Georgia O'Keeffe 'The Clam and Mussel'

Result #1

Georgia O'Keeffe 'The Clam and Mussel' (all works 1992), a series of color photographs, which portrays a young man eating a mussel shell. The shell is a familiar object in the city, but it is not always recognizable, and O'Keeffe has taken it apart and put it back together to reveal the intricate network of its innards. The artist has been using the shell as a model for her own works, and has also used it to illustrate her own painting, which, like her mussels, is a combination of a common object and a motif.O'Keeffes art is not about the everyday. She uses everyday objects as an artistic vehicle, and her photographs are images of everyday objects. The shells, for example, are objects that are meant to be taken apart, with the shell as an element of derision. They are both a form of dissolution and an emblem of the dissolution of meaning. O'Keeffe has used the shell in the same way that she uses the image of the shell, which suggests that the image of the shell is both a sign of dissolution and of the dissolution of meaning. O'Keeffe has made a compelling argument for the importance of dissolution in art, for it is the very condition of art to make visible the process of its making. O'Keeffe does this in both photographic and painted images, suggesting that the artist is able to accomplish this not by means of the means of photography but of painting.O'Keeffes work is a kind of map of the unconscious. It is both a map of the unconscious and an image of it. It is a map of the unconscious in which the artist is able to reveal himself, to reveal himself as an artist, as a kind of social and political consciousness. O'Keeffe is not suggesting that the artist is automatically a revolutionary, that the artist is a social and political consciousness.

Result #2

Georgia O'Keeffe 'The Clam and Mussel' and 'The Clam and Mussel', and, in the first case, a premonition of the fate of the clams, in a sense, of the real thing.The exhibition included photographs by William Egglestons, an artist who has made frequent use of real subjects—his own nude figures, often made of light wood, and painted with an intense, nonnarrative brushwork—as well as a number of drawings and photographs by artists who have been influenced by his work. Egglestons and John Baldessaris drawings are all in black and white, and have the same effect as Egglestons in their independence and directness. Baldessaris photographs, too, are all in black and white. They are not, however, all the same; Baldessari uses the black-and-white format as a device to imply that the figures are all alike, and in so doing to make the subject of each work self-referential. Egglestons and Baldessaris drawings, on the other hand, are all of a different type, and are marked with a number of marks, which can be read as the result of the artists investigation of a given subject matter. The paintings by Dan Graham and Robert Mapplethorpe are of a different type, and show the same range of abstraction as Egglestons and Baldessaris works, and are based on the same abstraction as Egglestons. The sculptures by Lynne Cohen, John Altoon, and Robert Ryman are of a more abstract nature, but they are also based on abstraction, and are also made of wood. The sculptures by Paul Sharits, David Hammons, and Robert Morris are more like the photographs and drawings of paintings than they are like the paintings of sculptures. They are more reminiscent of photographs than of the sculptures, and they lack the tension of Egglestons and Baldessaris works.

Result #3

Georgia O'Keeffe 'The Clam and Mussel' (1955) and in which she appears as a clown with a pair of scissors, a shard of wood, a sock, a shovel, and a knife in her hand. She appears again in the water at the end of the film, in a pose that is almost as disturbing as the one in the film: as a child, she looks as if she had just stepped out of a bus. Another, smaller piece, The Clam and Mussel (1960) takes its title from a poem by Edgar Allan Poe, in which a young man is confronted by the clam—and the mussel—who he imagines drowning him in a pool of blood. The clams lure him to the edge of the pool, where the young man sees a slim, red mussel whose shell-like form floats above the pool. He struggles to free himself from the mussel and slips into the pool, where he sees himself. The mussel then appears to him as a shadow of a figure who is slowly moving toward him, and he jumps into the pool. The shadow turns out to be the artist, and the young mans body becomes a mirror for the mussel.The film is a monologue, and O'Keeffe gives it a lyricism and complexity that is not only sensual but poetic. The mussels presence in the film is neither sexual nor social, but both, in a sense, an entropic signifying of a self-reflexivity that is both irrational and rational. The mussel is a symbol of the dead and the living, and O'Keeffes work has always been concerned with the metaphor of death. The film, then, is a meditation on the relationship of the body to the body, the body to the body. The film is a meditation on the death of the body, the body to the body, and, in this connection, the body to the body, and so on.

Result #4

Georgia O'Keeffe 'The Clam and Mussel' (1947), is a vast empty field of a single-panel painting that, in the hands of a painter, is a series of individual images. The artists of the 50s and early 60s were drawn to the line and the single-panel paintings, but O'Keeffe found an idealist form for her art. The panels are full of ordinary figures. The most recent work is a group of single-panel paintings that are close to O'Keeffes earlier work. The recent paintings are more serious and less comic than the earlier work, but they still contain the same basic form and the same manneristic style. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work. The paintings are more serious and less comic than the earlier work.

Result #5

(a work whose title derives from the name of the town where it was created), and a series of four acrylic-on-canvas paintings by Ralph Humphrey. With its emphasis on the personal, and its use of a simple, personal palette, the work is neither sentimental nor didactic, but rather offers a delicate, direct, and suggestive commentary on the theme of alienation.In contrast to the people, in which the artist focuses most of his energies, the show included a number of photographs by artists whose work is generally seen as part of the mainstream art world. There were a number of portraits of figures in public places, which, in this case, were made with the help of a digital camera. A number of these portraits are of women, but it was difficult to tell if these were the artists themselves, or a friend of one of them. Two photographs by Ericka Beckman were among the most interesting. Beckmans photographs are of people at their best, and in them she shows a range of personalities that is fascinating in its heterogeneity. In the context of the show, however, it seems that the work of these two artists is simply a reflection on the state of being a woman in the public sphere. A number of other women artists also showed their work, but the only ones who were included were two women, one of whom was a member of the group with an interest in film and photography. The only other work in the show was a number of black-and-white photographs by James Casebere, taken in places like New Orleans, Atlanta, and Jackson, Mississippi. These images have the clarity of documentary and the graphic quality of a photograph; they are also an attempt to bring together two worlds that, though separate, are inextricably linked. The show was a reminder that alienation is a state of being, and one that is both real and imagined.