Sample Performance review points by employee

Result #1

Sample Performance review points by employee and artist Paul McHugh, along with copies of the publications to be screened in the show. The work provided a closer look at the feverish activity that develops when the Artforum writers in the late 1960s and early 70s dreamily reminisced about the days when they could indulge themselves in both the absurd and the absurdly good.The shows spread over four separate locations at the Museum of Contemporary Art in New York also reflected an ongoing movement of artists between different eras and different geographical regions. Since the 80s, the New York museums permanent collection has accumulated over 300 works by some 50 artists, from such varied sources as the Indian, African American, and Jewish communities. This exhibition included 60 works dating from 1974 to 1980, and looked forward, with the suggested hope that it would help to allow audiences to make an informed decision about their cultural connections. More than a complement to the exhibitions catalogue, the show offered a follow-up to the curators material analyses, which had determined that, though their own work was, to a certain extent, the product of cultural exchange, the creative milieu and historical factors that were operative in its production must also be taken into consideration. Here, the idea of cultural exchange was recalled to a point that was, as it turns out, both historic and contemporary. Starting in 1977, in concert with a staff that included a painter, a sculptor, and a critic, the curators selected works that had come from a range of cultures—from the arts of colonial South Africa and Third World art to those of contemporary American artists. The basis for the selection of works was an extensive cross-referencing of each artists influences, in no small part determined by the historical and discursive context of his or her time. (An effort to distinguish a work from its source is often a manifestation of the artists veneration for the art of its time.

Result #2

reviews, employee testimonials, and testimonials by artists and musicians that are distinguished by their carefully crafted, if not original, focus on their craft. The latter are an important element in their art. Being a work of art means to be unique. It is in this regard that any artist can be unique. It is a very special privilege to have the right to do it.Being a work of art means being perfect. Being perfect means having perfect ideas. It is in this regard that any artist can be perfect. It is a very special privilege to have the right to do it. Being a work of art means being perfect.

Result #3

Sample Performance review points by employee and member artist, Faced, and Eric Clapton, who worked with Jeffrey Koons, Michael Jackson, and John Baldessari. Of particular interest is Koonss participation in the CUNNING LINE meeting, during which Jackson and Koons agreed to produce a bunch of short films and sketch out, according to Clapton, the event's pre-determined script. Many of the tapes were never made, and Koons himself gave up on making the CUNNING LINE, and his script for a Jackson & Co. film was a much longer, drawn-out tale—but the film never got off the ground. Similarly, Clapton's work suggests that his forerunner, Richard Prince, was a second-tier experimental filmmaker. Clapton later refers to Prince as one of his favorite filmmakers of all time. One of the videos in the show is a nine-minute scrap-the-frame sequence of Long Island radio stations played on a loop. The pieces that follow are all either in the form of cards, or perhaps the result of an interdisciplinary collaboration. The tape contains the results of these creative as well as technical experiments, such as making the clams in a chicken-and-egg equation, or reducing a can of black paint to rags. The range of results offers up to a very different feel from the films in the show. The commercial radio station KTTW-FM (102.1), for example, which is often used by New York radio listeners, is now only available to those who pay a monthly fee. In this context, Koonss similarly-modified pieces make sense. In order to produce the videos, he relies on a computer that reconstructs the scenes he uses.In The Angels, Clapton again teases out Koonss cinematic strategy with other works.

Result #4

Sample Performance review points by employee accounts of incidents involving the organization that are more interesting than any one piece. Among them, the extravaganza of demonstrations at Gagosian in December, as well as a group of casual, untypical, but no less uncanny, experiences with Amanda Marcoci, his manager at the time, and the enigmatic Pablo Picasso. If these were the sort of things you might expect to find in Gagosians online store, then why weren't they?Among the activities that suggest that the group's interests were more organic than institutionalized were the silly—for example, an interactive game where visitors could create their own lives by taking their own portraits, or a mind-expanding public display of the artists studio and gallery collection. (Gagosians owner, hedge-fund manager and author Paul Buchheit, who gave the group its name, is said to have asked all the members what they wanted to happen.) Most of the works on view, however, were based on photos, including a recent trio of photo-based works from the artists series Retinal Events: Adapting the Matches, 1994–96, a group of objects on display in the artists studio that function as photodocumentations of the physical process of photodisaccination. In the latter series, the artist essentially extracts visible images from the retina of individuals. The less interesting of the retinal events are portraits, which are generated by the inclusion of the eye. The artist appears to have cropped these photographs to produce essentially identical prints. In other words, theyre the same. These representations, which they depict in sepia-toned tones, are not just duplications of each other but of actual photographs. Unlike retinal events, which are usually printed on each of the same dimensions as the originals, portraits are hand-rendered in the darkroom.

Result #5

Sample Performance review points by employee artist Dan McGrady, he quotes more than his fair share of the usual oeuvres, from works by Frank Stella, Robert Morris, and Georges Seurat, to works by, say, Robert Mapplethorpes or Robert Morris. McGrady, in his text for the show, adds a note that offers up a rather unorthodox take on the scenes: Awwwwwww, you should see a new television set with a 4-mm film in it! This is wonderful. . . . I wish I could get my hands on one, he writes. He then proceeds to borrow a page from the repertoire of Rorschach; with one notable exception: it is the truth that it all goes on the inside of the camera itself. He makes a very clear case for the reliability of film by noting how important it is to get a false picture in order to get a true one.Even if one doesnt need or wish to see the films in question, one can at least learn a thing or two about the process of making them. And you can see the films running on video, which explains why it is hard to imagine the films as any more than an in-between possible camera that could have produced the beautiful pictures it does. The very nature of the process of making the film is what makes it so thrilling and difficult to imagine as a camera in itself. McGrady imagines the film and the actual image as a thing and not just a thing. His ideas of a digital image are what make it possible to understand and evaluate a film with such unforeseeable ease, as if nothing was going on behind the camera.No matter how much one tries to grasp the films—whether the photographs are impressive, as in the case of, say, Mondrian or Dali—the image is not the single most important thing in the process.