Middle aged man wearing striped shirt sits on white ottoman against Victorian wallpaper.

Result #1

Middle aged man wearing striped shirt sits on white ottoman against Victorian wallpaper. The superficial nature of this pairing hardly adds to the mystery, and seems merely to confirm that both men belong to the same clique.The front of a swaggy outfit is next to a neatly folded-up album of a woman. A shadow is cast over the entire background. The woman is tied to a chair by her father, her head cut off by a single finger. In front of her, a leopard-print checkered dress covers the torso and the knees. The pose evokes a phallic orifices and a rather terrifying femme fatale. The look is a nod to Freud and the pathology of nature. Through the top of her dress is a semi-abstract animal that looks like a large, wood-footed bird. Unlike other monsters, it is not a skin or a cryptid. The scene is an almost sinister realm of ancient myths, horror stories, and medieval castles. But, as the picture itself reveals, we are in no hurry to put down our high-tech accessories and leave the window open. This is a world of archaic myth and an eschatological orgy.The backdrop for each of these works is a photograph of the same women whose photo-based paintings are just one more step away from her duplicitous, dangerous-looking fantasies. And, although her work is about the personal and social, it is also a job description that lies behind her portrait of a woman. We all have a reputation, and yet a lot of work remains to prove. What is it that makes you stand out and stand out? What is the secret? Clothes and fame are not substitutes for responsibility. These two are inseparable, and as such, there is no separation. Like a clockwork, the figures in Ellersons work become more and more alike as they get older. They tend to stay in the same locations, and even when theyre removed from the same historical moment, they dont leave a single trace.

Result #2

Middle aged man wearing striped shirt sits on white ottoman against Victorian wallpaper.  A dead-looking and ghoulish woman with a spike, surrounded by what appears to be giant flowerpots, is his companion and nurse.   A paintbrushed-on backdrops, floorboarded with flowers and leaves, looks like a makeshift shrine. A dusty-blue, plastic-gum aroma permeates the room.    Surrounded by colorful fixtures and displayed on a bright-red porch, this country house has been transformed into a cottage. The elements are laid out in a mosaic pattern that surrounds the front door, which has been pierced to reveal a pale-yellow kitchen. A bulletin board on the floor gives the house the appearance of an electric-blue-lit strip mall. On a window-illuminated porch, in a hallway, two groups of eight bulbs are situated in a row. The lights, which are bright reds, dim in sequence until they become colorful, and then fade out. The small bedrooms feature a bed, a bathtub, a chest of drawers, and a wall of drawers. A circular tile floor, covered in the same carpet as the bedrooms, creates an illusion that the entire floor has been rendered in a mirrored image. A honeycomb pattern is delineated on a large floor board and painted a delicate, even yellow. The pattern includes white sofa cushions and a paneled, cloth-covered desk.  The kitchen is dominated by a dishwasher and a stovetop. The main living room is occupied by an eight-foot-tall vanity. The center of the room has been darkened and made into a makeshift altar. The decor consists of white faux-wood flooring, painted and then plastered in rose pink and purple and covered with a gold-and-tan embellishment. On the upper floor, a barista spins her steel-plate coffee table in the kitchen. A golden-yellow pool table hangs on the wall in the living room.

