A gloomy painting of a singular rocket, flying away from a violent river of blood by moebius and stephen gammell

Result #1

A gloomy painting of a singular rocket, flying away from a violent river of blood by moebius and stephen gammell <|startoftext|>In a fascinating group of works from the 60s, the artist was exploring the relationship between abstraction and figuration, between the male and the female, within the boundaries of a single canvas. In a series of 12 works from 1961 to 1964, the artist paints a headless male figure in an awkward pose. The face is distorted, but the body is intact. The head is connected to a flat surface on which a rectangular form is painted. The figure has been removed from the canvas, which is hung on the wall. In these works, the artist displays an interest in figurative figuration, which is not only a means of undermining the machismo that has traditionally surrounded abstract art but also a means of examining the complex, often contradictory, nature of the object. The figure appears to be a sort of archeologist, a sculptor who goes back to the roots of abstraction, which he traces in a drawing of a drawing. The work thus connects to the artists own exploration of the relationship between art and nature, between the materiality of the painting and its gesture. In this way, it is a study of the relationship between the subject and the material world.The most recent paintings in this show combine a series of auras with the subjects and figures of the earlier drawings. The result is a series of paintings in which the subjects of the earlier works are erased, transformed into smaller figures and abstracted in a sort of landscape or landscape view. The artist has created a series of paintings in which the elements are more open and intimate, the figures are more distorted, and the landscape is dominated by a white space. But the colors and textures are the same, and the effect is merely of the painting itself, a study in the process of painting. This is an exciting development for the artist, for the original colors and the distortions of the figures are still present, but now they are expressed in an entirely different way.

Result #2

A gloomy painting of a singular rocket, flying away from a violent river of blood by moebius and stephen gammell <|startoftext|>To be a man, he says, is to be a god. And to be a woman, he says, is to be a devil. And, finally, to be a woman, he says, is to be a god. Not only do these words echo in Balthus, the man of the text, but they also define the body of work that was created by this young artists first solo exhibition. The Italian artist, who was born in Italy and now lives in Berlin, used the same language to describe the body he sees as both devil and woman. The work included in this exhibition, titled La Passionale, was characterized by a balance between a classical depiction of the body and the artists own description of it, each taken from a series of portraits of the artist. A number of paintings, done in the past year, followed Balthus examples of historical painting, although he did not include his own drawings and portraits. One of the most striking images was an abstracted silhouette of a woman, presented in an enlarged reproduction in a large white canvas. The women torso, which is supported by a wedge of wood, is almost transparent, while the rest of the body is obscured by the wood. This singular figure, which shows how an abstract figure can be both supported and broken, is an image of both inevitability and ambiguity. The problem is one of expressing oneself, of trying to put ones image in the realm of a perception that is not made in vain. In this painting, Balthus seems to be attempting to change that state of confusion into the realm of certainty. By extending his vocabulary of figuration, he succeeded in producing a work that was both an observation and a concept. The figures rendered in these works are both abstract and recognizable, and the objects of the images are both physical and immaterial. The artist achieved this through a combination of language and gesture.

Result #3

A gloomy painting of a singular rocket, flying away from a violent river of blood by moebius and stephen gammell <|startoftext|>This show was dominated by the building of a huge black pyramid—the pyramids original form. The pyramids granite surface, which was previously a smooth, marble-like, hard, shiny surface, has been transformed into a blotchy, scatological, oozing, stinking mass. The form is a grotesque parody of the human form, and the black is a sickly color, while the pyramid is a hulking, suicidal mass of mass, its surface almost seething in a hot, bubbling mass of gore. The artist seems to be saying that we are all in the same boat, and that we all know what is going on. The blackness of the pyramid is as menacing as the blackness of the pyramids skin, and the pyramids skin, with its glazed surface, is as threatening as the pyramids skin, which is obscenely fleshy and gaudy. The artist has made the pyramids, as in the pyramids of David, appear to be the blackest of black stones.And there are other parallels to point out. In a group of paintings entitled On the Road to Damascus, 1987, the pyramids are as menacing as the thugs who will come to take them down in the next installment. In a series entitled The Door to Damascus, 1987, the pyramids look like the executioners. The artist, working with the tradition of Eastern religious iconography, draws parallels between the pyramids and the fear-filled world of the mystics. The pyramids are the pygmalion sign, the symbol of power, and the pyramids, as symbols of virility and perfection, are the perfect sign of evil. The pyramids are the symbol of the soul, the home of the ascetic. They are the gates of Hell to purgatory. They open on the arrival of Christ, the father of light. They open on all mankind.

Result #4

A gloomy painting of a singular rocket, flying away from a violent river of blood by moebius and stephen gammell <|startoftext|>For her first solo exhibition in France, Paris-based artist Frédéric Matisseau showed a selection of twenty-four small, amorphous, and somewhat abstract paintings on canvas and paper. The works were made between 1983 and 1997, and the exhibition was titled Il fautorita partiensienne (The Future Partly Examined) (The Future Partly Examined), as the artist calls them, or Définitalis (Finitalis) in French. As Matisseau notes in the shows brief and incomplete catalogue, the artists interest is in the question of whether there is still life left to be seen, not only in the wake of the fall of Communism but also in the wake of modernization.The artist was born in Roubaix, France, in 1978, to a family of immigrants, and this legacy of exile permeates her work. The small black-and-white paintings that made up this exhibition, which also included a few large oil-on-paper works and a group of very abstract, black-and-white paintings, all depict figures of a younger generation, children, and landscapes. The works are all from the series La Fin des pelvres (The Table), which was composed of oil paintings on canvas that Matisseau produced between 1986 and 1997. These paintings, some of them nearly two feet tall, feature figures with various degrees of adult and childlike poses, and the broad palette of tones that has become her trademark lends a feeling of calm and order to the compositions. But in many instances, Matisseau has painted the figures in such a way as to indicate their position in space, as if they were running, walking, or swimming. The figures are generally depicted from the side, or facing the viewer, but occasionally from the front or the back.

Result #5

A gloomy painting of a singular rocket, flying away from a violent river of blood by moebius and stephen gammell <|startoftext|>The new paintings by Anthony Hernandez that are now being shown at the Art Institute of Chicago are a disappointment. I have to admit that I was not entirely certain that this was the case, given that the paintings, if I remember correctly, were made about the same time as Richard Diebenkorns work, but they are much less abstract. Hernandez has said, Ive always been attracted to the surface of things, but Ive always been attracted to their surface. And Ive always felt that his paintings were not paintings in the most literal sense, but rather paintings on a surface. I felt that there was something deeply elusive, even in the most obvious ways, about the paintings, because they were neither paintings on a surface nor paintings on a surface. They were abstract, and that is, like the best abstract paintings. They were not paintings, but rather, rather, things, things on a surface. Now, the new paintings seem to me to be abstractions in the most obvious way. They are not paintings, but they are abstractions in the most obvious way. They are not abstract, and yet they are abstract. (Hernandez has said, Im trying to be as close as possible to Abstract Expressionism. But Im not trying to make a painting in a literal sense.) What is new about them is that they are very close to the paintings of the 60s, which were abstractions of the surface. (I should add that the paintings of the 60s were very close to a kind of early Michelangelo, and to an Abstract Expressionism that was never as pure as that.) This is not to say that they are not abstract—Hernandezs paintings are not. What is new is that the abstractions are not paintings, but are abstractions, as abstract paintings are. They are not paintings, but they are abstractions. They are not abstract, and yet they are abstract.