Spellbinding dazzling display striking forward in new artistic directions

Result #1

Spellbinding dazzling display striking forward in new artistic directions chunk, neon, and carpeting all erupt in a frenzied rush of color and electronic pulse. In the scene at the MCA the French are represented by a paean to the golden calf of Goethe—a double-bill that also includes a 40s-wax-on-crack-dot-dot digital print that portrays him upside-down. At the Whitney, a chestnut live-action piece by Irish artist Peter Mullaney, depicts the life of a prophet in a digitally enhanced room, adding biblical phrases to his dictum, Theres no God.The visual punch of these works does not vary much from the essence of some of the artists less tangible works. The sheer energy and speed of the paintings is strikingly apparent in several of the most attractive, and unlike some of the most hard-edged pieces, the images are colorful. Nicksons brighter, looser, more intricately developed paintings, with red and blue arabesques at the top and bottom of their surfaces, have a new sense of lively, flowing, freewheeling power. Nicksons drawing is also much lighter in style, and not so much wild or aggressively painterly. The paintings are a spontaneous act of expression. In other words, these works are personal, not an expressionist strategy or a business strategy. Instead, they serve as timeless illustrations of a philosophical and spiritual sense of freedom. Without overstressing the situation, it would be impossible to represent these works without reference to the artists immediate surroundings. As a result, there is a residue of mysticism about them. The objects of these paintings show the world differently from his paintings, but their internal organization is identical. There is no visual continuity among them, no logical order that ties them together. The fragmented nature of the images, most of which seem almost to fly apart at the seams, is what the works suggest.

Result #2

<|startoftext|>Visitors to Tanya Galarrises Contemporary Art in the 1960s, one of the largest contemporary art exhibits ever in the US, will be greeted by the landmark exhibition Curator Thomas E. G. Crawford and his team chose to present in this show of six artists. The more than three hundred works on view are grouped in a particular sequence, with nearly each artist, some eighty-five of them, in various stages of production. The chronological number of artists is a record of how a particular artist developed in the decades following the opening of his or her show. Because each artist was so prolific, and so many of them were prolific, the chronological sequence creates a significant time capsule that offers a view of the artists periods work and at least hints at some of its quality.While the chronological sequence is interesting, it remains a problem that needs to be resolved in the process of viewing the art. Because the chronological order is already established, no one artist emerges out of the others, or from the many stories that occur within each one of them. Also, many of the pieces do not develop in the same way as they did in the past. A history of the development of each artist becomes a story about the development of the art world. What we find in the exhibition, then, is the accumulation of each artist, each story, but few of which are very funny or very interesting. On the whole, the exhibition is a solid effort in selecting a significant number of extraordinary works, but too many of them are poor, almost forgettable.

Result #3

Spellbinding dazzling display striking forward in new artistic directions <|startoftext|>Following a distinctly particular moment of time in mid-summer 1973, the already starry skies of La Jolla, California, were, at the height of summer, suddenly brightened, and the sun took on the colour of the volcanic rock. So it was in La Jolla that ten-year-old Jim Sterbak reenacted his unforgettable experiences with the sun, perhaps the most dramatic in recent memory of a free-spirited individual.In the early 70s, Sterbak was involved in something of a mini-expansion in his studio, working on a series of paintings called The Adventures of Cabbage, all executed in bulk and displayed together in a series of aluminum frame boxes. Even in this atmosphere of miniskirts and padded-up garage walls, Sterbaks pictorial vocabulary was wide-ranging, as the artist produced a group of brilliantly poetic, collaged-together compositions. Like his earliest works, they were simultaneously sensuous and frightening. In Cabbage, 1988, a sketchbook page from the series was inscribed with a crossbow bolt: The crossbow bolt was positioned on the wall. In Resurrected, 1987, a sheet of paper torn from a book hung on the wall like a Bible. The page looked like it had been torn from a book by Thomas Mann. The crossbow bolt was the strongest and most popular of the works in Resurrected, as it was in the dozens of other works that formed a rainbow-colored backdrop.The expansive, multicolored landscape that Sterbak produced in the 80s was only one phase of his art. From 1981 to 1985, the artist wrote novels, began a career in photography, and spent his life as a hobbyist photographer. (He took a huge leap forward in his career when he began producing his own self-published catalogues.

Result #4

Spellbinding dazzling display striking forward in new artistic directions <|startoftext|>It is hard to imagine that art, of the 1960s and 70s, would have come to an end in 1970, and that the greatest movements of the time would have been begun again. It is no wonder, then, that Mary Boone, curator of the venerable Gaiety Museum of Art in Brooklyn, is so intent on celebrating the past that she has commissioned the work of nine artists for display in this show. Of course, for many, this is an act of abuse, a kind of backroom sleight of hand, not for the sake of the real artists whose work is on display but for the art world. Like much of the art world, the Gaiety has a long and viciously cynical history; in recent years, the museum has become a premier venue for the dissemination of such work as short-lived as the stories of artists as Tadaaki Todoroki, Norman Rockwell, and Ernie Kovacs. The Gaiety has had enough of these artists, and the overabundance of art history has not helped. The excesses of the early 80s are widely acknowledged, but even if not acknowledged, they have been deeply debated, as are the results of art-historical neglect.The Gaiety is a typically Gaiety: The early work is never identified; instead, the Gaiety Museum is named for the artist, the Gaiety Art School, founded by the artist, and home to the Gaiety Archives, edited by the artist. (The Gaiety was a holding facility in which artists in the art world could also apply for admission to the museum.) The Gaiety has two wings: The first contains Art for the Future, a body of work with connections to the artist and to the culture of the time; the second is devoted to the art of the 80s, which has been neglected or ignored by the Gaiety. The art of the 80s, therefore, deserves careful consideration.

Result #5

Spellbinding dazzling display striking forward in new artistic directions <|startoftext|>Christopher Williams new work, created in collaboration with others, has a sound track to heighten the perception of all the images, impressions, and details of his past works. Whereas his earlier series of photographs of urban environments and natural scenes was confrontational in nature, his new work contains an equally critical, reflective and critical-emotional response to the relations between people, things, and places. This show was organized in two parts, one a two-part installation based on the poem of the same name, an early-1900s German poem from the thirty-sixth century by the Persian poet Ismail Sardar. Williams constructs the poem by juxtaposing a list of the letters of the word epithet with short paragraphs of words. Through these juxtapositions Williams articulates the history of modern literature and painting, revealing his appreciation of the high technique, and minimal and restrained means of the original text.In the main gallery, a single piece from the series Voted, 1996, is shown. In each of these works, the letter V is written on a backdrop of black-and-white photographs and etched onto an otherwise white wall. In the middle of the upper panel of the photograph, a small letter-bordered ellipsis, or if, like the other glyphic, symbol, appears, making the word V a visual tool. On each side of this area of the painting are the words, Voted, Voted, Voted, Voted, Voted, Voted. In the upper panel, a word is seen being inscribed onto a surface of black. Again, the letter V is written. The letters V, V and V continue on the right and left sides of the painting. On one of the left sides, a phrase with the same spelling and capitalization as the letter V is seen.