Kosmas violence, hentai sculpture Shanghai bodybuilding irony post-modern internet memes US. Lots of cum and gay sex. Muscular women fighting. Problematic.

Result #1

Then theres a number of tiny photographs, some of them, of a pink-haired woman in a yellow tank top and a girly skirt. It is as if they were the final proof that the 1970s can still be sexy. But theres a problem: They arent. As the countrys second-largest city, Shanghai, has proven by its own admission, the internet is not only a tool to connect; it can also spread terror. Its complicated, but its not complicated in New York.

Result #2

Sometimes one wonders if the sheer physicality of the imagery is a limitation of the scale, or if it might have been better to make the figures a bit more indistinct and go for more complex, abstracted forms. But these drawings are pretty good, and theyre actually well done, even if they seem somewhat homogeneous in their color scheme. If they dont look as bad as they should be, its because theyre as abstract as they should be. They could be a kind of Drawings of Tomorrow by one of the best of the contemporary Pop artists.

Result #3

Kosmas violence, hentai sculpture Shanghai bodybuilding irony post-modern internet memes US. Lots of cum and gay sex. Muscular women fighting. Problematic. (Photo: Roger McBride)New Yorks first-ever New York solo show was a nonstop, multimedia one. A theater group featuring the work of at least five artists from New York, the group Merce Cunningham, Priscilla Chan, Elizabeth Merrick, and Sissy Spacek, as well as a few art-world regulars, took over the show. Together, they presented a full-scale, two-dimensional, animatronic recreation of the Back Door, a historical, open-ended, neighborhood-wide, nonlinear, postapocalyptic, sci-fi, posthuman, postapocalyptic survivalist fantasy played out across the city. The event was an empty one, an awkward and oddly poignant throwback to a long-gone theatrical stage. The Midsummer Nights Dream of Jane and Louise Wilson, along with a plethora of other locales and unlikely subjects, was an apt introduction to the schizophrenic madness of a show like this.The show opened with a live version of The Way of the Whirling Dervishes, a work that merges a 1983, nonnarrative, re-enacted version of Merce Cunninghams 1992 performance with a 1995 one. The original version had a large female body, which was recast as a doll, complete with headless torso and arms, no hair, and no legs, only the bandanna of her feet. This version was the only one with a female body, and the very last one Cunningham performed. He is, in fact, coming out as a transgender man. Cunningham continues to perform, but it is a different kind of performance. This piece, too, was conceived and staged for the small, intimate, and non-concerted space of a theatre.The third part of the show consisted of five brand-new works, all untitled, that had been made to scale and resemble the originals.

Result #4

The results of the global post-truth era, which was repeatedly commented on by the artist in the public sphere, The Country, 2005, a group of ceramic sculptures by the US-based artists Tanya Collins and Kelly Rantanen, was a jumble of mass-produced object lessons on how to paint, and a lot of death and violence.A bodybuilding contest with a media backdrop, The Countrys seventy-five works on paper (from 2003–2008) constituted a catalogue of bodybuilding paraphernalia, perhaps a last bid for self-improvement. The artists cast, painted in white-on-white and yellow-on-yellow, provided a cohesive group of figurative canvases, as well as several ceramic sculptures. The works were filled with clumsy, almost terrible, scribbles and scribblings, some clearly legible but others invisible. In a small gallery, the sculptures—found, found, and recycled—reminded us that one is no longer a blank slate. What were a few scraps of information and a few scribbles in a paint can can are now the foundation of a bodybuilding arsenal.

Result #5

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