White Columns Online #27:
Winter Moon
curated by What Pipeline

Austin Moule, Space Mask, 2021 Oil on canvas, 24 × 20 in. Courtesy of the artist. (A painting of a lunar surface that is reminiscent of a face mask with two black holes for eyes and a black oval hole for the mouth. The ‘face’ is in a valley with curvy mountain edges surrounding it. The eye hole to the left is on a mountain, which makes it look like a volcano.)

Jean Wolff, Le Grande Bleu, 2023 Acrylic on canvas, 64 × 54 in. Courtesy of the artist. (A painting of four circles overlapping horizontally on a navy blue canvas. The top and bottom circles have been slightly cropped, causing them to have a flat bottom. The second to last circle is pushed out to the right, creating a slight curve in the arrangement of circles.)

Shane Smith, Self-Portrait Before Clocking-in, 2023. Oil on wood, 16 × 20 in. Courtesy of the artist. (A painting of the upper body of a black person wearing reading glasses and a brown aviator hat with headphones underneath. They are wearing a brown zip up jacket covering a green button up shirt; only the collar of the shirt is visible with the jacket being almost fully zipped. The background is a yellow tile background with white grout.)

Georgia Dickie, Cup 4, 2022. Found coffee cup with marker and empty package, 3.5 × 4.75 × 1 in. (8.9 × 12.1 × 2.5 cm.) Courtesy of the artist. (A sculpture of a dirty brown crushed coffee cup against a white background. In the middle of the coffee cup is an orange rectangle with a small, square container on top. There is a white label above the orange rectangle, written on the label is “20-1532 3AG25 25A.” Along the sides of the orange section there are small dark brown lines sticking out.)

Daniel Tyler Milanese, As Above So Below, 2023. Monotype & solvent transfer on paper, 17 × 30 in. Courtesy of the artist. (A print of loose lines against a white background. On the left of the page is a large number “8,” on the right is a sideways eight or infinity symbol. The lines are mostly black except for some purple spots. There is a transparent black line going through the page in the background.)

Patrick Carlin Mohundro, John 13:1-17 (broken heels), 2018. Turmeric, glycerin, gelatin, gesso made with rabbit skin glue and Ajax® Powder Cleanser on cast ceramic panel, 18 × 18 in. Courtesy of the artist. (An image of red lines on a light blue surface cast in ceramic. The red line forms the shape of a foot with a pair of hands holding it.)

Brian Dyer, Elsa Lady of the Eternal Frost Princess, 2020. Colored pencil and oil pastel on paper, 14 × 11 in. Courtesy of the artist. (A brightly colored drawing of Elsa from Frozen with her proportions greatly exaggerated. Her stomach is muscular and her hands are small compared to her body. Her breasts are large with her dress displaying a lot of cleavage as well as emphasizing her nipples making them pointy and large. The background is blue and colored roughly.)

Rui Yang, shinning moment, 2019-2020. Oil on canvas, 162 × 203 cm. Courtesy of the artist. (A snowy landscape with two red figures off center to the left of the canvas. The ground is covered in snow. There are large pine trees covered in snow painted in such a way that it looks as if a strong wind is blowing them. There is a yellow blob to the left of the canvas and a purple blob to the right. The background is mostly black with a little light blue at the top. There are white strokes in the background, suggesting wind and creating a stormy atmosphere)

Lisa Young, Lyra Angelica, 2004. Single channel video, 5:29. Courtesy of the artist. (Four screens depicting an ice skater in a purple dress performing. The bleachers in the background go from being completely cut off in the first screen to a large percentage included in the last screen. In the first screen the skater is standing with her arms out. In the second screen she is on her knees and hands with one leg slightly raised. In the third screen she is in the air, mid-spin. In the final screen, she is skating with one foot on the ice and the other stretched behind her in the air, her hands are stretched out.)

Bryson Brodie, Glass, 2022. Oil on linen, 12 × 16 in. Courtesy of the artist. (An abstract painting with the surface covered in layers of black paint. Muted spots of coral and teal peek through the black paint.)

Elizabeth Gourlay, Lilac 1, 2023. Acrylic on linen mounted on shaped panel, 12 × 12 in. Courtesy of the artist. (A painting on a square panel with beige colored tabs on opposite ends and sides. An ecru vertical line runs down the middle of the panel, stopping a little above the bottom. Where the vertical line stops a blue horizontal line runs across the panel passing behind the vertical line. The rest of the panel is white)

Catherine Mulligan, Church Landscape, 2022. Oil on panel with custom frame, 40 × 60 in. Courtesy of the artist. (A painting in muted tones of a small church next to a large industrial building with yellowed grass and a puddle at the bottom right reflecting the foggy sky above.)

Shelley Turley, Easter Morning, 2020. Acrylic and oil on paper, 24 × 1 in. Courtesy of the artist. (A painting of a person with long blonde hair wearing a blue dress and sunglasses with a cane in hand who stands at the bottom of a staircase in a colorful house. In front of the person is a table with a vase with flowers on top. Behind the person is another tape with a lamp on top. The paint strokes are broad and loose, making it hard to distinguish the details.)

Daniel Ramos, Kids In The Junkyard, 2016. Archival Inkjet Print, 30 × 40 in. Courtesy of the artist. (A black and white photo of four kids in a junkyard surrounded by tires. One kid sits on an upright tire, two other kids group around him. One lone kid stands apart from the group with a wide stance while facing them.)