abstract pizza in the sky that came to life

Result #1

abstract pizza in the sky that came to life <|startoftext|>There is a certain incongruity in the idea of an exhibition of photographs and video footage that is itself an exhibition. For this kind of work, the viewer must find a way to engage it, to imagine it, in order to create a new relation between the work and the space in which it is shown. In this case, the artist, the curator, and the gallery have stepped out of the picture altogether, creating a space that is as if the two-dimensional image had stepped into the gallery. The artist, who had already established an artistic independence in her work, now found herself in a completely different position, an artist who did not have to worry about being defined by the form of her works, but rather found it necessary to be embedded in the space.This is not the first time that Omer Fasts work has been presented in this way. In her previous exhibition, Fasts video installations were not exhibited in the gallery, but were carefully arranged in the room, facing the wall, and in a separate room. This time, the video and the photographs were displayed on the walls of the gallery, and were positioned around the various works, which were displayed on the floor. The videos were of various works, such as a text piece by the artist, a collage of letters, and a photographic image of a dog that was projected on the wall. The photographs, made by the artist, were also arranged around the various works, and were also displayed on the floor.The work in this show consisted of a sequence of two-dimensional photographs, which were hung in a room. The photographs were never of actual works of art, but of reproductions of paintings and photographs that had been reproduced in magazines. The original paintings—the same reproductions in which the two original paintings were hung—were hung on the wall like an artwork.

Result #2

abstract pizza in the sky that came to life <|startoftext|>Mel Chin, Farscape II, 1998–99, digital video, color, sound, 12 minutes 15 seconds. Mel Chins video Farscape II, 1998–99, is as clever and as effortlessly retro as a few of his own works, and this exhibition, the first solo exhibition of the artist in his home state, celebrated this impeccable blend of wit and a knowingness of purpose that is uniquely his own. The video was shot in his studio on Long Island, New York, and consists of a loop of Chin at work, in his signature yellow work shirt, his black jacket, and a white T-shirt, trousers, and white sneakers, his black contacts in the air. Chin appears to be posing as a sculptor, making an impression on the cameras, and it is clear that he is interested in making a movie. The camerawork and lighting are superb, and Chin has edited his shots so that they merge seamlessly with the camera and the surrounding space. The performers, a group of artists from the West Coast, do not speak, and they seem mostly silent. They are silent, silent, and silent. In one sequence, Chin appears to be making an announcement. He appears to be announcing that he is going to be doing a number with a rope, which might imply that he is about to jump, but that wouldnt be funny. His voice is reduced to a whisper and the camera only intermittently focuses on his face as it moves back and forth between the rope and Chin. He seems to be getting ready to jump. In the next sequence, the camera cuts to Chin jumping and immediately moves to a shot of him in the act. In this sequence, Chin is again silent and the camera moves to the next scene, where he jumps again.

Result #3

abstract pizza in the sky that came to life <|startoftext|>The Los Angeles–based duo Core and Service, whose collaborative practice blends conceptual and performance art with drawing and painting, has made their way to the latter stage of the world to create performances and installations that provoke, provoke, and delight. It was therefore not entirely unexpected that, at the opening of their current exhibition at Bill Graham Gallery, four of their sets, all made over ten years, were stacked in a corner. The works on view ranged from the two-channel video projection Never Enough—A Journey of 2,400 Miles, 1999, which portrays Core and Service as two archaeologists as they excavate a tomb, to the interactive sculpture The Unseen Facade, 2000, which consists of a model of the four-story hotel room Core and Service lived in in in London. Both rooms are filled with pictures, all of which depict the architecture of their homes, which are partially visible in the gallery.The works on view also feature posters, notes, and drawings, some of which are rendered in gouache. In addition to the works on paper, there are photographs and a few drawings and photographs of the artists in their London digs, as well as a series of map prints of London. The exhibition is divided into two sections, and, like the other pieces in the show, the way the show is divided is also a function of the way the public can access it. The first section, like a stage, is to be experienced in a quasi-formal way: through a variety of video projections, maps, and notes—a kind of interactive, four-dimensional stage on which Core and Service perform their world tours.The second section, like a film, is a collage of four videos: the same one shown in a separate room.

Result #4

abstract pizza in the sky that came to life <|startoftext|>A window display case holds a variety of unglazed ceramic vessels made of bronze cast in clay. Within these vessels, a small clay head sits in a small ceramic bowl. At the same time, a large round stone with a hollow central core stands in the center of the piece. The round piece is a representation of the sun, but its surface is not pure white; it is a rough, unfinished surface of red clay. This work, which appears to be a meditation on creation, in which the clay is the sun, is similar to the figures of the statues that were found at the bottom of the Corderie dEglantine in Venice. The figures, all male, wore masks; they were covered with red clay. The sculptures, which are made of copper and marble, were found in the room of the Louvres Palace. They were part of the funerary collection. Their meaning is visible in the fragility of the ceramic objects. These were found objects that have lost their function and function and have become fragments.The ceramics are endowed with a status that is both eternal and at the same time ephemeral. Their materiality, with its allusions to antiquity, is imbued with a certain timelessness. Their subtle play with the viewer, reflected in the internal surface of the vessels, is the result of their being cast in bronze. Their beauty and fragility is based on this duality: a beauty that is timeless and immaterial, and one that is timeless but also timeless and immaterial. The works in this show, as in all the others, reflect this duality, so that the viewer becomes aware of the duality that underlies the works. The simplicity of the vessels, their subtle yet inexorable transformation into forms of eternal beauty, communicate this duality. The containers become objects of contemplation, but they also point to the fact that they are objects of use, of possession.

Result #5

abstract pizza in the sky that came to life <|startoftext|>Architecture is often seen as a vehicle for society, but in an era of collective alienation, it seems to be a society of the mind. Yet architecture is also an act of liberation from the world of things. It can be said that all architecture can be seen as a manifestation of the mind, and the mind can be seen as a discovery of the architect. And yet, as Marcel Broodthaers wrote, Architecture is the last word of the artisan.His first solo exhibition in Italy, with his collaborator Adrian Aragon, was a celebration of architecture. The works, dating from 1999 to 2005, were displayed in the main gallery. The most recent ones, which feature in this exhibition, date from 2006. Many of the pieces are still in the formative stage, but they are in a state of suspension, the result of the artists effort to conceive of an architecture that would be a reflection of the mind, and a reflection of the minds transformation of this state.The central work was a series of white-walled, square-shaped spaces. Each was equipped with a door, which opened onto a space of the other side, and allowed the visitor to enter the space. These spaces are occupied by two pillars, with ropes that pass over them, on top of which was a column that stood, facing the door, on the floor. The same column, made of red steel, was used as the support for a tiny platform on the floor, a form that, in place of the door, served as a pedestal for a small pedestal. The columns, in turn, serve as architectural models for a room, and for a house that might be built in this space, with a view of the city and the surrounding mountains.