum Paper
On Fire, 1994:
The breathless, fleeing girl with clothing in flames epitomizes Tanning’s surreal narratives. The ambiguity of the half-clothed figure suggests a state of metamorphosis. Her forward thrust is thwarted by a brick wall that swallows her forearms. As in a nightmare. Tanning had fled Paris on the brink of war in 1939, and she returned in 1949 to a devastated city. Despite the possible biographical connection, the meaning of this image is unclear because, as the artist explained, “My work is about the enigmatic, about leaving the door open to imagination.”
After-Dorothea Tanning: On Fire, 2024:
The GenAI vision of “On Fire’ Draws inspiration from the sustainable interplay of life and utilizes vegetation as a potent metaphor for freedom, Tanning's creation emerges as a testament to the ever-expanding horizons of artistic innovation. Through this synthesis of human creativity and technological advancement, Tanning’s work now invites us to contemplate not only the enigmatic depths of the surreal but also the boundless possibilities that lie at the intersection of art and artificial intelligence.
Magda Pach
Frida Kahlo, 1933
20.2 x 16.2 in (h x w)
Oil on Canvas
After-Magda Pach: Frida Kahlo-Cubism, 2024
20.2 x 16.2 in (h x w)
100 USD
GenAI Print on Museum Paper
After-Magda Pach: Frida Kahlo-Young, 2024
20.2 x 16.2 in (h x w)
100 USD
GenAI Print on Museum Paper
In the fervent crucible of artistic discovery, Magda Pach's fascination with the vibrant tapestry of Mexican art found its focal point in the enigmatic visage of Frida Kahlo. Like a vigilant guardian, she nurtured Kahlo's nascent talent through the tumultuous 1940s, a time when Kahlo's canvases seethed with a potent brew of political dissent, echoing the strident cadences of race, class, and gender upheaval. Yet, even as Kahlo's star ascended, she had not yet reached the dizzying heights of global acclaim that awaited her in the ensuing decades. It was in the 1970s, an epoch marked by a full-throated chorus of Kahlo's resounding influence, that Pach found herself poised on the brink of a profound convergence. In a moment pregnant with significance, she wielded her brush with the deftness of a master, crafting a portrait that mirrored the essence of Kahlo's indomitable spirit. Thus, in a poetic twist of fate, Pach's journey through the annals of Mexican art came full circle, culminating in a homage to the very artist whose luminescence had ignited her passion decades prior.
After-Magda Pach: Frida Kahlo-Middle Age, 2024:
After-Magda Pach: Frida Kahlo-Young, 2024:
The intersection of art and technology has birthed a new era of portraiture, reimagining Magda Pach's iconic homage to Frida Kahlo through the lens of artificial intelligence. Inspired by Pach's timeless portrayal, the sitter utilizes cutting-edge algorithms to evoke the spirit of Kahlo while simultaneously crafting a distinctly 21st-century interpretation. The resulting portraits are not mere reproductions but rather dynamic reflections of the ever-evolving relationship between humanity and technology.
Tarsila Do Amaral
Central Railroad of Brazil (Estrada de Ferro Central do Brazil), 1924
55.9 x 50 in (h x w)
Oil on Canvas
After-Tarsila do Amaral: Central Railroad of Brazil (Estrada de Ferro Central do Brazil)-1, 2024
Printed as 43 x 43 in (h x w)
150 USD
GenAI Print on Museum Paper
After-Tarsila do Amaral: Central Railroad of Brazil (Estrada de Ferro Central do Brazil)-2 , 2024
Printed as 43 x 43 in (h x w)
150 USD
GenAI Print on Museum Paper
Central Railroad of Brazil (Estrada de Ferro Central do Brazil), 1924;
Tarsila is recognized as a modernist artist who skillfully merged local cultural elements with cutting-edge international styles. Her abstract portrayals of urban slums embody the essence of primitivism, reflecting the roots of modernism and artistic innovation in Brazil.
After-Tarsila do Amaral: Central Railroad of Brazil (Estrada de Ferro Central do Brazil)-1, 2024:
A modernist perspective of Brazilian city slums in geometric formation is what Tarsila Do Amaral produces in this piece. Artificial intelligence pushes the bounds of this strict style Amaral encompasses and completely alters and manufactures a new concept, inspired by Henri Matisse. This regenerated artwork constitutes of a new scenario, the imagery of women merging with one another, almost like a mesmerizing dance, while in vibrant garments of red and green.
