Eric Fischl\u2019s paintings depict scenes from everyday life, including backyard barbeques, beach vacations, and
domestic dramas. These seemingly innocuous moments become venues for psychologically charged themes such as the loss of innocence, impulsive behavior, and the transience of life. In Slumber Party<\/em> a young boy and girl in various states of undress prepare for bed. The boy appears absorbed by the television rather than by the girl behind him. While this could be simply a benign bedtime ritual, we cannot shake the question of what will happen next. The painting\u2019s dark, erotically ambiguous narrative engages a tradition of American noir, from the canvases of Edward Hopper to the films of David Lynch.<\/p>\n","short_description":"In Eric Fischl\u2019s paintings, seemingly innocuous scenes become venues for psychologically charged themes such as the loss of innocence and impulsive behavior. In Slumber Party<\/em> the relationship between the young boy and girl in various states of undress is ambiguous\u2014what has just happened, and what might happen next? The glow of the television and the shadows created by the multilimbed figure atop it further unsettle the scene.","dimensions":"213.4 \u00d7 274.3 cm (84 \u00d7 108 in.)","dimensions_detail":[{"depth":null,"width":274,"height":213,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Gift of Edlis Neeson Collection","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":246,"fiscal_year":2015,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":false,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 Eric Fischl","has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":11.9488,"color":{"h":197,"l":50,"s":7,"percentage":0.02865838838283254,"population":158},"latitude":null,"longitude":null,"latlon":null,"is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 296","gallery_id":25472,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Contemporary Art","department_id":"PC-8","artist_id":31118,"artist_title":"Eric Fischl","alt_artist_ids":[],"artist_ids":[31118],"artist_titles":["Eric Fischl"],"category_ids":["PC-8"],"category_titles":["Contemporary Art"],"term_titles":["painting","20th Century"],"style_id":"TM-13130","style_title":"20th Century","alt_style_ids":[],"style_ids":["TM-13130"],"style_titles":["20th Century"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":[],"classification_ids":["TM-9"],"classification_titles":["painting"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"b85c78f9-aea3-e406-7131-7e07985a9756","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["2015.145"],"contexts":{"groupings":["accession"]}},{"input":["Slumber Party"],"weight":2958,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-09-03T16:46:56-05:00","updated_at":"2026-09-03T19:50:38-05:00","timestamp":"2026-09-03T23:54:11-05:00"},{"id":229376,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/229376","is_boosted":false,"title":"Woman with Dog (Frau mit Hund)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAJ9+aphocp1+fJ2AeKyZk66gl7ucpb2gqsa8wM\/GytvR1dfW2eDg3+Dd4e\/w8\/Hy9fDz9fHy9vT4\/AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAUR4NJET2JEDnJIkBAoDDAQRQgAOw==","width":3840,"height":5376,"alt_text":"Two life-size sculptures of a pink woman and a white dog. Neither of them have faces, and they are made up of large shell-shaped forms."},"main_reference_number":"2015.144","has_not_been_viewed_much":false,"boost_rank":null,"date_start":2004,"date_end":2004,"date_display":"2004","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Katharina Fritsch\nGerman, born 1956","place_of_origin":null,"description":"

Katharina Fritsch makes meticulous reproductions of everyday objects, rendering them unfamiliar through\nextreme shifts in scale and either alluring or repellent color choices. Indeed, saturated and nonreflective coats of color lend her sculptures a strong sense of otherworldliness. \u201cI always call the starting point [for a sculpture] a vision,\u201d she has said. \u201cI\u2019ll be in a tram or driving a car and I suddenly get a picture in my mind. Something completely normal turns into a miracle\u2014something I\u2019ve never seen before. Simple things you see every day turn into something strange, something alien.\u201d Woman with Dog<\/em> is clearly scaled up\u2014 enormously so\u2014from a small figurine made of shells, as one might find in a seaside souvenir shop.

