Remove macro that contemporary art piece

Result #1

this young artist exhibited at the last Montréal Biennial, the Portland Art Gallery. It has been suggested that the reason behind this exhibition was that he had forgotten the fact that he was one of the only artists to have left Europe in the 70s. Today he has returned to his roots and continued to perform with the same commitment to meaning.Among the pieces in this show was the abstract painted geometric shapes on a green foamboard. For these works the artist coated the foamboard with monochrome paint and then covered the surfaces with various layers of paint, as if they were paintings. There are many textures in this work, from brown to black, a dark magenta to green, and from streaked streaks to smooth, washed-out images. The playful nature of the work is in fact a continual process. By applying layers of paint he encourages the viewer to complete the entire surface, thus completing the whole picture. It is the painting which replaces the painted surface, not only in formal but also in content, as in the Abstract Expressionist painting of oils. His work is organic and immediate. Like his Modernist work, it combines a sense of the tangible with the intangible, as if the latter were somehow less material than the former, that they could be equally authentic.

Result #2

of art history to the first phase of its development. The stories of modern art, both as it exists and as it develops, are not in any way an ending. In fact, they are not the final product. Instead, they are an immediate act in which the artist, or a friend, introduces the work in order to use it in a new and meaningful way. This works best when the original work is integrated with modern artistic elements, which are explained in a carefully considered way and kept apart from one another. In an increasingly rarefied and increasingly complex art world, most of the works which are not integrated into this process are now lost.Among the most interesting works in the show are Gregor Strands untitled late 1950s work (1928) and Ernst Ludwig Kirchners untitled 1960s work (1940). But the most interesting of all are not those pieces which are integrated into this process, but the ones which do not. For example, the recent work of the 70s and 80s by Marcel Broodthaers and Niele Toroni is not integrated into this process. More specifically, this process is not a conceptual, but a material, esthetic process. What seems to be a reaction to the pre-Neo-Expressionist art of the 60s and 70s is, in fact, a reaction to the fundamental elements of formalism. In other words, Broodthaers and Toroni do not so much reject their respective craft traditions, but they are transformed by them into similar art.

Result #3

is micro—a common complaint—that most artworks are merely the product of isolated acts. Yet, as modernity has grown in complexity, these paintings are the most convincing yet, an alternative world, inhabiting an extraordinary, discomfiting reality. Thus, the only thing separating MÜHÄL from a bit of abstract painting is the law of gravity. In MÜHÄL, this law breaks down: The planar and usually continuous composition of MÜHÄL is broken down into discrete, discrete parts. The part that we see here is not the same as the one that the painter meant to include; it is a drop, a faint mist, and an effect that is doubly miraculous because it is created by a great weight.MÜHÄL is represented in a series of abstract paintings, on which the artist made the agreement to make the painting according to the size of the canvas and the size of the canvas frame. The biggest painting is built up in a major vein of color, and the smallest one is made up in black. The one on the right, by the artist, is a red painting with a white background. The one on the left is painted black, but the whole composition is a block of gray. The last two are the same size as the one on the left but painted in deep gray. MÜHÄL is a terrible thing, a space filled with danger, where nothing is supposed to be safe. If this sounds like a fantasy world, the reality of this world is surprisingly real.

Result #4

would look a little harder, and freshen up the ugly and gross artistic vocabulary of today. This means a more realistic, more expressive art world. The fact is that art today is a very dry place, full of art that is off, art that is nasty, and art that is weak.

Result #5

Remove macro that contemporary art piece you are reading right now. The editorial here is negative—a notice that mentions and criticizes contemporary art and curators (in this case the curator, Roger Schondergäne) for the shabby quality of their art.It is an ambivalent reading of the relatively new art, which in its first few years has been a kind of hot topic of conversation among critics, curators, and curators, for whom the work of art is always best seen as both a form of active art-making and a passive thing, or as both at once. The broadest possible range of possible approaches and the greatest diversity of possible themes are offered in Schonds recent show, which, among other things, included works by several more or less established artists. Among them were photographs by Andy Warhol, Anthony Caro, Robert Irwin, and Robert Morris, all of them connected to photography as a medium. But the viewer could also find astonishingly strong and eccentric photographs by other artists—Ernest Hemingway, Chris Ofilio, and, not least, David Hockney.The exhibition, however, was a tremendous opportunity for viewers to see what the work of art can be, to see what its particular mood, and indeed its very nature, offers. The exhibition was filled with the show: a multitude of different, largely American, and mostly European, images—a real-life multilayered closet of a gallery. In the center of the exhibition were a stunning selection of the prints made by the American photographer Barbara Rose (1938–1988), including films from the early 1960s, which she had made in the eighties. The shows most characteristic feature, its strong title, was an acronym for production, or, more precisely, production (or art production), which clearly refers to the particular nature of the creative process—the artistic process of producing, in short, the art object.