abstract geometry childhood zeitgeist artwork

Result #1

abstract geometry childhood zeitgeist artwork vernacular. (The painting was re-created for this show and the piece is on view at the upcoming Walker Art Center, Minneapolis, the gallery that hosted the show.) But to be sure, the painting is not to be taken for granted; it is a highly subjective endeavor with no clear and tangible chronology. The canvas is often reused, and once it has been painted over, it is then removed and laid on a surface of graphite. The effect is essentially that of a reflection, a photographic snapshot. In the current show, Fits, Fits, the canvas is displayed on the gallery wall, while the graphite is applied to a stretcher and the painting is displayed on a pedestal. The four-part series is called Fits, Fits, the same title as the exhibition itself.In many ways, this is a fresh and ancillary approach to the body of work—a kind of friendly prelude to a much more complex, and often time-consuming, process. That is, the painting is not just an object or a signifier of a specific body of work but rather a site of consciousness. This is an art of contradictions and contradictions, of passages that lead to a realization that no one object, no one thing, no one system, no one style, no one content can be taken for granted. It is a world in flux. What was once once common is no longer common, but something that is constantly being reinvented. This is a world of the ephemeral, of the transient, of the void and the abstraction. It is a world of sensation, of anxiety, of madness, of exhaustion. The painting is an architectural element, a time capsule, a repository of knowledge. It is a place where the body of knowledge is stored and a place where the body of sensation is stored.Fits, Fits, is a retrospective of paintings from the past 10 years.

Result #2

abstract geometry childhood zeitgeist artwork vernaculars for the professional-class young man. The original was a dense, curtainlike structure that could be slid back and forth over its horizontal support to varying degrees, which in effect resolved the relations between the base and the supporting structure. It served as a curious precursor to the modernist gate, a post-Modern re-creation of the ceiling that, for some time, was the hallmark of high-end contemporary architecture. The ceiling, however, was not for sale, and the folded-up flotation device was a gift, bestowed upon the recipient to be assembled, assembled, and assembled by the recipient. The ceiling was not a pareceque object but a portable installation, a co-working space for collaborative inventiveness and the pursuit of new visual and acoustical patterns.I couldnt help but think of an early-70s architecture collective known as the VCR Collective. The VCR Collective built its communal apartment for its friends in their Brooklyn apartments. They set up a community kitchen, built a communal bathroom, and installed a communal living room with a video-installation table. The VCR Collective was a kind of magic carpeting for the buildings upper floors. It was a carpet of all the things. In fact, the roof of one of the VCRs apartments was covered with a wallpaper of red, white, blue, and green paint that mimicked the colors of the neighboring buildings. This material, along with the wallpaper, was the basis for a series of acrylic paintings on the same wall that further echoed the patterns of the VCRs architecture. The painted surface of these acrylic paintings was the same as that of the wallpaper, and the paint job was reminiscent of an old-master finish. The acrylic paintings are surprisingly rich in color, with a soft, mauve-toned sheen and deep greenish yellow. They allude to the overall atmosphere of the VCR community.

Result #3

abstract geometry childhood zeitgeist artwork  is made to look like it. Hanging in the middle of the room, is a piece of canvas, whose color—deep brown, navy, or deep pink—is so rich it is almost paint-like. This painting, which was a finalist in the 2009 Whitney Biennial, was included in the recent exhibition. Some of the work in this show, too, is rooted in the same genre, but the shift between styles is more fluid than the transition between image and object. For example, the two-part black-and-white, four-part portrait in which the artist is seen in profile sitting on a beach with a friend, with a halo, was made up of just two different works. The first was a digital print of a photo taken of the same beach, which shows the artist sitting on a wooden platform. The second works on view here—which were made between 2009 and 2012—were produced in a variety of media, including gouache, pastel, and enamel, as well as some stenciled on canvas.In some of the works, Hausmann subverts the very notion of composition in favor of a more painterly or abstracted mode. For example, in a single work, a grid of two white rectangular pieces of canvas in a rectangular format is joined by a flat black rectangle. The result is a grid of pixilated squares. The grid itself functions as a kind of painterly form, one that evokes the classic grid of 16th-century French painting. In the works on view here, however, Hausmann and his team do not use the grid to compose the image; instead, they create a complex network of interlocking compositions. These are not geometric arrangements but rather complex systems of pictorial units. Hausmann has described his paintings as systems of tracing lines, like a road map of a country or a city.

Result #4

abstract geometry childhood zeitgeist artwork (2004). On the same page, a handsome, clean-lined yet strangely fractured image of a naked man with his back turned to us (18-15-59) appears on the left; it is the result of the artists relationship with the subjects head, a huge, angular, jaw-like bone protruding from the wall at the top of the canvas. And on the opposite side of the wall, a blue-and-white silhouette of a man—of one of the workers who made the museum—is superimposed over a nude torso.The sculptures on view here were made between 2003 and 2004, and the works on view here were produced between 2003 and 2004. The artists are well-known figures in the history of conceptual art, and their work is not only revered but, indeed, is considered essential. These sculptures are made by artists who, though they may be a few years older than the artists they emulate, have more in common with the thinkers of their time than with the artists they imitate. The work of Jürgen Haber, for example, is not only considered influential but also an important precursor to the work of the other artists featured in this exhibition. Haber developed the cubistic abstraction that was one of the first works made by modernist abstractionists. Like the other artists in this exhibition, he can be seen as an ideal model for the artists who followed him. And like the other artists, he is also a symbol of the moment in history when abstraction and painting were born. As the show makes clear, though, abstraction was not a new idea in the early 60s.Rather than examining abstraction as a new way of thinking about art, Haber, in his mid 60s, used the abstraction of the avant-garde to make a claim for the role of the artist in the art of the time. In a sense, the avant-garde could be seen as the essence of modern art, Haber argued.

Result #5

abstract geometry childhood zeitgeist artwork ersatz. And, for a time, the materials were used in industrial-looking, semiabstract, or semiabstract-looking, commercially viable constructions. They could also be used for consumer-oriented products—or, as in the case of the Diamond Model, as a source for a whole range of aesthetic things. In the mid 80s, in fact, it was this non-objective and non-ideological production process that Spengels father, the sculptor Gerhard Richter, adopted to form his most popular works, all of which have been on display at the Museum of Contemporary Art, Chicago, since 1988.The vast majority of these works are constructed of materials made from the same ingredients as the ceramic sculptures, but there are exceptions. In one of the more interesting works on view, for example, Richter used a number of the materials to make a remarkably sophisticated, non-objective object, a Duchampian bottle—a lily, of course—that is made up of thin, flexible plastic tubing and arranged in a simple, square form. The bulbous shape gives the bottle a hard, flat appearance. The plastic shapes that make up the edges of the curving plastic sheet (the bottom is a cutaway), meanwhile, are flat, even, but not flat, and add another layer of complexity. Richters skillfully layered, complex, and somewhat bawdy take on the Duchampian vocabulary of the objects he made with his father, but the sculpture is made of the same materials as the ceramic pieces. Richters plastic parts are also covered with gossamer material, a material Richter has used in his work for years. It is a material that has a deep and enduring resonance with the history of American art, which, despite its pretensions, is often misrepresented.