\n","short_description":"Katharina Fritsch makes meticulous reproductions of everyday objects, rendering them unfamiliar through extreme shifts in scale and bold color choices, both alluring and repellent. Indeed, saturated and nonreflective coats of color lend her sculptures a strong sense of otherworldliness. The pink Woman with Dog is clearly scaled up\u2014enormously so\u2014from a small figurine made of shells, as one might find in a seaside souvenir shop.","dimensions":"Woman: 177.2 \u00d7 101.6 \u00d7 101.6 cm (69 3\/4 \u00d7 40 \u00d7 40 in.); Dog: 45.7 \u00d7 61 \u00d7 41.9 cm (18 \u00d7 24 \u00d7 16 1\/2 in.)","dimensions_detail":[{"depth":101,"width":101,"height":177,"diameter":null,"clarification":"Woman"},{"depth":41,"width":61,"height":45,"diameter":null,"clarification":"Dog"}],"medium_display":"Polyester, iron, wood, and paint","inscriptions":null,"credit_line":"Gift of Edlis Neeson Collection","catalogue_display":null,"publication_history":"Katharina Fritsch, ed., Katharina Fritsch, (Walther K\u00f6nig, 2006), 18\u201319 (ill.), 22\u201327, (color ill.), 21, 29, 36 (ill., detail). \n\nMatthias Winzen and Nicole Fritz, Bodycheck: Skulptur\/Sculpture, exh. cat. (Snoeck, 2007), cover, 14 (color ill.), 16, 26, 86, 87 (color ill.), 90, 290. \n\nBice Curiger, ed., Katharina Fritsch, with essays by Robert Fleck, Milovan Farronato, and Suzanne Hudson, exh. cat. (Hatje Cantz, 2009), 17, 81, cat 21 (color ill.), 84\u201385, cat. 21 (color ill.), 87, cat. 21 (color ill.), 142. \n\nJessica Morgan, \u201cFrom Out There to Down Here\/Von dort draussen hier herab,\u201d Parkett 87 (Mar. 2010), 34, 45. \n\nSibyl Kraft and Hans Ruedi Weber, HundKatzMaus\/DogCatMouse, exhibition guide (Kunsthaus Zurich, 2011), 8 (color ill.).\n\nKasper K\u00f6nig, ed., Manifesta 10:The European Biennial of Contemporary Art, exh. cat. (Buchhandlung Walther K\u00f6nig, 2014), 70, 71 (color ill.), 281\u2013282.\n\nJack Bankowsky, Thomas E. Crow, Nicholas Cullinan, and Michael Fried, Sculpture After Sculpture: Frtisch\/Koons\/Ray, exh. cat. (Hatje Cantz, 2014), 3 (color ill.), 32, 33 (color ill.), 56 (color ill.), 130. \n\nAlexander Forbes, \u201cManifesta 10 Succeeds Despite Controversy,\u201d Artnet (June 27, 2014), color ill., https:\/\/news.artnet.com\/art-world\/manifesta-10-succeeds-despite-controversy-49930, accessed Aug. 17, 2015.\n\nJames Rondeau, Edlis\/Neeson Collection: The Art Institute of Chicago, (Chicago: The Art Institute of Chicago; New Haven: Yale University Press, 2015), 76, pl. 31, 77 (color ill.), 131.","exhibition_history":"New York, Matthew Marks Gallery, Katharina Fritsch, Nov. 6\u2013Dec. 24, 2004, no cat. (another edition).\n\nFerlach, Austria, Kultustiftung des Bundes, Bodycheck: Skulptur\/Sculpture, June 23\u2013Sept. 23, 2007, no cat. no. (another edition). \n\nKunsthaus Zurich, Katharina Fritsch, June 3\u2013Aug. 30, 2009, cat. 21; Deichtorhallen Hamburg, Nov. 6, 2009\u2013Feb. 7, 2010, (another edition).\n\nKunsthaus Zurich, HundKatzMaus\/DogCatMouse, Apr. 1\u2013July 31, 2011, no cat. no, (another editions). \n\nSt. Petersburg, The State Museum Hermitage, Manifesta 10: The European biennial of Contemporary Art, June 28\u2013Oct. 31, 2014, no cat. no.\n\nStockholm, Moderna Museet, Sculpture After Sculpture: Fritsch, Koons, Ray, Oct. 11, 2014\u2013Jan. 18, 2015, no cat. no. 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Having been employed as a department-store janitor during his freshman year of college, Charles Ray understands the unease a mannequin can inspire\u2014an inanimate object that one might readily mistake for a live body. His work is also charged with the purely sculptural tensions that exist between surface and interior, armature and appendage, and or size and scale. With Boy<\/em>, Ray created a particularly disquieting figure. The sculpture stands just shy of six feet tall, the artist\u2019s exact height, yet maintains the softness of youth in its rounded cheeks and limbs. The boy is clad in outdated garments, hovering \u201cbetween baby and Hitler
youth,\u201d in the words of one critic. Additionally, the boy\u2019s pose and gesture suggest a confrontational manner at odds with his neutral face.<\/p>\n","short_description":"Charles Ray's work is charged with the purely sculptural tensions that exist between surface and interior, armature and appendage, and size and scale. With Boy<\/em>, Ray created a particularly disquieting figure. The sculpture stands nearly six feet tall yet maintains the softness of youth in its rounded cheeks and limbs. 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1928