John Curran, using Mark Van de Walle as style guide

Result #1

John Curran, using Mark Van de Walle as style guide  (1540–1589), was the first to use the term. But the distinction between the two groups of works is hardly a simple one, and the question of the relationship between them is not as simple as one might imagine.The most significant difference between the two groups is the medium, which is to say, the painting itself. The works in the first group are entirely black, whereas in the second, colored, flat and painted canvases. The color is a rough, dark, neutral gray; the colors are not used in the same way. The colors are quite different, but the painting itself is not. The black is rich and solid, the color is rich and solid, and the paint is thin and shiny.The painting is certainly an important aspect of these works. The colors are rich and solid, and the paint is thick and shiny. The contrast is subtle, but it is an important part of the painting. The two groups of works are not identical. In the first, the colors are divided into two groups; in the second, the colors are divided into two groups. The differences between the two groups of works are not so great as to make the differences between them so trivial. The difference between the two groups is the color, which is so rich and solid that it is almost impossible to see the difference between them.The color is almost a revelation. The black is as rich and solid as the painting, but the paint is so thin that the color is almost illegible. The color is as rich and solid as the painting, but the paint is so thin that it is almost impossible to see the difference between them. The color is so rich and solid as the painting, but the paint is so thin that it is almost impossible to see the difference between them. The color is so rich and solid as the painting, but the paint is so thin that it is almost impossible to see the difference between them.

Result #2

vernacular, shares with his peers a willingness to make statements that are simultaneously uncompromising and accessible. Curran was once the subject of a diptych by Richard Longo titled New York Times, 1974, which took as its core text a 1948 profile of Longo in which the artist describes him as an atheist who is not afraid of his own work. Curran is, however, one of the few artists in the show to fully embrace and embrace the avant-garde. His work, like that of many of his colleagues, explores the aesthetics of the avant-garde while acknowledging its shortcomings. Curran has said that his work is about the most beautiful thing you can see in the world. It is this willingness to acknowledge the limitations of his own style and to find ways to go beyond them that makes his work so engaging. In the end, the only thing more rewarding than seeing Curran in his own work is seeing him work on the stage.

Result #3

John Curran, using Mark Van de Walle as style guide and transforming it into a kind of extended text. The works are so unremarkable they seem almost to be a part of the paintings. They are, however, also so extraordinary they are difficult to believe. Currans work is a very good deal more than the paintings, but it doesnt seem to be the paintings that are good. The paintings are superbly fine, but they arent as good as they are. It is as if Currans paintings are the best paintings of the century. It is as if they are the best paintings of the century. The paintings are so unremarkable they dont seem to be a part of the paintings. They are, however, also so extraordinary they seem impossible to believe in. It is as if Currans paintings are the best paintings of the century. It is as if they are the best paintings of the century. It is as if they are the best paintings of the century. The paintings are so unremarkable they dont seem to be a part of the paintings. They are, however, also so extraordinary they seem impossible to believe in. It is as if Currans paintings are the best paintings of the century. It is as if they are the best paintings of the century. The paintings are so unremarkable they dont seem to be a part of the paintings. They are, however, also so extraordinary they seem impossible to believe in. It is as if Currans paintings are the best paintings of the century. It is as if they are the best paintings of the century. The paintings are so unremarkable they dont seem to be a part of the paintings. They are, however, also so extraordinary they dont seem impossible to believe in. It is as if Currans paintings are the best paintings of the century. It is as if they are the best paintings of the century. The paintings are so unremarkable they dont seem to be a part of the paintings. They are, however, also so extraordinary they seem impossible to believe in.

Result #4

John Curran, using Mark Van de Walle as style guide  (it was actually his painting), gave us the most interesting of them all. In the first room, we encountered a collection of neatly folded, small-format canvases. In a second room, we found four large canvases. The fifth room was a cramped, low-key affair. The first of the paintings was a set of portraits. The second one, a portrait of an American soldier, looked as if it had been painted by the artist himself.The three portraits were all about the same size, and all involved the same kind of black and white motifs. The soldiers were large, unclothed, draped in a broad, messy, and sparsely applied gray. The soldier in the third portrait, for example, looked like a figure from some kind of war movie, a madman with a gun. The soldier in the fourth portrait looked like a happy kid. The soldier in the fifth portrait looked like a man who, as a child, had never been in trouble. In the sixth portrait, the soldier in the third portrait looked like a kind of caricature.In this show, Curran painted a portrait of an old man in his early thirties, his face, hands, and feet covered by a big, white, and partially nude headdress. The headdress was a thick, beaded fabric, and the armrest was made of a layer of yellow paint. The details of the headdress were extremely delicate and well-wrought. The arms were more or less the same size as the rest of the headdress, and the hands were slightly larger. The headdress was not only the most beautiful thing in the room, but it was the most interesting thing in the room.The headdress was the most interesting thing in the room. The most beautiful thing in the room. The most interesting thing in the room. The most interesting thing in the room. The most interesting thing in the room. The most interesting thing in the room.

Result #5

John Curran, using Mark Van de Walle as style guide (the artist, Curran, wrote it), has also worked with the same imagery, and for him the spirit of the old-master was everywhere. This time, however, the subject matter is more painterly than that of the old masters. The work, like its precursors, was an examination of the nature of the figure, and its relationship to space and to time. The paintings are presented as flat fields of color, and the color is applied in the same manner as the paint was applied to the canvas. The result is a sort of abstracted, nonrepresentational quality. Currins palette is not very bright, but it is bright and colorful. The surfaces are painted, in effect, in a way that is not quite flat but still retains a sense of depth. The colors are not applied in a way that is monochromatic, but rather in a way that is more variable in its intensity. The color is not applied in a way that is not quite flat but still retains a sense of depth. The color is not applied in a way that is not quite flat but still retains a sense of depth. The colors are not applied in a way that is not quite flat but still retains a sense of depth. The colors are not applied in a way that is not quite flat but still retains a sense of depth. The colors are not applied in a way that is not quite flat but still retains a sense of depth. The colors are not applied in a way that is not quite flat but still retains a sense of depth. The colors are not applied in a way that is not quite flat but still retains a sense of depth. The colors are not applied in a way that is not quite flat but still retains a sense of depth. The colors are not applied in a way that is not quite flat but still retains a sense of depth. The colors are not applied in a way that is not quite flat but still retains a sense of depth.