Review | Since I wanted to co...

Generated on 2022-11-12 04:41:43

Result #1

Since I wanted to communicate intense emotions, because of the absence of my sisters and the burning desire/ longing I had to face in order to overcome my grief in my day-to-day life, I was inspired to emphasise with my own work on intense facial expressions of anguish and fear. In order to condense everything I've experienced and accomplished up to this point into only one piece of work, I decided to use my final piece as a vehicle for self-expression and to test the limits of my acceptance through this topic by experimenting with oil paints and using vivid colour palettes to depict my progression from sadness and unhappiness to acceptance, understanding, and comfort. <|startoftext|>As an artist, in spite of myself, a writer, and a staunch critic, I never thought I would encounter an exhibition where I felt I had to say something. But I found a way to say something and say it. The crux of the matter is that this exhibition was founded on the idea of noncontinuity—a concept which in a way still echoes the foundations of the social. Noncontinuity is the ability of people to not continue and it is this power that these pieces, works, and exhibitions hope to deny. Its one that neither reaffirms nor contradicts, but instead attempts to shape and erase the facts. If we look at the show through the eyes of noncontinuity, we see that it is built on a false dichotomy, which is based on the possibility of a moment of perfect transition between two states. It is an impossibility but it is an assumption. It is a false dichotomy because the presence of transition is what does and cannot exist. What exists is that which exists in contradiction. And this is what draws the show into a place of suspicion. It is difficult to give any sort of coherent answer to the work of these artists. There is no such thing as a perfect moment of transition. And if we were to take seriously the possibility of the permanent development of the noncontinuity of an imperceptible movement, it would be necessary to ask whether what we are seeing is the same thing as an irregularity or a continuation. If it is a continuation, and the works of Jean Tinguely or Walter De Maria are examples of its practice, they may in fact represent the issue. If it is an irregularity, it is a contradiction and the connection between them and the noncontinuity of the work of the other artists, for example, is circumstantial and indirect.

Result #2

Not all of Mr. Gilberts work is so bad. He has made one or two images quite beautiful, as when he put together a handsome, gritty looking cartoon and painted a famous guy in a blue suit to resemble the pulp comic heroes, or when he used hair from dead animals to give it a ghostly glow. The images had a certain charm to them, and seemed to be signs for a better future of the artist. Although this kind of work can be seen as a commentary on the current moral and political situation, it is not such a grim warning.

Result #3

Since I wanted to communicate intense emotions, because of the absence of my sisters and the burning desire/ longing I had to face in order to overcome my grief in my day-to-day life, I was inspired to emphasise with my own work on intense facial expressions of anguish and fear. In order to condense everything I've experienced and accomplished up to this point into only one piece of work, I decided to use my final piece as a vehicle for self-expression and to test the limits of my acceptance through this topic by experimenting with oil paints and using vivid colour palettes to depict my progression from sadness and unhappiness to acceptance, understanding, and comfort. This exhibition was an interview with the former student of Josef Albers, curator and the architect of the first Surrealist Museum in Berlin. As the story goes, Albers left Germany in 1938 to found the Surrealist Museum in Munich. In 1960, after a year of study in France, he returned to Berlin and began teaching there. The situation in Germany is of more than just a personal tragedy; for Albers, it was the duty of a German to find a unique path. In this light, the exhibitions title could be taken as a manifesto of his own intentions. Under the double title (As Ive lived through my life) and As I have lived through my life, I propose a reenvisioning of what is most important for me. This includes both abstract and concrete works. In the first section Albers presented a selection of works in which he is very involved: he repeated and intensified the abstract, often adding rather formal embellishments. His usually soft and minimal lines form series of dots in the paint, and they often evoke the forms of crayons or drawing-board exercises. This is an idea of the painting that has been transposed to the art context. In these works Albers creates a new kind of space through which the viewer might enter into a dialogue with his or her own psychological state. In the next section Albers presented a series of photographs, some of them taken during his stay in Berlin. In these photos he posed the elements that define his visual reality in this series of seemingly unfettered shots: the physical bodies, faces, tables, doors, window frames, water bottles, etc. Since Albers never manipulates the lines or dots, the images provide a final, post-ideological interpretation of reality. Here the perspectival distortion that was Alberss idea of artistic depth was replaced by an intuitive representation of his experience with reality.

