Color palette is reminiscent of a sneeze
—a sign of what Bob Dylan described as a distorted reality. At the same time, a shot of his hand is a shot of the only spot of light in the dark night. He has erased his prior contact with the camera. The stillness of the glass-fronted room suggests that a photograph is a blurring of the real and the false. Even though these images demonstrate the illusory nature of the portrait process, they also expose the very existence of the image.Since the mid 70s, Julia Melses photographs have had a special significance. In a world of elaborate shadowboxes, these images capture the action in plain sight. The space of the gallery provides an ideal setting for the installations. In addition, the three photographs in the gallerys courtyard evoke the real spaces of the street. In each of these photographs, the shadows—visible on the wall, in the gallery window, or on the wall of the hallway—become an authentic part of the light in the gallery. In the gallerys front room, a black silhouette is printed in the middle of a space that becomes transparent and envelops the viewer like a riddle, in a way that is both charming and disturbing. The shadow—a sign of the sphinxy and frightening and yet playful in its power—is an almost erotic gesture. In this show, we see that the individual photographs of Marcel Proust are no longer mysterious, but rather rediscovered and reconstructed by the memory of Proust as a figure in a garden.
. One of the small paintings contains a tiny fragment of an old-master painting, which is enhanced by a slanted brush and a browned-in look. In the other works, the paintings are even more inscrutable, suggesting that the works may be illustrations of sketches. In other words, they act as footnotes in a series of narrative pieces. The calligraphic bits and pieces of rough charcoal form small abstract paintings that are entirely about surface. In the process, the brushy brushstrokes are translated into nonfigurative forms. While it may seem hard to believe that, given our need for endless newspeak to explain complex phenomena such as natural phenomena, such abstracted paintings can be understood as illustrations of what lies beyond the veil of the visible world, which is, of course, that of the inexorable flow of time.I do not think that our productive fascination with miracle visual phenomena constitutes a search for the inexorable flow of time. Rather, we should be grateful that our awareness of the miraculous often stimulates thought about the possibility of giving objects an intelligible meaning.
pad, except that it is an iridescent white surface that contains a shimmering array of individual dashes of color, with the occasional splash of pastel, dashes of polka-dot, or daubed glitter.The biggest breakthrough in this show was the inclusion of a large group of works from the Women series, 1987–89. In these pieces, Teo touches on her own childhood experiences. In one piece she drew an Asian girl with her legs crossed in a Buddhist posture, while in another she followed a stack of cardboard boxes with the door open. These works echo the earlier Works on Paper pieces, such as Perfect Collection (all 1989) and More Perfect Collection (all 1989), but the "younger generation is present in a different way, because they have been more empowered by the passage of time, and their expressions, if they are those of their parents, are less adolescent, more reflective. A more mature perspective is indicated by the inclusion of some paintings that have no coloring on them, and by a series of women who wear the typical contemporary women costumes. As a statement, the work reflects the progress of a man who lives in the present. It also refers to both the maturity and the maturity of the women themselves, and, in fact, it represents a repetition of the arts. They are still young, and we hope that they will continue to grow and develop.
.Gonzalez-Foerster plays the painter against the artist, and he is capable of bringing a strong charge of reality to the gesture. The artist seems to be arguing that reality is a very personal and very individual thing, and that he is a truly exceptional and unique individual. He is a master of lighting, and this exhibition shows him to be at his best.
Color palette is reminiscent of a sneeze-colored electric palette, or a shimmering grid of washed-out blue. In this and other works, such as Sequentially, 1981, or Convoy, 1982, it is difficult to determine exactly how they relate to one another, but certain motifs seem to refer to some event or the other. In these pieces, as in other examples, the double double is particularly clear, and so is the single: a vertical or horizontal line runs along the top of the canvas, that of a panel below. In the top-right corner of a monochrome blue panel from 1983, the line of the panel is directly over the line of the stripe running along the left side of the canvas. This event repeats in a different way in two adjacent elements of a gray and black strip of canvas from 1979, where it seems to sit in a crescendo of art history (the gray and black are colorless).In contrast to the panels that have echoes in various works in the show, such as the eggshell and sticklike construction, they are reserved: each seems to be the shadow of a different event. For example, one is familiar with the importance of an umbilical cord in one of the latter paintings, because of the string that curls around it. In the same way, one recognizes the fragility of color in Sequential and Convoy. But even though the event itself is always discrete, the lineage continues. In Convoy the colored lines and sections of the canvas are stretched around the umbilical cord to leave a puddle at the edge, in which a new trail emerges from the umbilical cord, between the umbilical cord and the painting itself. In a curious way, the umbilical cord can be read as representing the stream of consciousness, as the umbilical cord of understanding (be it the mental, the bodily, or the aesthetic) through which we transmit meaning to the world.