After-Tarsila do Amaral: Central Railroad of Brazil (Estrada de Ferro Central do Brazil)-2, 2024:
Artificial intelligence, although limitless, can construct alluring artworks with minor detail or instruction. The geometric foundation Amaral visualizes is still intact after the AI reimagines the landscape into a woman's figure. Splashes of pastel and lively colors form the face of a distraught woman, with luscious hair that also depicts like her facial expression, a bewildered state.
Toyin Ojih Odutola
Letting the Ring Finger In, 2009/2010
30.5 x 22.5 in (h x w)
Ink and varnish on paper
After-Toyin Ojih Odutola: Letting the Ring Finger In, 2024
30.5 x 22.5 in (h x w)
125 USD
GenAI Print on Museum Paper
Letting the Ring Finger In, 2009/2010:
Toyin Ojih Odutola's "Letting the Ring Finger In" is a testament to the artist's exploration of identity and place. Executed in ink and varnish on paper in 2009/2010, this piece, measuring 30 1/2 by 22 1/2 inches, captures Odutola's unique perspective on the complexities of human experience.
Against a backdrop of shifting contexts and mutable realities, Odutola invites viewers to consider the fluid nature of identity and the ways in which we construct meaning in our lives. Through her nuanced brushwork and intricate detail, she challenges conventional notions of self and society, urging us to embrace the multiplicity of our existence.
After-Toyin Ojih Odutola: Letting the Ring Finger In, 2024:
In the sinuous labyrinth of contemporary artistic expression, Odutola's works emit a disquieting resonance, an otherworldly hum that resonates with the eerie algorithmic orchestrations of AI.
Within this kaleidoscopic tapestry, echoes influence of the Italian painter of the late Renaissance (1527-1593), Giuseppe Arcimboldo's iconic compositions reverberate, as the fruits of his imagination are seamlessly interwoven into Odutola's creation, blurring the line between the old world and the new, the tangible and the virtual.
Ghada Amer
Untitled (Orange), 1998
72 x 72 in (h x w)
Acrylic, embroidery, and gel medium on canvas
After-Ghada Amer: Untitled (Orange), 2024
Printed as 43 x 43 in (h x w)
250 USD
GenAI Print on Museum Paper
Untitled (Orange), 1998:
Ghada Amer, renowned for her bold exploration of color and embroidery, has left an indelible mark across various mediums of artistic expression. Among her notable works stands "Untitled (Orange)," a canvas measuring an impressive 72 by 72 inches—a testament to the artist's unwavering commitment to storytelling through art.
In this piece, executed in 1998, Amer delves into the realm of political and social upheaval faced by women, utilizing acrylic, embroidery, and gel medium to weave together a narrative that resonates with profound depth and resonance. Through vibrant hues and intricate stitching, she invites viewers into a world where the personal and the political intersect, challenging conventions and sparking dialogue.
After-Ghada Amer: Untitled (Orange), 2024:
Though aided by artificial intelligence, the embroidered motifs metamorphose into foliage, symbolizing the upheaval as an allegory of the autumnal struggle of changing seasons. This transformation eloquently conveys the enduring struggles of women, while the beauty of the representation serves as a testament to their inherent dignity.
Tamara De Lempicka
Young Woman in Green (Jeune fille en vert; Jeune fille aux gants),
1927-1930
24.3 x 18 in (h x w)
Oil on plywood
After-Tamara de Lempicka: Young Woman in Green (Jeune fille en vert; Jeune fille aux gants)-1, 2024
24.3 x 18 in (h x w)
100 USD
GenAI Print on Museum Paper
After-Tamara de Lempicka: Young Woman in Green (Jeune fille en vert; Jeune fille aux gants)-2, 2024
24.3 x 18 in (h x w)
100 USD
GenAI Print on Museum Paper
Young Woman in Green (Jeune fille en vert; Jeune fille aux gants), 1927-1930:
In 1929, she created one of her most renowned artworks, 'Young Lady with Gloves (Girl in a Green Dress)'. Despite the sharp angles in the painting, De Lempicka skillfully conveyed the illusion of the girl's dress fluttering in the wind.
