ico, as much as the self-contained one, the piece is presented as a kind of defense against the self-conceit of individual expression. What makes the piece so convincing and satisfying is not its surface, but its hidden power. In this sense, his work is a reflection of the artists soul, and not of his situation.

Result #1

ico, as much as the self-contained one, the piece is presented as a kind of defense against the self-conceit of individual expression. What makes the piece so convincing and satisfying is not its surface, but its hidden power. In this sense, his work is a reflection of the artists soul, and not of his situation.It is in this sense that Schoenfelds work relates to the theories of nonrepresentation, which propose that any order that takes the form of a representation is incomplete. In the present work, this incomplete order is represented by a succession of text and color drawings, all of which confirm Schoenfelds penchant for abstraction. One can see the traces of the artists hand in each drawing, but also traces of the artists vision. The artist tries to draw as little as possible, to avoid making the viewer the focus of the work. In this way Schoenfelds work seeks to engage with the notion of the artist as a living thing, in a world that is full of meaning. The other, less familiar abstraction, a kind of pixelated abstraction, tries to create meaning out of the meaningless.Schoenfelds works are constructed out of concrete and watercolor elements, but his use of color is surprisingly sophisticated. In his drawings, the colors range from black to brown, from gray to white, and from gray and white to black. His colors are formed by his hand by means of a regular application of paint on the paper. In his paintings, he uses a variety of colors, including light blues, grays, and yellows. These paintings are full of luminous shadows, which come to life when the color is applied in a thin, smooth stroke. This work gives the illusion of lightness, and of depth. The lightness is achieved through the juxtaposition of different colored strokes. In other words, the lightness is not just a result of the color but of the way the color is used. In these paintings, the lightness is achieved through the incorporation of color into the picture. This is why Schoenfelds work is both dark and light, light and dark. Schoenfelds work is not just a kind of artist, but a living thing, and not an abstract image of it.

Result #2

The artist-as-hero is one of the best in the world, yet he is a man without a nation.The most complex piece in the show was a photogram by Josef Albers that charts the relationship of the human body to the world. The work is based on the theory of evolution, but it is based on the operation of a single, all-powerful idea, that the world is a stage, the creator of a personal and collective universe. Albers photogram charts the human body as a complex and interconnected system, a complex system that evolves from the basic unit of matter—the body. This is a system that can be categorized and separated from the environment; it is a system that can be created, and yet it is one that cannot be destroyed. The works title, Under the Ocean, is a reference to the human body as a physical shell.The two more recent works by Albers in this show were the most complex. The first is a series of paintings, titled Albers Portraits, 1988–89, that chronicle Albers conversations with his mother, Marguerite, and with various artists. The pictures are arranged in a sequence of three groups: portraits of his mother, his mother, and his father. The portraits of the mother are arranged in three groups: portraits of his mother, portraits of his father, and portraits of himself. In the process of creating the portraits, Albers uses a device that he has been using for the past two years. He begins by creating the subject, by examining the image. Then he examines the image with a special precision. The results are finished portraits, paintings of a kind. The portraits are created by the operation of an abstracted, photographic reproduction, and they are thus very complex, almost as complex as an image. In this way, Albers creates an image that is very personal, very personal.

Result #3

ico, as much as the self-contained one, the piece is presented as a kind of defense against the self-conceit of individual expression. What makes the piece so convincing and satisfying is not its surface, but its hidden power. In this sense, his work is a reflection of the artists soul, and not of his situation. The man who lies in the corner of the room is somehow in the center of the room. The room is a place in which the soul can come out, as it were, and to some extent, it does.With this show, Renato presented a series of works that are self-contained, self-contained, yet not self-contained in themselves. A number of them are quite large, with a lot of space to work with. His most successful ones are the two small works, Untitled, 2003, and Untitled, 2002, and the three-part, hand-colored, flat-footed piece titled Miro, 2002, made from two parts and arranged on the floor. The former are made of a material that is hard, shiny, and durable, but at the same time contains a deep and unrefined life; the latter is composed of three cubes and hangs on the wall like a wallpaper. These works are far from being minimal in substance, but instead seem to have something of the feeling of a natural deposit. In this sense, they are almost like being relics, of a time that has passed.The works in this show are so familiar they are almost as hard to remember as they are to think about. They are objects that have been carefully stored in order to be worn down. Renato is not a material designer, but he uses the materials that he finds to create a lasting and significant art object. He makes these works—with the help of his wife, Barbara, he made a show of these works—by layering them over his walls. This strategy was particularly evident in the show titled Koppel, 2002, which consists of five types of glass objects—a spray can, a lamp, a magnifying glass, a flame, and a cone—that Renato coated with various colors and colors. At the bottom of each is a metal plate, the top a layer of colored paint.

Result #4

ico, as much as the self-contained one, the piece is presented as a kind of defense against the self-conceit of individual expression. What makes the piece so convincing and satisfying is not its surface, but its hidden power. In this sense, his work is a reflection of the artists soul, and not of his situation. The subject matter of the work is the self, and its affective energy is revealed to be not just a direct result of the artist, but of his inner nature, which manifests itself in his work. He gives us a representation of his inner nature.His work is a reflection of his inner nature, and not of his situation. The show consists of four drawings, all dated 2010. Each is a small (in size) sketchbook with a single object, in one case a single feather. The objects are placed on a single sheet of paper, and then stacked up. The feather, drawn in ink on the pages, is sometimes partially obliterated, leaving only a few dots of white ink. The image is then transferred to canvas, which is then mounted on a wooden platform. The result is a minimal, minimal form, a minimal image with the feel of a drawing, a sketchbook with a single object. The objects are arranged in a way that would seem to confirm their existence in reality, as if they were indeed real. Yet they are not. In fact, they are made up of highly polished wooden frames, some of which have been stained white. The images are painted white, and the paint is applied in a very precise way. The surface is almost transparent, and the paint does not go anywhere. The objects are exhibited on a wooden platform, and then carefully placed on canvas. The result is a very finished object, one that is obviously not painted.The paintings on view are small, white-on-black works. The titles are often descriptive, and refer to the paintings on the same sheet: the white feather, the white feather, the white feather. In each case, the objects are framed on the same sheet, and the whole piece is hung on the wall. In some of the works, the white paint, which is applied to the wood, becomes transparent, and the image becomes part of the surface.

Result #5

ico, as much as the self-contained one, the piece is presented as a kind of defense against the self-conceit of individual expression. What makes the piece so convincing and satisfying is not its surface, but its hidden power. In this sense, his work is a reflection of the artists soul, and not of his situation.But what is the power of the self-consciousness of a self-conscious artist? In this show, we see that the artist has become a self-conceited artist. But he still lives in the past, even though he has returned to a certain past. The self-consciousness of self-conscious art is a contradiction, a danger to self-esteem. It is a danger that can be avoided only by hiding your face.