She has captured her mother and a homeless bum perfectly.

Result #1

She has captured her mother and a homeless bum perfectly.In previous pieces, Goodmans feet left a trace of their walking, pushing and pulling against the wall with their own distinct movement. Now, however, their details have been stripped away and the only traces of them are faded patterns of sunlight and shadow. In other works, the patterned surface of her feet has been dusted off with a slightly darker, almost dirtier color. Although they are still recognizable, the marks are almost invisible. They are like lost memories. In other cases, the footprints leave little physical traces, with a loss of identity as well. In Night Moves, 1989, the artists left foot tracks, drawn like a hieroglyph, around a circle of dirt that was covered in a layer of asphalt. They seemed to disappear into the mire of mud as they made their way across the floor of the room. In the adjacent room, other footprints made of earth left by the surface of the floor were attached to the wall and pushed into the space behind it.With this new work, the artist again brings together past and present by contrast. In one of the most interesting pieces in the show, a large image of a woman being attacked by a giant shark, its leg broken, with a bite mark, appeared like a picture of a birth. But instead of falling down, the woman was stabbed repeatedly with a knife. A finger from the victims leg was visible through the gaping wound on the woman's thigh, like a wound in time. Two more vertical images of large-bodied men were placed next to the image. The large-framed photograph, with its bloodied figure and blurs of blood, seemed to convey the violence of the attack. Similarly, the image of a boy in a pigtail and a cloak standing over his mother appeared like a blurred photograph of the birth of a child. A third large photograph showed two figures holding hands. It seemed to show them engaged in an intimate relationship, yet they also looked like violent instruments of torture.

Result #2

Life in his car, a car he shares with the neighbor on his stoop, is a comfortable one—though perhaps a dangerous one. In his first film, a string of gunshots rings out through the windows, a sound so unnaturally disquieting that the camera lurches from one side to the other. Here, the bullets are not only animated but also blare, their effect somehow as shocking as a freak movie. Most people hear the gunfire, but few can make out the people inside it, and the fugitives inside it must have been quiet. On the walls of the car sit two videos, all set to a jazzy, looped soundtrack—a sound track to no longer be able to enjoy—showing the two men tossing the passengers out of the car, striking them with a pair of heavy metal mauls.Like many of the works in this show, Untitled, 2004, contains just one image, shot in the middle of nowhere. But it isnt a scene from the apocalypse, at least not in the tradition of a movie poster. The thumbnail sketch for the figure is merely suggestive—a young woman with long dark hair and a hazy, white-and-gray-rimmed eye. As in his earlier films, the image is a matte gray, a blurriness that adds a theatrical edge to the works boldness. The stillness of the woman is more than the solemnity of the figure; the woman, too, is an evocation, an aura, of pure grace. As much as the artist offers an interior of quiet grace, he also offers a glimpse of the transcendence of the flesh itself. And it is this transcendence that he captures.

Result #3

(The camera is also her only source of authority.) The model, though she may have relished the opportunity to appear in the books and magazines of the day, didnt know the gestures of the time; she was still just an artist. A moving baby doll was the consequence of this, one that was, of course, the granddaughters version of Springsteen and the Ramble.

Result #4

She has captured her mother and a homeless bum perfectly. She draws attention to her parents occupation as a busboy with the church, and her mother is the only character on the show who isnt portrayed by a single model. As with her previous show, Where Does the Water Come From, 1962–1983, where she drew inspiration from the titular Bible verse (I Corinthians 4:9), here the water is a metaphor for an idyllic, incomparable feeling.Two large photographs from the series Where Does the Water Come From, 1963–65, are the series central conceit. The first features the artist wearing a particular kind of ski mask: a pared-down, aluminum-framed piece of rubber and a pair of goggles perched above a muddy riverbed. The second series photographs the artist (or her parents) climbing up some vertical poles and collecting water in the process, a process that results in a shapely ooze. In the earlier series, the subject of one of the poles is a complex abstraction of curves, circles, and rhomboids, which emanate a clinical, abstract quality, evoking a cut of wood. The object is a sculpture, so to speak. The effect is similar to that of the drawing itself: a miniature toolbox. The process of making something out of wood takes time. Each model for the previous works was painted in oil, then laid flat on the floor to dry. The new works look more like the object from the drawing than the actual object. The viewer is also drawn into the process, but not as the model. Theres no trace of the artists hand, as the surface is not plastered with sand; its underbelly is exposed, and the surface is exposed. The models are therefore more active than the models. Theyre more precious than the models, more precious than the models. This is not to say that the model is abandoned to chance, but rather that the model is transformed.