The artwork for Peter Gabriel's new album depicts the aging musician in stark black and white, his hands clasping his face but merging with his features

Result #1

The artwork for Peter Gabriel's new album depicts the aging musician in stark black and white, his hands clasping his face but merging with his features to form a single blob. The color, which is a warm, earthy shade, comes from the artist's own skin, which is more than a mere patchwork of layers of pigment.This piece, titled Self Portrait, was also on view in the gallerys second room. Here, Gabriel seems to be capturing a moment of his life. At the bottom of the painting, the artist has painted on the back of his head a few small white pieces of clay, and his skin is heavily impastoed. In this case, the clay pieces were placed on a table; the head and the skin were all painted in the same hue. And in the middle of the painting, Gabriel has created a blackened, the artist-skinlike, dust-like face. The paint is applied with a brush, and it is taken up into the skin by hand, through a hole in the skin, or, in the case of the lower part of the work, by the artist himself. The paint is applied with a palette knife and the skin is then rubbed with a brush. Gabriel has been painting on his own skin for several years. The artist can be seen painting his own skin. In this work, Gabriel has become more expressive, more self-conscious, more self-consciously painting himself, less self-consciously than in his earlier work. The paint on his own skin is darker, darker than the paint on his skin. In the middle of the picture, Gabriel has taken up the canvas and painted on his skin. The result is a much more dramatic, even devastatingly dramatic, picture than the one he showed in his previous show, The Artist as a Pig, in 2003.The two shows were also the first of two larger exhibitions in New York that followed Gabriel's recent show in Los Angeles. This show featured nine paintings, all of which were made between the end of 2007 and the beginning of 2008.

Result #2

The artwork for Peter Gabriel's new album depicts the aging musician in stark black and white, his hands clasping his face but merging with his features. The painter is a full-on, head-on personification of his own image. The canvas shows him in the studio—a canvas with a hole punched in it—sitting on a table, his face so still that his hands and feet are completely covered in plaster. The plaster is also a surface he's used to protect his body from the elements. As the painting suggests, Gabriel has literally and figuratively burned his hands in an attempt to protect his body from the elements. This burn is visible on the canvas, and in fact the plaster itself looks like a burned-apart skin.Gabriel portrays himself as a central figure in a multilayered tapestry of interests, an enigmatic figure whose activities reveal a fascination with the physical, and a fascination with the forces of nature. The artist, according to the artist, is a kind of geologist who investigates nature. Gabriel is a big, gray-skinned, black-skinned, bearded, modernist Western man. In this painting, Gabriel is joined by his companion, the artist, and by his two assistants, who each have a bald head and green skin. The compositions are based on a detailed study of the artist's hands, the artists fingers, and the artists fingers. The paintings are made of plaster, which Gabriel uses to create a surface, a kind of protective cover. In fact, the plaster is the most important material for Gabriel. He paints on the plaster, then dries the plaster on the canvas. The plaster is a material that he can use to protect his body from the elements. In the end, the artist's hands are the most important materials in this work.Gabriel also paints the backs of his hands and fingers, using them to create an image that is even more mysterious than the paintings.

Result #3

The artwork for Peter Gabriel's new album depicts the aging musician in stark black and white, his hands clasping his face but merging with his features in a kind of tragic reversal. The image shows him with his hands clasped behind his back, holding the armrests of his car in one place and the armrests of his chair in another. The black-and-white image is almost a stark counterpoint to the surface white of the painting. It appears to show a dead man standing, like a dead man, in the midst of an impassive landscape.Gabriel is shown in his studio in New York in front of the cover of Rolling Stone. The images are taken from photographs of the artist that he has used in his work. In one of the photographs, a black-and-white photograph of Gabriel, his hands appear to be missing. In the other photo, the artist looks at his hands as if he were reading a book. He is holding them in his hands. The subject of the painting is his studio, a picture of Gabriel as a young man who is now older than he is. Gabriel looks at his hands as if they were the hands of a father who loves him deeply. In one of the paintings, the artist seems to be looking at the hands of a mother who is dying. In the other, Gabriel is looking at the hands of his father. Gabriel looks at his hands as if they were the hands of his father. Gabels father is a painter; his mother is a model. Gabriel looks at his hands as if they were his father, as if he were his father.Gabriel does not look at his hands but at his father. In one of the paintings, Gabriel holds a painting by his father in one hand, a painting by his mother in the other. The father holds a painting by his father in one hand, a painting by his mother in the other. The father holds a painting by his father in one hand, a painting by his mother in the other.

Result #4

The artwork for Peter Gabriel's new album depicts the aging musician in stark black and white, his hands clasping his face but merging with his features. The image is based on a photograph of a freestanding block of wood that hangs on the wall of a wooden room, with the artist and his wife, Marguerite, holding a thin plank of wood that they have carved into the floor. The wood is presented as a blank canvas and the painting is overlaid with a screen made of black rubber. The pair then separate from the screen, their hands and feet appearing as imaginary arms that extend to the side of the screen.The piece is titled Painting, 2007, and the work is intended to be played backward and forward in a sequence of parallel movements. The artist and his wife use the same black rubber rubber to create a screen that mimics the motion of a moving object. The rubber screen looks like a cushion, a mattress, or a cross, and the artist, who is clothed in a black shirt, becomes a mannequin, a creature with a body like that of a humanoid.The work is called Formative, 2007, and this is where the truth lies. Gabriel is a painter who builds structures, and the work that he is making is constructed from various kinds of wood, as if he were creating a kind of nursery. The wood used in his pieces is often used in a different way than that used in the paintings: The rubber rubber screen is used in a kind of frame and the works title, like the title, is written in black rubber. The rubber screen itself is the symbol of an ideal form: a computer or a childs toy. Gabriel is a painter who builds form, a framework for the mind, and a place of memory, in the same way as a nest or a room. The works title, like the paintings, is written in black rubber and is printed on a screen. Gabriel builds form, but he uses his form to shape his mind.

Result #5

The artwork for Peter Gabriel's new album depicts the aging musician in stark black and white, his hands clasping his face but merging with his features. The image evokes the effect of the artists time, as the painting, which was conceived as a kind of retrospective, reveals the artists restless, restless mind. Even when he was a young man, Gabriel was never content to be a father figure, a writer, or a journalist. His greatest contribution to the art world was his writing, but he was also an artist, a writer, and a thinker. Gabriel was a writer, too, and one of the best-known of the New York school of writers, writers who combined illustration with prose, writing that remained pure to the core. It was precisely this purity that gave the paintings their power.In one of the more moving works in the show, a color photograph of Gabriel's hands, including those of his mother and father, is displayed against a white background. The middle-aged Gabriel has lost his hair; he looks more like a painter than a writer, as if he were some sort of life-size, disembodied ghost, his hands flailing. The white background appears as a reminder of the depth of the past, recalling the history of the human soul, as well as the past of the physical world. Gabriel's mother, father, and son-in-law are shown in the same composition as Gabriel, with Gabriel as the main protagonist. They all stand in the same light, as if they were in the middle of a dream. The photographs depict the scene of a funeral, the same place where Gabriel lost his mother. The eerie air of the background suggests that the landscape has become a kind of cemetery, a place to be mourned, and the scene of the funeral offers a comforting respite. In this way, the painting, like the image, hints at the depths of the artists mind, which Gabriel has explored for the past decade. Gabriel spent most of his life in New York, a city that was his home and his home alone.