Christmas night sky. Zack. Reflections. Happy Christmas.

Result #1

Christmas night sky. Zack. Reflections. Happy Christmas. Other works. Some of them, like Kursenraum, are well-crafted, but many are merely decorative. The paintings of Bob Cohen, who died this year, are much more clearly contemporary. They seem to have been painted with the artists knowledge, and they are not ostentatiously decorative. They seem to have been made by artists who knew that they were making art, and they are not, as the name of one of Cohen's short stories suggests, the work of an artist who had a clear idea of what was happening. They are concerned with the world of the artist and the world of art, both contemporary and ancient. They are concerned with the way art influences, and affects, the world around it. They are interested in the way that painters are affected by the world and the world around them. They know, as Cohen did, that the world is dominated by the emotions. They know, too, that the world is an emotional world. They know that the world is emotional because it is full of echoes and reflections. They know that in art, emotions are not an expression of sentiments, and that they are not merely representations of emotions. They are feelings of real emotions.They know that feelings can be sold and they are aware that art can be used to induce feelings of both nostalgia and disappointment. They know that the emotions are not only what we think we feel, but also what we do not feel. They know that art can, and must, have emotional intensity and that it must be used with the utmost sensitivity. They know that art must be used as a means of becoming aware of the world and the emotions, not in order to produce an emotional image, but in order to let the world have their emotional resonance and depth. They know that art is not just a tool; it is a medium. They are aware that art is not a sign of affection, but an emotional language. They are aware that art is not just a tool.

Result #2

Christmas night sky. Zack. Reflections. Happy Christmas. (In a pinch, the moon, as the visitor turns to the right, turns to be the left hand of a little girl.) And so on. But most of the paintings are the same. The result is a close look at a handful of early-60s paintings that retain their own distinct look, and a more general, more extended, less personal look at the epochalizing of painting. It has been said that art today is about a kind of mixed signals. Perhaps the symbolism is best expressed in terms of paint itself, or, to return to the tourist example, a show of paintings by a long-dead girl.The best paintings in the show are those that create a muddle of meaning, a distorted style. The cluster of symbols in Insomnia is a very good one, but the title is not. Insomnia is a metaphor for the difficult way it is translated into the world; it is a metaphor for the way that our lives end—that we make mess of the middle age. (This is also the way it is translated into the world.) The title is particularly interesting because the title also means a lot of things to a small circle of people. The implication is that these people have been sleeping, and the paintings suggest that they do. We see through their lack of sleep, but we dont see the way the paintings suggest they see; we see the way theyre distracted. The paintings are a series of visual hallucinations, a series of mental garbles, which, through the painterly transformation of paint, create a sense of the range of imagery.The rest of the show is a bit dull, but one can only hope that this is a sign that theres more to come. Theres a couple of paintings, however, that are quite convincing in terms of their own meanings: Pussy on a Dildo, 1990, is an old-fashioned picture of a womans feet, which could be a reference to pornography.

Result #3

Christmas night sky. Zack. Reflections. Happy Christmas. Their reflections were the artists, and the studio. So I looked in the mirror, but I didnt know how to talk about it. They didnt know what to do with their fantasies of fame and fortune and how to cope with the changes they were going through. It was the worst. I was lonely. So I waited to be understood. They didnt know what to do with their dreams and dreams of getting rich. I didnt want to be misunderstood by their naiveté, and I didnt want to be misunderstood by them either. I wanted to be an artist and make a living. So I walked out there and made a request to the studio, and they said, 'OK, we are going to hear from you about something. What can I do for you?' I said, You can do whatever you want. And they said, Well, we can do it through the gallery. So I went to the gallery, and made a request on behalf of myself and my daughter, and they said, We are going to have lunch in the studio, and we are going to have a little talk. So I went home and made a request to the studio. They said, Well, we are going to have a little talk and I want to ask you something. I said, You can do whatever you want. Then they said, Well, you can do whatever you want. So I went home and made a request to the studio again. Again they said, Well, we are going to have lunch in the studio, and you can do whatever you want. So I went home, made a request, and they said, Well, you can do whatever you want. So I went home, made a request, and they said, Well, we are going to have a little talk, and I want to ask you something. So I went home, made a request, and they said, Well, you can do whatever you want.

Result #4

The glass pane of the outdoor kitchen is a framed photograph; the glass pane of the kitchen window is a photograph, and the window of the lounge is a photograph. And so on, through a very arranged and organized sequence of images, the creative apparatus is brought to a standstill, suspended as it is between the imaginations of the beholder and the creative apparatus itself. A standard clockface decoration—a clock face with a heart—is a photograph; the illustration of a clock is a photograph; the clock face itself is a photograph. The window wallpaper that rises up on the windows is a photograph; the wallpaper is a photograph. The wallpaper itself is a photograph; the wallpaper is a photograph. The clock is a photograph; the clock is a photograph. And so on.The viewer who looks at the installation as a whole, though, will be faced with a rather peculiar question. How does one interpret such a work? The installation is an image of a standard clock and a table; the clock faces a photograph of a window. But this is not a standard clock; this is a photograph.

Result #5

The work is replete with playful humor, from a veritable take on the art of the child to a playful dig at the omnipresent and sometimes overused term instant gratification. The curators point to the paradoxes of the experience of children, to the playful and self-reflective nature of childhood, to the fascination of the casual observer, and to the fact that many of the pieces incorporate a playful element. On the other hand, these works are decidedly non-narrative, and the displays themselves are at once not particularly narrative and not. Indeed, one of the most striking aspects of the work is that it is both playful and non-narrative. It is non-narrative because its element of play is absent, but it is non-narrative because the viewer is invited to participate in it, to participate in transforming the private space of the gallery into a public, interactive space. In the end, the work succeeds in becoming a site of activity and not a blank screen for spectators to rest content with viewing.