2 personality 1 body, good and evil, light and darkness, psychotic

Result #1

2 personality 1 body, good and evil, light and darkness, psychotic vernacular.Along with the portraits of rock gods and hippies, Postcards, all which were accompanied by text, there were pieces of graphite drawings that displayed the elements that make up a graph. These were as simple as drawing and as complicated as writing. Postcards, however, are a mix of reality and fantasy, of no-hope and hope, and often of contradiction. They are an invitation to wander into a world where time is lived. Even as they seem to have little to do with reality, they are what the words dream about. The question of what reality is, is asked in this work. How can we learn something about reality? How can we tell the difference between reality and fantasy, between our existence and its result?To me, Postcards represents the most complex, disturbing, and disconcerting piece of art in this show. From its title, the title is derived from an art book published in England in the 1490s and based on Hans Chaucer, which tells of a man who could only be led into two paths at one time. When he went to the upper ground floor of a room, he found that two paths were going one way and the upper ground floor was on the other. So he went down the stairs and down the door and he found a doorway leading into the lower room, but by then the second path was too late and he had already found out that the lower floor had been taken by a ghost. The lower floor of the room contained a book containing a detailed description of the new building he had just finished. With these observations, he asked himself, What is this house that is so empty? He began to make some connections, to relate the house to reality, to his experience of reality. The whole house is painted black, with only the word living used in its title.

Result #2

2 personality 1 body, good and evil, light and darkness, psychotic iziness and self-possession, and the characters are described in one-by-one color photos in the same way as in the short narrative novels (images that, however, are in the black-and-white) that feature protagonists of the same gender or race as the artist. In this instance, the title of each work is known, and each image is given a title—Vellum—its image, for example, using a figurative meaning of amputation to refer to the psychological event that gave birth to the vampire in the film.More than a punch line or metaphor, Vellums sadomasochistic side is explored in the Triptych (Bedtime) series. Here, two of the four black-and-white photographs in the show—with the exception of the earliest, Untitled, 1987, which shows the table where the characters share their beds—are titled after the names of the principal characters of the films—Vellum and Gery, respectively. (The only character that is not in the film is Vellum himself.) A photograph of an open door is titled Belmont, the names of the characters are Beverly Hills, and the words are Triptych.The Triptych series demonstrates how thoroughly abstractionism has infiltrated the vocabulary of British cinema. Here, two images are named after the characters from each film: Triptych:triptych, 1983, a scene from an adaptation of The Triptych (Bedtime) series; and Triptych:triptych: Triptych, 1987, a portrait of the movie's protagonist, played by the artist himself. Each work in the series comprises one long horizontal sequence.

Result #3

2 personality 1 body, good and evil, light and darkness, psychotic ikidax, and sane inky, hence perfect and lifeless. An almost ethereal blue translucent jellylike transparency emanates from a black background. The head in the picture is more or less transparent, at least partially transparent, giving the figure a luminous, almost gelatinous quality. One sees a fragment of a figure above the head. These translucent forms recede to a low point, possibly hidden by a veil of translucent plastic. As in most of his works, Wesselmann uses thin transparent plastic sheets (sometimes bound, as in photo-reversed) to cover his translucent, rather than transparent, surfaces. This process creates a rather flat, almost fluorescent quality. The resulting (to my eye) flatness is reinforced by the high and low tone variation, which varies from green, to orange, to red, depending on the light-sensitive material. The result is a quality of synthetic or quasi-comfortable lighting. Most of the parts are light-reflective, sometimes bright, sometimes warm, all moving as a kind of psychological-aesthetic equivalent of a sense of solidity. This effect, again, is accentuated by the uneven blending of tones and the gradation of light in the translucent plastic.One can even recognize the effect of a flash in a photograph of a warm, unprimed, undamaged look. Wesselmann, in effect, achieves his effect of being off-color; he is taking an off-color approach to the surface of the photo-photogram. He is very good at creating a kind of colorful primordial flatness. He captures a romantic sensuousness in this over-the-top kind of flatness.This piece of show, Wesselmann: Painting at the San Francisco Museum of Art, at that time during the late 70s, was the first one-man show ever to be done at the museum.

Result #4

2 personality 1 body, good and evil, light and darkness, psychotic ikonomiya, always on the brink of catastrophic annihilation. His art is pure and sober, his ideas clear and intellectual. Sivak, too, is a wise, thought-leader, someone who knows what is right. Two of his key concepts are preservation and redemption. He asks us to love the world and in return, save it from destruction. And if we cannot live, we can choose a better life. One of his most significant works is named after a book by one of his early friends, Marcella Lonzi. It was published during the 80s and is called The Wounded Man and the Wounded Soul.It is in this context that Sivak succeeds in his objective artistic and philosophical stance. He is an artist of a higher culture, who lives in a rich world. As a result, we perceive him in a whole new way. Sivak, in the 70s and 80s, invented a poetic and metaphysical art with a spiritual basis. This is why he sometimes wrote in poetic prose, which seems to be a fusion of dreams, language, and dreams. Sivaks early work, he claims, is real art, but the real world is a fiction, a fiction of fantasy, of enchantment. And in this world of fantasy and enchantment, fiction seems to be the most important, and therefore the most interesting. Such is Sivaks literary and psychological world view. In this age of enchantment and enchantment, fiction is the most important.Sivak was a writer who believed that fiction is the most beautiful thing. His fiction is about the beauty of writing. He believed that writing is, in itself, an art form and that writing is the most beautiful art form. He believed that writing is a beautiful art form, and that writing is a beautiful world. And he believed that the beautiful and beautiful world is a fiction, a fiction of enchantment, of dreams.

Result #5

ersatz, and so on. As evidenced in the second set of images, this blankness is not the result of our being trapped in a stagnant, thoughtless frame. Khatoum, in his third body, has become a ghastly beast. Finally, on the far wall, a mans face appears; he is draped in a flag, in a state of acclamation and hollowness, like one of the dreamers. The western world, the land of the pure, the perfect, the truth, all the things one wants to achieve, but none of them have been achieved.There was a fundamental split in the rooms of the Basel Kunsthalle, in the sculpture in which the characters, as manifested in the painting, appear to be drifting through a space where the mind, as if in a dream, should be. Though there is no sound, one cannot yet discern the reality of the paintings and the characters, because their existence is beyond everything. In the end, all one can see is the color of the surface—a living surface, a living soul, an immortal mind—and the abstract characteristics of the objects that decorate it: arms, legs, feet. The artist speaks of his desire to reconcile reality with spirit, but it seems that the spirit cannot reconcile reality with reality; in reality, however, reality is spiritual.