#paul pfeiffer

[miamaimania]

Intersections of Play: Paul Pfeiffer's The Playroom, 2012

[zegalba]

Paul Pfeiffer: The Playroom (2012)

[milksockets]

'quod nomen mihi est?' by paul pfeiffer, 1998 in art21: art in the twenty-first century (2003)

[wehaveagathering]

Paul Pfeiffer; Selections from Four Horsemen of the Apocalypse

[givreencres]

Art by Paul Pfeiffer

[midi-wizard]

a quiet Wednesday

[intriguingpeoplebyangelafloyd]

MARILYN MANSON

Josh Saviano (Paul Pfeiffer in The Wonder Years)

#marilynmanson#joshsaviano#paulpfeiffer#thewonderyea

[mimeticspace]

Paul Pfeiffer, Playroom

[mtaartsdesign]

Grand Central Madison presents an opportunity for Arts & Design to expand its photography lightbox program. Ten large-scale lightboxes located on the concourse level at 43rd Street will feature rotating exhibitions of artwork by contemporary artists and photographers. In this inaugural exhibition, Arts & Design partners with @icphoto to present a new body of eye-catching photographic artwork by Paul Pfeiffer. Pfeiffer’s “Still Life” celebrates the iconic street performer known as Da Gold Man, who has appeared as a living statue on the sidewalks of Times Square for more than 17 years, covered in gold and standing motionless on a common milk crate. Da Gold Man fascinates and enthralls passersby with his uncanny, statue-like presence.

“Presenting ‘Still Life’ in the new transit terminal is an opportunity to consider both the language of advertising that saturates midtown Manhattan and the everyday rhythms of people moving through the city's public transit hubs: some as commuters who will see the art repeatedly over time and some visitors who will walk by only once,” said artist Paul Pfeiffer. “Either way, the images are made to be seen in passing and in a distracted state, in the periphery of people's awareness. This is similar to how people come across Da Gold Man as a living statue when he's working in his native environment of Times Square.”

[nedison]

Got to finally meet this baby in person today! Presented on a looping personal DVD player.

Paul Pfeiffer “Desiderata” 2004. Digital video loop, viewable here at 28:37.

The Price Is Right becomes a garish hell of impossible tasks. As if it wasn’t that already…

[marvelgifs]

Captain America: Civil War (2016) dir. Anthony and Joe Russo

[juhneenteagues]

Ant Man and the Wasp Quantumania spoilers with no context

[wandanvision]

this is a janet van dyne and hank pym supporting each other instead of being mad at each other account

[rubyfire777]

To Johan Huizinga, author of the classic 1938 study Homo Ludens, it is the healthy, energetic civilization that is able to constantly engender new forms of play, whereas in decadent societies, highly organized systems of recreation and amusement become mere formal games. With its concise group of works, all from 2012, Paul Pfeiffer’s exhibition “Playroom” explored the spectrum of modernity’s forms of play, from “free,” fun and pleasurable activities to codified competitions in which profit or passive entertainment seem to be the motivating impetus [...]

The physical centerpiece of “Playroom” was the show’s titular sculpture, a five-by-five-foot hexagonal structure set eye-level on a white plinth. The work is a re-creation of basketball star Wilt Chamberlain’s so-called X-rated or “play” room from his 1970s-era Bel Air mansion, a space of period luxury—mirrored wall panels, a fur-covered water bed—and the site of his much publicized sexual romps (he once claimed to have had sex with more than twenty thousand women). In his architectural model, Pfeiffer removes most of the decorative embellishments (paintings, sculptures, and throw pillows) and makes each of the room’s six walls a one-way mirror, so the experience of looking into the sculpture is a dizzying mise en abyme of reflections without a subject (one’s own peering face is, of course, left out). Pfeiffer’s hollowing out of the space turns it into a Robert Smithson–like non-site (the sculpture’s mirrored, geometric, display-case form contributes to the sense of its contents being nearly geologic) and gives the impression that the “love nest” was not dedicated to spontaneous, “free” pleasure but was the epicenter of a rigidly quantified game of sexual conquest. For Huizinga, play was separated from ordinary life and therefore no material interest could be gained from it. Yet, Pfeiffer suggests, “professionalized” games often trade more in routine and spectacle than in authentic, creative, unalienated pleasures.

Eva Díaz for Artforum

'playroom' paul pfeiffer (2012)

[olipeaksforever]

same costume designer btw

[leaderoftheduckresistance]

Ant Man and the Wasp: Quantumania spoilers with no context