After-Tamara de Lempicka: Young Woman in Green (Jeune fille en vert; Jeune fille aux gants)-1, 2024;
Amidst this swirling maelstrom of innovation, Cubism stands as a testament to the audacious spirit of artistic revolution, boldly dismantling the conventions of reality and reconstructing them in a frenzy of geometric abstraction.
Here, AI finds its natural ally, its digital sinews entwined with the avant-garde ethos of Picasso and his ilk, as it ventures forth to redefine the very fabric of artistic expression. A woman, swathed in emerald elegance, becomes a vessel for this transformative power, transmogrified into a living embodiment of Picasso's cubist vision—a testament to the enduring legacy of art's perpetual metamorphosis.
After-Tamara de Lempicka: Young Woman in Green (Jeune fille en vert; Jeune fille aux gants)-2, 2024:
The prowess of artificial intelligence is showcased in its ability to re-imagine art with remarkable analytical capabilities. In this instance, the iconic work of Lempicka is subjected to potent computing power, infused with the inspiring vision of contemporary artist, Simone Leigh. The result is an innovative oeuvre that ingeniously melds cultures, offering a fresh perspective on the artistic landscape.
Tarsila Do Amaral
Postcard (Cartão-postal), 1929
50.3 x 56.2 in (h x w)
Oil on Canvas
After-Tarsila do Amaral: Postcard (Cartão-postal) , 2024
Printed as 43 x 43 in (h x w)
200 USD
GenAI Print on Museum Paper
Postcard (Cartão-postal), 1929:
The painting Postcard by Tarsila captures the essence of vibrant nature in a contemporary style, showcasing her iconic work from the late 1920s. In her early exploration of the Brazilian landscape, she had penned down her thoughts.
After-Tarsila do Amaral: Postcard (Cartão-postal), 2024:
In the boundless expanse of technological innovation, the AI-driven metamorphosis of Tarsila do Amaral's postcard-like imagery heralds a paradigm shift in the annals of artistic reinterpretation. What once stood as a testament to the enchanting beauty and whimsical charm of Brazil's verdant landscapes now emerges anew, infused with the spirit of Wayne Thiebaud's iconic desert-scapes.
Through the alchemy of artificial intelligence, Amaral's tableau transcends its original form, blossoming into a sumptuous feast for the senses, where hues of unparalleled vibrancy dance with a vitality previously unseen. In this brave new world of creative possibility, the familiar is rendered unfamiliar, and the past is reimagined through the lens of the present, inviting viewers on a journey of discovery through the ever-shifting landscapes of artistic expression.
After-Mickalene Thomas: Monet's Salle a Manger Jaune-1 , 2024
Printed as 60 x 43 in (h x w)
400 USD
GenAI Print on Museum Paper
Mickalene Thomas
Monet's Salle a Manger Jaune , 2012
108 x 144 x 2 in (h x w x d)
Rhinestone, acrylic, oil and enamel on wood panel
After-Mickalene Thomas: Monet's Salle a Manger Jaune-2, 2024
Printed as 60 x 43 in (h x w)
400 USD
GenAI Print on Museum Paper
Monet's Salle a Manger Jaune, 2012:
In "Monet's Salle a Manger Jaune," the artist draws inspiration from Claude Monet's famed dining room at Giverny, France, where she once resided. Through a dazzling array of rhinestones, acrylic, oil, and enamel on a wood panel, Thomas conjures a visual feast that pays homage to Monet's legacy while infusing it with her own unique perspective.
With meticulous attention to detail and a nod to Cubist influences, Thomas transforms the canvas into a kaleidoscope of colors, textures, and patterns. Each rhinestone glitters with the allure of the past, while the bold strokes of acrylic and oil paint add depth and dimension to the composition. The result is a grand tableau that transcends mere representation, inviting viewers to immerse themselves in a world where reality and imagination collide.
After-Mickalene Thomas: Monet's Salle a Manger Jaune-1, 2024:
What was a quaint dining room that Thomas had replicated, AI decided to completely override and envision distinctly. A rugged terrain with waterfalls that invokes a menacing and treacherous emotion, only saving the hues and palettes of the original piece.