Result #4

Since I wanted to communicate intense emotions, because of the absence of my sisters and the burning desire/ longing I had to face in order to overcome my grief in my day-to-day life, I was inspired to emphasise with my own work on intense facial expressions of anguish and fear. In order to condense everything I've experienced and accomplished up to this point into only one piece of work, I decided to use my final piece as a vehicle for self-expression and to test the limits of my acceptance through this topic by experimenting with oil paints and using vivid colour palettes to depict my progression from sadness and unhappiness to acceptance, understanding, and comfort. " What is art? Not only the highest form of being creative, but the most ancient of pursuits: the ascendant of the divine. This is the unspoken assumption of the new abstraction, an interpretation of which has been in fashion in recent years. The abstract, or, as that adjective is not always easily distinguished from the arbitrary, has to be much in evidence in the present. If there is to be any real art in the present, as Philip Pearlstein has pointed out, it is probably virtual. The impossibility of distinguishing its ideological differences from those of the future is also a matter of concern. The present abstraction is in a sense an extension of the present abstraction—and inasmuch as that future is a particular, specific, and precious form of abstraction, the present abstraction is a concrete and unarticulated affirmation of that immediate present.This is why the silence of the traditionalists has no esthetic value and has no intellectual value. It is not only a matter of form. It is also of a profound sense of the real time of abstraction, an essence which can be perceived and experienced in the physical world. The silence of abstraction cannot be separated from the simultaneity of the expressed and the expressed, and it cannot be defined, as the contemporary abstract, since the expressive language of abstraction is not absolute. But perhaps this is precisely where the artist is: silent but not silent, still thinking, and finding an objective language of expression.As the situation regarding abstraction in the art world is becoming increasingly difficult, as the demand for the immediacy of the artist, and the unwillingness of many artists to accept the Modernist and theoretical absolutism of the formal, has increased, the ambivalence of many modernist positions in art is becoming more apparent.

Result #5

Since I wanted to communicate intense emotions, because of the absence of my sisters and the burning desire/ longing I had to face in order to overcome my grief in my day-to-day life, I was inspired to emphasise with my own work on intense facial expressions of anguish and fear. In order to condense everything I've experienced and accomplished up to this point into only one piece of work, I decided to use my final piece as a vehicle for self-expression and to test the limits of my acceptance through this topic by experimenting with oil paints and using vivid colour palettes to depict my progression from sadness and unhappiness to acceptance, understanding, and comfort. <|startoftext|>For all the signs of the '80s effort to revive painting, much of the work at the Neues Museum of Art lacked the emotional intensity that marked its departure from Abstract Expressionism. I liked that painting in this period did not have to become expressionistic. I was surprised that a painting by a New York painter like Gary Stephany, a figure that has been used as a representation of a specific mood and emotion, suddenly changed so drastically from the emotional to the grotesque. Stephany inverts the production of the grotesque, which is a result of the unconscious, and turns it into a conscious and highly sensitive process. In this case, his paintings become paintings about paintings.In the early 70s, Stephany was developing a distinctive style, one in which painterly brushstrokes, which he first used in the 60s, are painted directly on the canvas. His brushstrokes are light in color and form a delicate, pastel-like pattern in space. Some paintings are created with horizontal brush strokes. These paintings are held together by an elastic cord which seems to be vibrating slightly. They look like disembodied tentacles of a spectral spirit. Stephany has been compared to a variety of artists and writers, from Marcel Duchamp to Robert Rauschenberg. His paintings are clearly his own, and are not the result of stylistic imitation. They are more than mere expressions of the process of painting.In his most recent work, Stephany uses the horizontal brush strokes of his earliest paintings to create pictures in which he has sought to fuse the physical and the emotional. He uses emotions as a sign of process, and for this reason, the emotional response to his paintings has been important to him. In works such as Thy Empire and the Tower, both 1988, the emotions are embodied in the vertical brush stroke. In Thy Empire, the viewer feels as if in a dream and is moved by an abstract, painterly form.