minimal abstract 2 tone cylinder shapes cascading like a waterfall minimal abstract trapezoid two tone complex secular expression

Result #1

minimal abstract 2 tone cylinder shapes cascading like a waterfall minimal abstract trapezoid two tone complex secular expressionist clear monophonic abstract synth. This is an interesting and productive conflict, one that evokes the holistic order of infinite complexity while also seeking to mediate the boundary between the abstract and the natural.The next work in the installation, a jumble of cardboard boxes with a selection of mylar and paper, is a composite of drawing and architecture. A series of cutout acrylic boxes from the 14th Street gallery, a stocktaking of the elevated park, and a set of seven minimalist cubes of paper—presumably a reference to the sculpture of Ira Richer (Richer is represented here by a small piece of paper, as if the artist were a contemporary version of Rudolf Gehrigs)—are set upon a black and white cast of the buildings and grassy slope of Manhattan. A cascade of paper is stacked on top of the dustbin, and a series of four-by-six-foot rectangles is placed across from the cutout acrylics, and the pieces are marked with a narrow line. The piece appears to be a kind of cartoon drawing, but it seems to have been made by someone who takes the form of Gehrigs figure and has printed it on black paper. It is a work of conflation of the separate and the sum of their parts, as the cutout acrylics that stand on the glassed-in white sand are—the one with the tree is a nod to Gehrigs sculpture, while the others, the cube and the cutout acrylics, are both part of the building and a reference to the sculptural material.The pieces in the next room are even more elaborate, and are made out of cardboard boxes. These are not just boxes for construction, they are as much sculptural as a group of cardboard boxes. The cardboard boxes are cut out and painted black, and the black cardboard rectangle that forms the base of the cardboard box forms the sculpture, and the cutout acrylics are painted red.

Result #2

minimal abstract 2 tone cylinder shapes cascading like a waterfall minimal abstract trapezoid two tone complex secular expressionistic strings that would be perfect for the office party. However, the interest of the work is in the process through which it is accomplished, not in any particular statement made. I found the concert hall itself a bit of a disappointment, inasmuch as it was one of the few spaces with an actual, functional or articulated purpose. The latter is a rather heavy statement, as if the building were a kind of absurdly hued, conceptual library of knowledge. The other works in the show, of course, are, as always, in the large-scale, heavy-duty, museum context. In the smaller room, I found a similar sprawled-out, faux-leather sculpture, which, if it is anything like the actual one, is much larger than the smaller piece.The visual pleasure of these pieces, and the harmonies of their color scheme, is best realized in the smaller room, where the color temperature, with which they are painted is warm, close to the skin. That is, the colors are warm, metallic, and transparent, and this gives the work a similar sensuous glow as a dark, worn leather. The coloration is also easier to handle in a lower light, since the light is less illuminating and, at the same time, less controllable. The sensitivity to the tints and tones of a color is more than adequate, but I found the painterly touch to be more to the point. The artist seems to be on the alert, in the small room, but then, its a lot easier to be alert than to be free.The difference in sensibility between the larger room and the smaller one is, in one sense, a function of the difference in the room, and not a matter of chance. The larger room is a rather big room, and the fact that it is smaller than the smaller one makes it look even bigger than it is.

Result #3

istic shape—point in the direction of life work—can be seen as a piece of architectural sculpture, and a chipped Duchampian vase like a sculptural version of a seascape, a sort of floral allegory, a pretty clay head of a mountain, and an older piece of metal, a Japanese kimono with a shawl and a pink bow, made of metal, about which we can infer that we are reading some (or all) of the wordings from the surfaces. The point is that there is a lot of obvious interest and a lot of still of still-objective meanings to be had, but that interest seems to be somehow tied to a rather reasonable abstract subject, and it is still important to note that it is not simply an intellectual or artistic connotation but a psychological one. Or is it? In any case, if it is a psychological symbolism we are on our way to an explanation, but it is one that might be found in other art that might be as art as it is in other people.

Result #4

minimal abstract 2 tone cylinder shapes cascading like a waterfall minimal abstract trapezoid two tone complex secular expressionist sculptural silhouettes in each neck bent neck with a headlike trusslike shape in each, and a possible implosion (the phrase actually means is a word used to describe the 3-D films of the films of Mark Monahan).The strength of the installation is the tension between the figures, the things and the space, the individual figures figures, and the flat light. It is the tension of the individual figures against the flat light, and the contrast between the spaces and the figures. This tension is perhaps best exemplified by the most dramatic piece, the small room, which features an abstract pyramid on the floor. The power of the abstract pyramid has a headlike taper and the one half of the face is pressed down against the base of the pyramid, the other half is exposed. The head is in the only position that makes the figure more visible and for a longer time than the other, which is the position of the viewer who is thus simultaneously the one who is looking at and the one who is looking at the abstract pyramid. In the large room the scale is totally reversed; the abstract power of the pyramid is out of scale with the viewer. The scale is actually the largest figure and makes it seem as if the piece had been cut from a very small cardboard box.The other piece in the show, which is about the size of a parking lot, has the same basic shape as the pyramid. The works title is, Is It Possible This One Is Still Standing? The title is taken from a poem by a woman who is not in the shower. She is standing in the same position from which she started; but she doesnt look very likely to be standing any time soon. It is possible that she is only doing it for the sake of making sure she doesnt fall. But her posture seems to imply that shes in no position to fall and perhaps for the sake of art or religion.

Result #5

ist rectangle in the shape of a polygon. I guess a card table is just a flat surface, or maybe they are just spinning. Either way they seem to be an attempt to spurn what can be done with abstract sculpture in order to focus on the rest of the thing. The gesture is more like a kick in the gut than a serious attitude to problem-solving. This is not to say that the problem is not real. In fact it is exactly the problem. But not everything can be solved. The result is that the one thing which can be dealt with—the one thing that can be made to seem interesting—is lost in a cacophony of sexual associations. The total effect is that the two-tone vibrating surface seems a few degrees duller than the ones on the ground. Which may be a way of making the works less interesting. But the point is that they are not. At the same time, it is possible to consider them as parodies of their own success.