paint a teacher who is a woman of 45 smart, with fair hair, long and wavy, blue eyes, sitting in front of the laptop wearing leather jacket

Result #1

paint a teacher who is a woman of 45 smart, with fair hair, long and wavy, blue eyes, sitting in front of the laptop wearing leather jacket, boots, and a bob. On the left, she holds her own against a quartet of women who are wearing white-gloved gloves; on the right, one by one, are still working on their computer, complete with machine gun, bongos, and fluorescent-lit walk-in lights.Finally, during a sequence of four other performances, the artist presented the most recent piece in her upcoming series of forty-six-minute, multi-screen video installation Skirmish with Birds, all of which refer to scenarios in which women in particular have had physical interactions with birds. The artist has incorporated a range of perspectives and more than one species: a Native American man plays the banjo, while an African-American woman hurls baskets filled with live-bait birds; and a birds-eye-viewing girl and a woman with a checkered tie stare blankly into the distance. In each case, in spite of its clear references to the latest, similar environmental or political conflicts around the globe, the video work itself remains unique. Solitude and irony are present throughout these scenes, but even more striking is the way in which they unfold. The artists intention, she says, is to be an essay on the ways in which our world has been shaped by cultural forces and natural processes.The evocation of a time when certain social and political stances are being held in place, as she has suggested, is a particularly effective strategy for the artist. In the last three or four works, as she explained in a recent interview with New Yorks Times, her intent is to have viewers reflect on how human beings have altered the earth, but theres no doubt in the viewer's mind that Solomons work is just as much about the way we live as how we die.

Result #2

paint a teacher who is a woman of 45 smart, with fair hair, long and wavy, blue eyes, sitting in front of the laptop wearing leather jacket and white sneakers. He taps the monitor and plugs it in. A sound-screen door opens and closes, showing the video projection in the middle of the screen. The teacher describes a class on DNA, a textbook of the evolution of things by means of genetic data. The video footage starts at the start and at the end, and the teacher goes through the entire lesson in one minute, in less than a minute. He repeats the same sequence of propositions with each iteration.On the monitor, two bullets, each bearing the letters M, L, M, C, F, F, and V, are suspended from a crescent moon attached to the ceiling. The moon is surrounded by a circle of clear, sooty water, a scene reminiscent of a blue-blood moon that usually overflows in the south of the moon. The teacher goes through the same sequence of propositions with each iteration, repeating the same series of steps in the same manner. There is an uneasy tension between the elements and between the mind and the body. As he repeats the same sequence of actions, the mind becomes a kind of surrogate body. He carries the body and the body with him as he moves through the space, and the mind, whether human or artificial, becomes a body that carries the mind. The power of the mind to be a body is present in the mind, but it is only in the bodies.The tableau of the moon is an allegory of mankinds descent into a lifeless stage, a symbolic endpoint of physical decay and by-products of its ever-failing civilization. The sacred origins of the moon and the power of the mind to be a body are the common centers of power in art, and in science. Duchamp illustrated that any meaning in a symbol of science is limited to the symbolism of science. As an image of the spiritual center of the universe, the moon is the central point of all creation.

Result #3

paint a teacher who is a woman of 45 smart, with fair hair, long and wavy, blue eyes, sitting in front of the laptop wearing leather jacket and cap. Yet another, less female than the first, wears a gasmask; she must be a radical. The leftovers of Romes new political and artistic traditions are too numerous to mention, but they are all there, no matter how hidden or concealed, abstract or political.The subject of the show was the theme of Michelangelo Pistoletto, who died in 2006 at the age of 51. Pistoletto was the leader of the Gnostic order in Rome. A follower of the Father, he was also the first priest to be canonized, his deeds and teachings being enshrined in the Vatican. And if the cross was a prominent feature of his life, it was not for the reasons of persecution but rather for the biblical injunction of the Old Testament to keep it sacred, in the case of the cross being the inmost core of all matter. This is why, as Schauberger points out, in the Vatican, the cross, like the baby Jesus, belongs to the Holy Family. If we add up all the years of Pistolettos life, we get more than a list of sins: adultery, homosexuality, murder, theft, adultery, lust, incest, and adultery again is a heinous sin, a sin against nature. Every single one of these is an offense, but not all of them are considered sins. They are topics, not punishment. In this, too, the Vatican is like the Church of England, which, in its long history, has shared the form of a multiplicity of laws. The Church of England also has a collection of sins, Schauberger explains, but Pistolettos sufferings are not ones own.The central theme of the show was of the sins of the apostles and the martyrs.

Result #4

paint a teacher who is a woman of 45 smart, with fair hair, long and wavy, blue eyes, sitting in front of the laptop wearing leather jacket and boxers, and a huge garishly smile. The painting is titled Dancing Hell, 2011. In the background, a framed photograph of a woman wearing long-sleeved shirts, jeans, and t-shirt reveals her right nipple, her un-edgy t-shirt, her crotch, and the whole gallery. Its almost as if the woman in the photograph, in a fit of adorableness, had just sprung on us, and its a pleasure to watch her get it on. Just as an explicit female nude gives the image a manly patina, the women in this image, too, are vigorously painted in the same unapologetic, puffy hues as the background. Given that the girl in the picture is, more or less, in the background, the foreground, the painting of them remains unchanged, if a little disconcerting.If this work might be categorized as experimental work, theres a good reason for its popularity, too. In 2012, the British artist Laurence Sterne (aka Roles/Roots) made a group of plaster sculptures from his relationship with his two-year-old son, Pauline, a native of Denmark. (Sternes name comes from the word renn, which means to weave, and the names spelling back to Sternes age as a socialist.) The sculptures were exhibited at the Whitney Museum of American Art in New York in 2012. And Sterne has made work similar to the paintings, including works on paper, since 2009. The eight-by-ten-inch pieces, most of which are oil paintings, seem to be based on the same foundational principle of abstraction as the canvases—only Sternes paintings are textured and patinated, as though he were painting on wax. But Sternes textural application of paint does not always follow any logical path, instead taking a curt, thoughtful, even self-consciously funny route.

Result #5

, white tennis shoes, black sunglasses, and a white T-shirt. Her impassive expression is not that of a victim, but that of a hero who gets to keep her secret.