Drawing on pop-culture archetypes and commercial materials, Da Corte’s foam, shampoo and glass paintings receive their first dedicated museum survey and publicationPublished with Modern Art Museum of Fort Worth.Merging modernist color theory and Postminimalist spatial experiments with the crowded, beautiful trash-scape of contemporary culture, Alex Da Corte (born 1980) addresses sexuality, invisible labor, taste, power and desire. While most previous showcases have focused on Da Corte’s installations, The Whale is the first exhibition to survey his rich and eccentric relationship with painting over the past decade. As is to be expected with his irreverent approach, Da Corte paints with both traditional and unconventional materials. His Shampoo Paintings are created with drugstore hair products, while his Puffy Paintings consist of upholstered neoprene. Other works include his reverse paintings on glass, most commonly used in celluloid animation and commercial sign-making. Many of these paintings are published in book form for the first time, accompanied by Da Corte’s "Voice Memos" that elucidate his creative process.

Unpacking the popular culture, fine art and Americana references at the heart of Da Corte's Rubber Pencil Devil, on the occasion of his new Glenstone commissionThis volume accompanies Venezuelan American artist Alex Da Corte's (born 1980) ambitious 2025 presentation at Glenstone Museum. It marks the first installation of Rubber Pencil Devil (Hell House) (2022), a 17-foot-tall neon-covered house commissioned by Glenstone that holds Da Corte's groundbreaking video work Rubber Pencil Devil (2018), originally presented at the 57th Carnegie International. At nearly three hours long, the video is composed of 57 vignettes that reflect on the concept of "America" through uncanny, tender and at times violent scenes. Including previously unpublished archival documents alongside comprehensive new photographs of costumes, props and installations, this volume marks the first in-depth study of Rubber Pencil Devil. Ingrid Schaffner and David Getsy expand upon Da Corte's artistic trajectory over the past two decades, while author Simon Wu uses the artwork as a point of creative departure for an original piece of fiction.

Drawing on pop-culture archetypes and commercial materials, Da Corte’s foam, shampoo and glass paintings receive their first dedicated museum survey and publicationPublished with Modern Art Museum of Fort Worth.Merging modernist color theory and Postminimalist spatial experiments with the crowded, beautiful trash-scape of contemporary culture, Alex Da Corte (born 1980) addresses sexuality, invisible labor, taste, power and desire. While most previous showcases have focused on Da Corte’s installations, The Whale is the first exhibition to survey his rich and eccentric relationship with painting over the past decade. As is to be expected with his irreverent approach, Da Corte paints with both traditional and unconventional materials. His Shampoo Paintings are created with drugstore hair products, while his Puffy Paintings consist of upholstered neoprene. Other works include his reverse paintings on glass, most commonly used in celluloid animation and commercial sign-making. Many of these paintings are published in book form for the first time, accompanied by Da Corte’s "Voice Memos" that elucidate his creative process.

Unpacking the popular culture, fine art and Americana references at the heart of Da Corte's Rubber Pencil Devil, on the occasion of his new Glenstone commissionThis volume accompanies Venezuelan American artist Alex Da Corte's (born 1980) ambitious 2025 presentation at Glenstone Museum. It marks the first installation of Rubber Pencil Devil (Hell House) (2022), a 17-foot-tall neon-covered house commissioned by Glenstone that holds Da Corte's groundbreaking video work Rubber Pencil Devil (2018), originally presented at the 57th Carnegie International. At nearly three hours long, the video is composed of 57 vignettes that reflect on the concept of "America" through uncanny, tender and at times violent scenes. Including previously unpublished archival documents alongside comprehensive new photographs of costumes, props and installations, this volume marks the first in-depth study of Rubber Pencil Devil. Ingrid Schaffner and David Getsy expand upon Da Corte's artistic trajectory over the past two decades, while author Simon Wu uses the artwork as a point of creative departure for an original piece of fiction.