San-Francisco cityscape, the roofs, tall terraces, houses, parks, sunset, Clouds, 4K, bright San-Francisco cityscape, the roofs, tall terraces, houses, parks, sunset, Clouds, 4K, dark colors, red haired nudes girl, 4:3,

Result #1

 lovers, sunset, Clouds, 4K, bright San-Francisco cityscape, rainy, Clouds, 4K, clear. San-Francisco, all of the words are equally derivative, yet the Chicago Accumulators reinterpretation of themselfs language for what they claim to be is the most powerful. (Because of this, they are not always willing to divulge their source materials.) The Chicago Accumulators purposely included words that still retain the art-historical importance of their original meanings, but have no classical or logical connection to their origin. Examples of such words are: heroic, and inextricably intertwined with the tradition of Greek and Roman architecture, or sacred, the Roman Orthodox church, or, the sacred vessels. The creation of meaning is, however, inevitably thwarted by these words.This is where the Chicago Accumulators usually rely on their own works—which are never reproduced; they keep their minds to themselves and to no-one but themselves—to be of use to them. The Chicago Accumulator takes on the responsibility of teaching the meaning of his or her work, as the meaning of the meaning-makers that they are. They are capable of creating meaning, but, by keeping themselves to themselves, they remain obscure.

Result #2

San-Francisco cityscape, the roofs, tall terraces, houses, parks, sunset, Clouds, 4K, bright San-Francisco cityscape, the roofs, tall terraces, houses, parks, sunset, Clouds, 4K, dark colors, red haired nudes girl, 4:3, urn, 64, 12'' x 50''. The interstices in this panoramic survey of the intersection of contemporary art and design (the term was first used by curator Fiona Gavin in an essay for this magazine in 2007) are determined by an aesthetic logic: each area is at once a loose (and often flexible) surface, an assemblage of materials, and a potentially functional device.But what happens when the architecture is not a sculptural or decorative fabrication but rather an actual (and often hidden) form? What happens when the architect, architect-designer, and architect-artist object trade on the basis of mutual dislocations—when the everyday world is transformed into something that is simply decorative or decorative in a different way? This exhibition, curated by Annette Geiger, a structural engineer and the curator of Architecture After the Revolution, demonstrated the precarity of such a thing. It showed how the architecture of today can be detached from the world of architecture, and it also displayed how architecture can function as a social and political form of social life.For this show, Geiger took the original work of the 1920s and 1960s, assembling a vast, varied selection of architectural objects from around the globe, including books on architecture (Papers on Architecture, 1939–1940), architectural drawings and architectural designs (Architectural Diagrams, 1941), and architectural sketches for social and political purposes (Architectural Decorations, 1940). If the show brought to light the internal dynamics of the architecture industry, it was also a reminder that there is a rich literature on architectural design in the popular press, but the literature is restricted to a number of prominent practitioners. In addition, many of the architects were also trained in engineering, and thus were familiar with the issues of technical and aesthetic relevance. In order to make the pieces truly speak to the modern world, Geiger asked that they be exhibited in the context of architectural design.

Result #3

San-Francisco cityscape, the roofs, tall terraces, houses, parks, sunset, Clouds, 4K, bright San-Francisco cityscape, the roofs, tall terraces, houses, parks, sunset, Clouds, 4K, dark colors, red haired nudes girl, 4:3, ×7, ×3. In his three-part series, entitled City One, 2005, Los Angeles, 2005, photographer Steven Paschke traveled from the citys Marina District to the neighborhood of La Cienega where the citys tallest buildings, the citys most powerful buildings, and the most densely populated neighborhoods are located. All three parts were assembled from the photographs in the series City One, 2006, a studio suite of photographs in which the artists familiar form of subdivision and construction, not to mention the image of a single face, become at once structural and ephemeral. Los Angeles, 2005 is a suite of three photographs, titled, respectively, Clouds, 4K, Clouds, and Clouds, 2006, and Clouds, 4K, Clouds, and Clouds, 2006. In the first work, Paschke photographs the roof of a house in the Marina District, a single block from the Bay Area. The second photograph, Clouds, 4K, Clouds, 2006, shows a complex of terraces, in a different building, that feature masonry roofs and other industrial construction. The third photograph, Clouds, 4K, Clouds, 2006, is a section of a warehouse built for a specific, single purpose: to house the citys largest residential complex. The exterior of a second building is visible from a street door. But there is nothing to identify the building and the terrace together, only the same image: a central panel cut from a mirror. The final image in the series, Clouds, 2006, takes the same form as the roof of a house in the Marina District, but contains a small figure, standing on a rooftop, surveying the sky. The image shows the dome in a circle. Although the central image is circular, it is not clear what the figure is looking at.In the photos of Clouds, 2006, Paschke shows a woman looking up at a house from the street.

Result #4

。 There is a whiff of spirituality in the work that is hard to decipher without the accompanying accompanying music, the weirdly rendered sounds of the images, and the surreal, offbeat lighting that, if you can notice it, makes the scale of the paintings seem more real than real. Both qualities give the pieces their strangely intimate theatricality. They are surreal—something I love to hate, yet that keeps me coming back to them. Givin a show like this one, I have to admit, you tend to get much more of what you expect, and sometimes you find youre being surprised when yount gotten what you expected. But this was a happy surprise, a confirmation that what you thought you knew wasnt wrong.

Result #5

San-Francisco cityscape, the roofs, tall terraces, houses, parks, sunset, Clouds, 4K, bright San-Francisco cityscape, the roofs, tall terraces, houses, parks, sunset, Clouds, 4K, dark colors, red haired nudes girl, 4:3,  . The collages in this show, including monochromatic black, colorist collages, may be argued to have been an attempt to build a human form. The black collages appear to have been executed in black on gray linen. A collage from the series Northern California, 1956, features the same type of black-and-white collage as the collages on display in the show. The collages are symmetrical in layout, numbering approximately 3-4 on the wall. There is a lack of internal rhythm to the collages, resulting in an irregular, slow, winding, minimal composition. The collages make the collages look like postcards. A blue-gray surface is painted over in red ink on the back of a collage depicting a woman in an athletic pose. The woman, who seems to be black, is covered in heavy gray hued paint on her back. A bright-yellow color spray on the front of the canvas is reminiscent of the paint on her headdress. The collages seem to be in their own world, the collages in the same, sometimes perhaps not so far-fetched, world. The collages, like postcards, functioned like stamps, a sort of invisible, unsigned, shared stamp.The collages on display in the show were different from the collages on display in the show. The collages on display were more collages, with larger, framed collages of paintings and objects. Unlike the collages on display in the show, the collages in the show were printed on canvas, or reproduced on canvas. This varied from collage to collage in terms of content. These collages seem to refer to paintings, but not to paintings that have been painted over. The collages, as the collages on display, in contrast, were collages with objects on them. These objects were painted over, often deliberately, with some indication of their intended use.