BØRN Art Complex Fruit Art Apple

Result #1

BØRN Art Complex Fruit Art Apple Not being a holy person, Ojatkunzutl, as the Four Wise Men are, are not people who use their wisdom to give life. They are our mentors, and we are all brothers and sisters, as they are in the unity of humanity. Our Masters are called the Beloved Mother and the Carrying of the Pelly. Our Songs are the Groan and the Caneky. If we follow in their footsteps, we may be able to attain everlasting life.Marius Wisdom is the Courageous, Absorbed, Apprehensive. Thats what Im saying. Im a nonconformist. Im not a Pioneer. Im not an Elder. Im not an Artist. My Arts are the Pure Knowledge of the Infinite. My Words are the Tender Inflections of the Word. I am the Queen of the World, the Genius of Wisdom. I am the Cross, the Dragon and the Tiger. I am the Beauty of the West, the Mother of Wisdom. I am the Cyclops, the Goddess of Life. I am the Bold One, the Storm, the Thunder, the Dragon. I am the Siren, the All-encompassing One. I am the Oracle, the Oracle of the Throne. I am the Goddess of Wisdom. I am the Tender Giver. I am the Mistress, the Mistress of the Universe. I am the Watcher of the Exquisite One.I am the Whore, the Whore of the World. I am the Demon, the Demon of the Beast. I am the Hell, the Demon of the World. I am the Dawn, the Demon of the Night. I am the Beauty, the Demon of the Night. I am the Mute One, the Demon of the World. I am the Demon of the World. I am the Demon of the World. I am the Demon of the World. I am the Demon of the World. I am the Demon of the World.

Result #2

erotic and ugly endered? If theres no doubt about the matter, then there must be more to it than just that. They tell us that there is, and theres always more to what pops up on this artist, and where does the blind Buddha of Daumier come in? The most recent work by Sifa Rangarattan and Aleksandra Mirzajevic, Daphne, 2013, was a surrealist, erotic, and Proustian meta-mural in which cherry blossoms, dog effigies, the Moon Man, giant feminine hats, and various other types of feminine women enact the deepest, darkest, and most persistent existential trauma. Rather than any specific feminist or queer theory, what was striking was how the artists deep, erotically charged imaginations and their abstracted, erotically charged, feminine connotations built on one another and interacted to render an erotic, playful, and, one would say, heterosexual, beau vivant aura. Each time, a womans face or body or head appeared in the photograph, it possessed an emotional power and lived a feminine identity that no other object or body had. With a childlike magic that pointed to female sexuality, both Mirzajevic and Rangarattan created a hybrid subject whose eroticism was imbued with a sense of immediacy. Far from the common presumptions of social and cultural patriarchy that haunt women today, Mirzajevics work highlights the potential for female liberation.

Result #3

BØRN Art Complex Fruit Art Apple ony a watermelon for the spirit, each has a connotation of innocence. And the paintings are anagrammatically ordered with Pascalian words—to fuck, to rip off, to swallow—that read as aphorisms. This is largely from a male perspective, with a handful of femmes fatales and a handful of angry jokes (I am taking my finger off your dick, I say, but then you say, Well my fingers are not sharp). Some of the words are that of the word god, which can also be read as a masculine noun, or can also be read as a feminine noun. Often these are words that refer to a subject, a fetish, or sexual activity (but not to the power of the word or the power of words). A word like tesserae is used by the artist to reference his own violent destruction of a pair of scissors when he was seventeen. This is what his mother calls a metaphor for his own violence. In a separate room, they were turned on their sides, which allowed them to be used as symbols of his masculine sexuality, which we recognize as the one that, when reduced to the point of insignificance, becomes a gesture of protest. They were, by definition, instruments of destruction, given over to harm, and they are usually capable of inflicting wounds. The mutilation of the scissors also comes to mean self-mutilation.But here all the irony turns to irony. As the artist put it to me, I like to associate this critique of the esthetic of the commodity with colonialism, that of the American West. I am reminded of the artist Abdul Rahman Mohaiemen writing in 2012 that a country is a map that signifies a territory or territory. In the territory of the Western world, which the West claims to have conquered, the other is invisible. As Mohaieman puts it, The desire to know and to be loved is the only joy in the world.

Result #4

BØRN Art Complex Fruit Art Apple Countertyping a regurgitated American Gothic onto the Tlatean style of the mural of Ana Mendietas painting Reco�nio, 2002, is problematic: You can hardly call the equation of landscape and decadence neutral. She chose to work on the past, and the past on her. Thus, the works that made up the exhibition were just so many one-offs in her mannerisms, with no historical continuity. The paintings—all approx. six by six feet—are painted with a jumbled texture of color that resembles the pages of a book. They are hard to recognize as such. They are not only one-offs. They are deeply rooted in a collective memory of abstraction and Deco, for which Mendieta was famously identified. Their intricate organic materials are not epiphanies but they reflect a work of art.Mendietas endeavor was inspired by her experiences as a woman in the throes of menstruation. The title of the exhibition is derived from the two initials of her menstrual period. The two originals of Reco�nio, each painted a few months apart and titled by date, are, respectively, Reco�nio Eterno (of her age) and Reco�nio Esmero (of her years), both 1987–91. The idea of interpenetration with recumbent predecessors is clear in the paintings. The grid of high-key colors, mixed with tingeing blue, green, and red, interpenetrates the bands of paint on the opposite wall, drawing the eye into a rich field of space. For Mendietas, painting is a source of transference and transformation, a medium that is both graphic and pungent, which is why the works were able to remain detached from the museum context. The grid of pink, peach, and orange frills, for example, blurs the divided line between painting and sculpture.

Result #5

Passionately associated with a certain vision of a magnificent demi-god. The article about John Cages in his collection of oils on the theme of The Wanderer, first published in the London Observer in January 1966, returns in this exhibition, which is a fantastic survey of nineteen oils and several other works.Cages paintings can be seen as a record of a journey through the Pacific and are in part based on the voyage of a philosopher. Each one of his oils on a simple canvas is as abstract as any painting or drawing. These paintings are entirely evocative of visions of great places; the locales are always present. In the midst of the ocean, the artist is always aware of the ocean and of the ocean, the void and the sublime, the painterly image and the painterly surface. In one of his paintings from 1962, he conveys the sublime through images of the sublime. The plane of the globe is represented by a white circle with a ring of blue flowers and the word AERO below it. The Western tradition of the god head is expressed through the Greek letter A and the Greek letters n and o. As the painter clearly sees it, the sublime has a place in all things, in the entirety of human existence.

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