Hahahahhahaha a a a a a h

Result #1

Hahahahhahaha a a a a a h —I'm just the idiot who threw out the disc! But more interesting than the art is that. This is not to say that the identity crisis is a form of a wish, it isnt. This is to say that it is a visual identity crisis, one that springs from real tension, one that is united by a series of starkly obvious but brilliantly exercised black-and-white photographs, among them an image of a dude at the edge of a pool, walking off a cliff, which, in its passage through a multicolored zone of electric blue and black-and-green brushstrokes, radiates a luminescent sparkle. In another, a man crouching behind a rock just below a cliff edges the picture, moving to a side with his hands on his hips, holding his arms out in front of him.The way Saar can see the rocks is more than just the drawing of a geologist; she is the artist, too, of his memories. I like Saar as a painter, she says, because she gets to paint pictures. Whether a rock or a wood, Saar paints it black and white; it is as complex as the world itself. It is as unpredictable as the universe. Everything is still and made of atoms, and I mean that in the literal sense. Saar is a chemist, not a chemist, or a chemist, or even an artist. So even when her work makes no logical sense, Saar never lets her artist slip, ever. Theres no schematic narrative to Saars work. Theres no point where things run counter to one another.There are moments in Saars work that have no particular resolution. In the darkroom of one of her works, a piece entitled Tragic Taboo, 1986, Saar photographed a dirty sooty pile of mementos from a movie theatre, along with another pile of mementos from the last film she made.

Result #2

Hahahahhahaha a a a a a h e !' (I'm sorry, Im sorry!); the response of an adolescent in the 80s with a set of physical signs that expresses frustration with the exclusion of gays in sports (Hurry!). In an alternate universe, Rick Astley is gay. It would be hilarious if, in the art world, such silliness didn't exist. His paintings combine an embrace of San Francisco and the ideals of the Bay Area with a particular affinity for Modesto, and this show of four large-scale untitled works led the show to be a celebration of the most interesting ideas and skills in modernist painting.The work on view presented a wealth of ideas, from Ed Ruschas marching image, 2008, and Frederick Schoeds Life in America, 1934, to the fiercely anti-modern post-World War II, feminist-driven anti-modernism of Chryssina Biennials 1932 exhibition, which sought to inject the American spirit into the European context, and to the visually arresting minisigraphic drawing of Monique Nagy, 1946, which is based on her paintings of her boyfriend, a Dutchman who was American citizen. Through such rigorous examples of the most basic assumptions of modernism, the viewer could experience the intellectual vitality of the early 20th century.However, this sense of intellectual vitality was tempered by a sense of sentimental tie-in that suggested both an overactive nostalgia for some good old days and a pervasive longing for some way to reconcile the past with the future. Particularly compelling was the painting of Frank Stellas white-cube window from the Modern Museum, 1962, by Paul McCarthy, a memory of a golden age that would continue to inspire artists who followed in his footsteps. The vintage look reflected the time when McCarthy was living in Mexico, while his nostalgic work often identified the context of the 1960s in the United States, where McCarthy was living.

Result #3

Hahahahhahaha a a a a a h !" (For Him Alone), both 2005, are composed of a variety of images of black males that are framed by a single frame of black paint in a single stroke of watercolor. In a second series, From When I Became a Black Artist, 2000–2002, Sharp began to create three-dimensional compositions from found photos: images of the sleeve of a pair of black pants, a pink cap, a hand held antenna, a billboard, or a portrait of himself taken from a photo album. Then he edited the resulting images through his own hand, to create surrealist, politically charged images.The seventeen-year-old Dalzell, who grew up in the South Bronx, was not a part of any of these works. For him, it was simply another way of connecting with the world, a whole new way of being alive, of having a real life. As she says in the documentary, My mother would always say that she was happy to have gone to the White Palace Hotel, but that she was a white person. She has said that she doesnt know where the word black comes from. Or perhaps it is more like an expression of frustration or anger. Dalzell wasnt living out in the city; he was staying with his mother in Georgia.It is no accident that the most potent piece in the show was from the series Attitude/Notes on the Struggle for Black Political Power, 1994–97. Developed in collaboration with members of the Black Panther Party, this collection of artworks demonstrates Dalzell's growing intellectual involvement in the Black Power movement and his formal mastery. In the images, Dalzell frames a series of headshots, capturing a specific moment in which a revolutionary weapon is used, as in the so-called White Paper, 1969, or the Black List, 1973, and then extracts the symbols associated with that moment.

Result #4

Hahahahhahaha a a a a a h !" was a selection of the hundreds of grotesque faces scribbled on the drawing board in Kinass recent installation. These so-called interiors are in fact collages from the artists archive, but they are also reminders of the artists desire to let go of all that had been holding him back.While the interior drawings function as a way to continue the artists work, the interior sculptures share a similar problem of being unfinished, both in how they have been created and in how they were conceived. Whereas the interior drawings have been drawn in pencil on canvas, the interior sculptures were made by weaving together existing pieces of furniture in one or more formations. The structure of the interior sculptures is a hard-edge surface made up of cardboard-covered boxes—as most of the interior drawings were—the cardboard surfaces function as a backdrop for the sketches. In order to represent each shape of the interior structure, Kinass opened a few of the cardboard boxes and used them to create a hierarchy of shapes. A common feature of the interior structure is its very unfinished quality. Kinard has taken a drawn planar shape, and he has created a gap, a doorway, or a doorway with a foam floorboard so that the shapes he drew and painted look as if they have never been finished. In the past, Kinard has created elaborate phantasmal structures by plastering tiny cracks and crevices on the exterior surface of his furniture. But the internal structure, on the contrary, is essentially a series of straight lines.As the viewer moves through the new interior sculpture, the internal structure begins to make sense. As in the drawings, the internal structure becomes a kind of optical apparatus that, in its imperfection, reveals Kiness joy in the imperfect. The chaos of internal shapes he has created, made from a whole array of different materials, takes on a fine, refined quality; the surfaces appear to be polished.

Result #5

Hahahahhahaha a a a a a h !!!!!!! Yayyy!!!!! The kid starts his joke with the phrase, AHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA