The planet Saturn gives rise to the creator of "space is the place", and soon a new artform is born. Combines new age music with dada collage scraps. It reminds one of the Golden Age of Comics.

Result #1

Is it too much to imagine a century before this concept becomes the latest vehicle for artistic expression?When things get rough, they get better. And when things get messy, they get worse. Nothing gets better with miscommunications. If nothing gets better with miscommunications, how is that all that matters?The art of the 70s was always a mystery, something to be solved, a self-contained, modular phenomenon. After that, it was all mystery again—it was just to be solved. This art had never been about doing anything in particular. It has always been about doing what anyone does.

Result #2

The planet Saturn gives rise to the creator of "space is the place", and soon a new artform is born. Combines new age music with dada collage scraps. It reminds one of the Golden Age of Comics. But the artist is an artist and this is not the Golden Age of Flowers. The new art comes with a new learning curve. The old art, however, is precious. One thing is for sure, the old work will never be more precious. Martin Kippenberger: The artist himself has said that the artists books have no value as art. It is only as an object that it has value. To be an object is to be precious.Kippenberger places his erotic or sensual drawings in the context of previous art and offers new ideas as an exchange of values. In the late 70s, he considered himself an artist not so much because he was an artist but because he was an artist. He defined himself as an artist in the age of computer technology. With computers, he imagined art as having a physicality. It was in the digital age that art became more physical and tangible. In the mid 80s, Kippenberger invented his own machine and designed it, along with computer software, to be able to do just that. His computers worked like personal assistant programs. He wrote the code and played with it, seeing it for what it could and seeing what it could not do. He made the computer perform the function he had envisioned. In the same way, in his new work, he creates a tangible object. It is an object with the power to take us beyond the limits of physical reality. In his new work, a satellite dish creates a sensuous fabric. The satellite dishes spin on their own axis. Kippenberger once built a satellite dish using a simple yet very sophisticated piece of equipment called a water rocket. Its a very strong object, and he uses it in a lot of his new work. In one of these new pieces of art, he uses a satellite dish as a vehicle for his satellite. He uses it to construct a sculpture that combines images of the moon, a few oranges, and a big house on the moon.

Result #3

When art isnt transformed into something else, it remains that way. In his travels around the world, one finds a sense of great continuity; in a long life one finds continuity. Thus, the paintings never become monolithic. All the pieces in the exhibition have a rhythm, and a timelessness, a sense of timelessness and possibility. The paintings can be summarized in one word: HONEY. The paintings are sentimental, whimsical, even whimsical. Yet a true sentimental painting is an art of conviction, the conviction of the artist, of his beliefs in the timelessness of things, of the sky, of the ocean, and of the sun. In the paintings of Hans Haacke, the mind of the painter is clear: He is not his own subjectivity, but the subject of art. He is an artist of conviction in his belief in the timelessness of things. Haacke has no fear of the unknown. His paintings are not only historical, but also vast, living worlds of imagination. Like those of the past, they are not only beautiful, but they also invite an imaginative response. These are paintings in which everything changes. Haacke never commits a sin; on the contrary, he is convinced that art is a way to find oneself, to discover what lies beyond the grave.

Result #4

The planet Saturn gives rise to the creator of "space is the place", and soon a new artform is born. Combines new age music with dada collage scraps. It reminds one of the Golden Age of Comics. Superman and Batman are living and working in the same house. Earth, water and air are transformed into a symbiotic cocktail of Life and Death. The creation myth of Superman is recast into a comic book.A graphic designer, living in London, came up with a series of photographic diptychs that give a good idea of the cinematic climax. These are not just pastiches of old montages. The resulting pictures are filled with conceptual splatters and flashes of color. The images are at the top of their composition, which is also their deepest space. In this way the structure of the comic book is a kind of myth. The three figures are so recognizable, so invisible, that the viewers eyes get drawn in and swallowed up in the swirls of light. A totally different kind of action is implied in the picture of Batman (the pre-movie hero) reaching his fantastic powers, which is actually his own body. The same shock and horror that is mentioned in the story about Superman, when the immortal hero, caught in the act of birth, falls backward and his body disappears. The same grief that is implied in the story of Batman falling down and hitting his head on a barbershop wall, for instance, appears in the bright and dramatic color, the swirling lines and fabric design. The sadistic behavior and violent action of the figure in each picture is almost similar to the actions of the comic book characters. There is an intense intensity to this visual presentation. Every element is defined by its structure and by its structurelessness. In the whole work the text, once it is painted, becomes an abstraction, a graphic sign. The text becomes a meta-reality, a set of symbols of the human condition. The comic book characters are no longer there, just like every other element in the arrangement. We do not see the story of a great hero in his own story, and his own disintegration into the world. We are given only a glimpse of this collapse.

Result #5

The planet Saturn gives rise to the creator of "space is the place", and soon a new artform is born. Combines new age music with dada collage scraps. It reminds one of the Golden Age of Comics.Now you may remember that in 1980 Dan Graham became a P.P.O.W. (which is an acronym for P.P.O.W. Community Space) and I felt I had to catch up. At the P.P.O.W. cluster, Graham and his friends created a gang of mannequins for children's parties. Many of them had just graduated from the art school he attended, and others had already been established as artists in their own right. In 1977, when Graham had a major retrospective at the Whitney Museum, his art was seen by many in New York. Graham had had been a member of the group since 1966. At the time, the P.P.O.W. art seemed to hover between, say, the radical painting of the 70s and the kitschy fashion of 80s kids. Graham became something of a mascot for the 80s, a member of the gallery scene. His art appeared to be on a par with that of all the rest, and Graham was the "little brother of the gallery world.Its not that Graham was completely unfamiliar with pop culture: he was from New York, he had attended the School of Visual Arts and would have seen the opening of the Pop Art museum in New York in 1965. And while the P.P.O.W. culture he saw in New York was very much alive, it seemed that the old school, with its emphasis on space, was dead. Graham felt that there was a need to create a new art movement, a new art form—something that would be more representative of the New York scene. As Graham says, he looked to the P.P.O.W. art world for inspiration and found a spirit in the New York art world that seemed to have nothing to do with New York.Pamela Hendrickson is the author of Almanac of New York Folklore: Tales from the City of New York.