#paul pfeiffer

[miamaimania]

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

[zegalba]

Paul Pfeiffer: The Playroom (2012)

[mentaltimetraveller]

Paul Pfeiffer, “Vitruvian Figure”, 2008

at Perrotin, Paris

[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

[your-blorbos-are-queer]

paul pfeiffer from the wonder years (1988) is bisexual (headcanon)

submitted by anonymous

[midi-wizard]

a quiet Wednesday

[intriguingpeoplebyangelafloyd]

MARILYN MANSON

Josh Saviano (Paul Pfeiffer in The Wonder Years)

#marilynmanson#joshsaviano#paulpfeiffer#thewonderyea

[mimeticspace]

Paul Pfeiffer, Playroom

[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

[fizziedoodle]

SCARFACE

directed by Brian De Palma

starring Al Pachino, Michelle Pfeiffer, Steven Bauer, Mary Elizabeth Mastrantonio, Paul Shenar, Robert Loggia & More

[juhneenteagues]

Ant Man and the Wasp Quantumania spoilers with no context

[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)

[wandanvision]

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