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ENRONERGIZER BUNNY (Dick Cheney), May, 2002. 

F
ENRONERGIZER BUNNY (Dick Cheney), May, 2002. From 1997—2003, I did a once-a-month, satirical "mini-poster" for the back page of the LA Weekly. Sue Horton hired me (!) and edited out my few slanderous words. Bill Smith art directed the whole shebang and kept me from using too many corny Photoshop effects. What did I know? I just made the art and bad puns. As for bad? You can't get worse than Dick Cheney. He inspired us to do our worst (best). Cheney's connection to Halliburton and the 2nd Iraq War—"What's their land doing on our oil?"—is what drove us to this iteration. Here's a tip from Uncle Robbie for you kids out there: any bad guy looks a whole lot better with pink bunny ears.
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Pierre-Jean David d'Angers, Bust of Ann Buchan Rob
Pierre-Jean David d'Angers, Bust of Ann Buchan Robinson, Museum of the City of New York; Joseph Nollekens, Venus, The J. Paul Getty Museum, Los Angeles; Malvina Hoffman, Japanese Woman, and, Eskimo Woman, The Field Museum, Chicago, Lightjet print, 23 x 61.5 in., ed. 5, from the Profiled series, courtesy of the artist and Luis De Jesus Los Angeles
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The Princess and the Frog King I-Gouache and chalk
The Princess and the Frog King I-Gouache and chalk pastel on paper-22 x 30 inches
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Checkers is the first piece I did using pre-fab st
Checkers is the first piece I did using pre-fab store bought oilboard stencils. I think I used about 130 sets. It's an arduous process that in the end looks like something any kid could produce, you know, theoretically. My work is usually black and white; this is the mint version. 34 x 59". Oil stick and acrylic on panel.
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The Integration Of Sexually Dimorphic Dysmorphia I
The Integration Of Sexually Dimorphic Dysmorphia Into Space acrylic on canvas 72”x55 inches 2012 Private Collection
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Rorschach, 2012. 27
Rorschach, 2012. 27" x 26" x 10" Mixed media (polyester foam, resin, wood, paint and flock)
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Chamber 7 - Windowsill, 48 x 60
Chamber 7 - Windowsill, 48 x 60", Light jet print Image courtesy of the artist and Cooper Cole Gallery, Toronto
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John, 2008 
Ilfochrome Print 
Loretta Lux, Court
John, 2008 Ilfochrome Print Loretta Lux, Courtesy Yossi Milo Gallery, New York Lux’s photographs of children are not portraits in the traditional meaning of the word. Rather, she sees them as imaginary portraits which deal with the idea of childhood as a paradise lost. The carefree, innocent childhood ideal is explored in the photographs as an imaginary kingdom, one which is created more by the projection of adult ideals and concerns.
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The Sitter, 16 by 12 inches, oil on linen, 2011
The Sitter, 16 by 12 inches, oil on linen, 2011
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The Feeding, India ink, photo printed on cotton pa
The Feeding, India ink, photo printed on cotton paper, 4 x 6 2012 From my five years of research I have found that many images were taken of women nursing. Some are constructed in order to look as if the mother and child were participating in a sexualized act. I wanted to take this supposedly intimate moment that is captured for the camera and make it hyper by creating organisms that seem to cloak, intrude, cover and protect the mother and child all at the same time.
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