Carter

in
carter-bothcanbetrueild5992.jpg
1

Both Can Be True, 2016 / 2017
Acrylic paint, paper, thread, fabric, towel, parachute cord,
pencil, colored pencil, gel medium on canvas
86,5 x 76 cm (framed 91,5 x 81)

erasedjamesfranco.jpg
2

Erased James Franco, 2008
Super 16mm film transfered to DVD and Digibeta
63 min. 34 sec.

carteridea2.jpg
3

Although / Emote, 2011
Screen printing and Lithography
49,8 x 51,1 cm

void-place-area.jpg
4

Void/Place/Area, 2010
digitally altered and dated interior on folded and defaced laser prints, acrylic ink, paint and gel medium on paper and on canvas
86,4 x 76,2 cm

legmodelwithsocks.jpg
5

Leg Model, with Socks, 2010
unique Polaroid
28,2 x 30,5 cm

likenessbust10and13.jpg
6

Likeness (bust #7 and #8), 2006/2007
mixed media
150 x 48,5 x 104 cm

carter4.jpg
7

Untitled (with Abstract Painting) 2007#9, 2007
Acrylic, graphite, synthetic hair and paper on canvas
30 2/16 x 32 2/16 inches

carter5.jpg
8

Ten Portraits, Six Rocks and Two-Hundred and Seventy three Abstract Paintings, 2007
Acrylic, paper and gel medium on canvas
50 x 45 inches

carter6.jpg
9

Twenty Portraits, Three Rocks and Two-Hundred and Sixty Abstract Paintings, 2007
Acrylic, paper, synthetic hair and gel medium on canvas
72 x 56 inches

carter7.jpg
10

Untitled, (Modern, Obverse #6), 2008
Acrylic, paper, synthetic hair on photograph
50 x 45 inches

doubleprosopopoeiawithtwo-hundred.jpg
11

Double Prosopopoeia (with Two-Hundred and Eighty-four Abstract Paintings), 2007
Acrylic, paper, synthetic hair and gel medium on canvas
50 x 45 inches each panel

untitled2005polaroid4anpolaroid17.jpg
12

(Untitled) 2005 Polaroid #4 an Polaroid #17, 2005
Polaroid
4,25 x 3,25 inches ea., diptych, framed

Carter

The works of the American artist and filmmaker Carter (born in 1970, lives and works in New York) pose questions about the identities of an individual in his or her social, economic, physical, or sexual ascriptions. In so doing, the artist is interested in the general socio-political transformation of identity constructions as well as in changes that have taken place when it comes to discourse about clear gender attributions in particular. Carter’s artistic signature seems extremely characteristic and individual: subtile variations of constantly changing colors, shapes, and compositional means manically run through his entire oeuvre. His play with facts and fiction, references to artistic forebears, often more concealed than open, social-political events, or autobiographical facts construct a thick web, linking it to subjective experiences and questions to then examine it using the most various media—painting, photography, sculpture, or video—in terms of its general validity or relevance.

His works have been exhibited around the world, for example at the Museum of Modern Art, New York, San Francisco Museum of Modern Art, Tate Modern, London, Salon 94 Freemans, New York (2009), Bolzano’s Museion (2008), Whitney Museum of American Art, New York (2006), as well as at Georg Kargl BOX, Vienna (2011, 2007) and Georg Kargl Fine Arts (2017).

Erased James Franco, film screening and appearances: Museum of Modern Art, New York, Tate Modern, London, Cleveland Museum of Art, Portland Museum of Art, San Francisco Museum of Modern Art, Castro Theater, San Francisco.