Result #3

Middle aged man wearing striped shirt sits on white ottoman against Victorian wallpaper. He holds a glass of orange liquid and an empty brown flask. Behind him hangs a pomegranate. A glass droops over his head, and he wears a baseball cap, sunglasses, and a handmade headdress. In this case, he is not wearing a wig but rather a wig that covers his head. His clothing, according to the color-coded tape, is black, white, or deep gray. The viewer would be transported from the dirty bathroom at the bottom of the picture to the clean, fresh, and sober scene at the top. He is the only one of the four living figures in the picture. He appears to be wearing white underwear. In one of the more important passages of the movie, when Mr. Sparkle tells a jaded Mr. Garvey, We dont need the same as you. Mr. Garvey answers, Do you want to go home with me? Mr. Sparkle responds, No. It just makes you feel better. At the end, Mr. Sparkle goes through the motions of waiting for the others. His hand rests on his hip as he waits for the others to emerge from behind him.Finally, the camera pans out from behind the three bathtub-shaped figures to reveal a shot of the same trio. In one corner, a woman with a long hair and a pink scarf breathes on the glass, her fingers dangling from the stem of a kitchen drainpipe. A small stick figure with dark skin and a pompadour is sitting on a bed in the back corner. The only other figures in the picture are those of the three in the background. Mr. Ranssnyder, a local architect, makes a cameo appearance in the film. He shows up in the film and, with one of his photographs, paints a picture of his father-in-law.In the end, the scene of the bathtub bath was the most arresting.

Result #4

Middle aged man wearing striped shirt sits on white ottoman against Victorian wallpaper. The images evoke a scene from a theatrical production of The Scarlet River. At the other end of the room, in a dressing room, there is a drawing by Italian artist Paolo Depp. The first page of a small book of poems by Poindexter, the well-known bookmaker, is beautifully drawn and etched, a dreamlike scene of violence and the most frightening animals. The book, entitled Il fatto del mundo (The fairy tale), is painted on a yellow background. It is a dreamlike tale in the most literal way imaginable—the poems are by the immortal Poindexter. In the last room, a traditional, painted cabinet has been restored. On it, the natural history paintings and related ephemera on wooden boards have been arranged, arranged in a way that makes it impossible to read them. It is as if this is a collection of lost memories. For all the modernist intellectual endeavors of modern art, these art objects remain timeless. In the middle of them, a portrait by Louis XIV, Duke of Orleans, the son of the king, sits on a throne, surrounded by his paintings. This monarch, as well as the other paintings, is represented by a small painting entitled Natura colore (On nature), complete with a miniature by Meissonier.In a third room of the gallery, Depp has assembled a portrait by Raphael, and an elegant but simple sample of one of his masterpieces. In the last room, Depp has arranged paintings by Vasarely, a celebrated medieval poet and scion of the House of Burgundy. The Renaissance art of these works is most vividly represented in this instance by a painting by the artist of Grosvenor, also titled Veritas, and by a Venetian called Bélus.

Result #5

Middle aged man wearing striped shirt sits on white ottoman against Victorian wallpaper. The chunky-brilliant headgear gives the effect of an abstracted portrait of Georges Poussin and the energy of the canvas evokes the stunning vigor of a Great Mannerist painting. Despite its provocative imagery, these sculptures remain quietly mundane, without the scatological digression that might otherwise overshadow their compelling mythic potential.Like many of his contemporaries, Truitt worked at times during his lifetime in the service of his father, Bertrand. But while his father had been a successful artist, the younger Truitt worked as a railroad engineer. A son of a successful writer, he had the writing chops to realize the seemingly impossible dream of creating his own monument. Impeccably composed, his panels of wood, rubber, and paint, often on a single sheet, possessed a surprising sincerity and a plain hard-edge technique that brought to mind the delicate, crystalline black-and-white paintings of late masters such as Brice Marden, Peter Schjeldahl, or Robert Morriss. Truitts critical contributions to the field of sculpture in the nineteenth century, such as the glass relief of 1860, suggested that his work could, like his father's, be studied as an aesthetic practice, rather than as a means for artistic mastery.In addition to the late works shown here, this exhibition included other recent works including portraits of Truitt, from 1904 to 1947. The symbolism of these remains, some made of gold leaf or polished silver, was also evident in the initial sketches and prototypes that the artist produced for the early examples, which were displayed alongside pieces such as Color Field, 1819, and Science, 1820. A key section from the later paintings, such as Nude and Square, both 1925, attest to Truitts fascination with the conventions of decorative art. The most striking of these paintings is one in which Truitt plays with his own initials on a golden triangle.