After-Mickalene Thomas: Monet's Salle a Manger Jaune-2, 2024:
In the AI rendition of Mickalene Thomas’s "Monet's Salle a Manger Jaune," the homage to Claude Monet's renowned dining room in Giverny, France, undergoes a metamorphosis. Once a reflective and solitary space, it now emerges as a communal hub for dining, pulsating with vitality and activity. The transformation breathes new life into the scene, rendering it open and dynamic, echoing the spirit of communal engagement and shared experience.
Cecily Brown
The Girl Who Had Everything, 1998
100.2 x 110 in (h x w)
Oil On Linen
After-Cecily Brown: The Girl Who Had Everything, 2024
100.2 x 110 in (h x w)
350 USD
GenAI Print on Museum Paper
The Girl Who Had Everything, 1998:
Cecily Brown, in her iconic piece "The Girl Who Had Everything," delves deep into the realm of abstraction, crafting a canvas that pulsates with raw energy and emotion. Measuring a striking 100 1⁄8 by 110 inches, this painting, created in 1998, serves as a testament to Brown's mastery of form and color.
With bold strokes of red, pink, white, and black, Brown creates a dynamic composition that evokes a sense of urgency and tension. Through her expressive brushwork, she invites viewers to confront their own emotions and perceptions, challenging them to engage with the canvas on a visceral level.
After-Cecily Brown: The Girl Who Had Everything, 2024:
Through the transformation with the aid of the algorithm of AI, Brown's work unleashes a new realm. We unearth a dimension of interpretation, where the boundaries between reality and imagination blur, and the essence of the human experience is laid bare. Hues of red, pink, white and black create a moving imagery that can evoke emotions that cause a stand-offish and stern ambiance.
Alma Thomas
Starry Night and the Astronauts, 1972
60 x 53 in (h x w)
Acrylic on canvas
After-Alma Thomas: Starry Night and the Astronauts, 2024
60 x 53 in (h x w)
200 USD
GenAI Print on Museum Paper
Starry Night and the Astronauts, 1972:
Thomas, buoyed by an unwavering passion for the cosmos and the boundless frontier of space exploration, embarked on a painterly odyssey infused with celestial inspiration. With deft strokes of her brush, she orchestrated a symphony of light and shadow upon the canvas peaks, each hue meticulously selected to evoke the ethereal beauty of distant galaxies. Purposefully navigating the interplay of color and form, Thomas imbued her creation with a transcendent vibrancy, inviting viewers to behold not only the majesty of the painted landscape but also the ineffable wonders of the universe beyond.
After-Alma Thomas: Starry Night and the Astronauts, 2024:
Thomas's celestial masterpiece finds itself reimagined through the transformative lens of artificial intelligence. Through pixelated compositions and surreal distortions, AI-driven iterations of the painting emerge, challenging traditional notions of portraiture and transcending the boundaries of conventional artistic interpretation. Each brushstroke, meticulously crafted by algorithms, serves not only to capture the luminous essence of space but also to blur the lines between the tangible and the digital. As viewers gaze upon these AI-rendered artworks, they are invited to ponder the fluidity of identity in an increasingly digitized world, where the boundaries between the real and the virtual begin to fade into obscurity.
Lisa Yuskavage
Tourists, 2008
30.5 x 23 in (h x w)
Oil On Linen
After-Lisa Yuskavage: Tourists , 2024
30.5 x 23 in (h x w)
125 USD
GenAI Print on Museum Paper
Tourists , 2008:
Lisa Yuskavage's "Tourists" transports viewers into a surreal world of enigmatic beauty and foreboding mystery. Executed in oil on linen in 2008, this painting, measuring 30 3/8 by 22 7/8 inches, showcases Yuskavage's distinctive style and vision.
Against a backdrop of murky green, two figures traverse a landscape that seems to teeter on the brink of collapse. Through her dramatic use of light and shadow, Yuskavage imbues the scene with a sense of unease and uncertainty, inviting viewers to contemplate the fragility of existence.
After-Lisa Yuskavage: Tourists, 2024:
Yuskagave created an already irregular and gloomy scenario with the usage of a murky green sky and a dangerous terrain, however the AI heightens these emotions. Imagine an intense crimson sky stretching across the horizon, casting an otherworldly glow. In the center of this surreal scene, an eye, reminiscent of a creature’s, pierces through the fiery atmosphere, its gaze both mesmerizing and mysterious.
bottom of page