Cat hungry angry passionate paper destroys toilet paper

Result #1

vernacular—much less art? Not quite, but its no less striking. Oh yes, as long as you see the provocation, you can accept it as a metaphor, which is the artist's true art.

Result #2

Cat hungry angry passionate paper destroys toilet paper ­um, the holy might of Berlin, Rödek thinks, Im about to be the Third World Apotheosis of paper.After nearly two decades of making his visual art and architectural furniture, Rödek decided to shift gears to tackle two other types of objects in his studio: making art and doing projects. But these inquiries are not completely autonomous. If we take Rödek at his word, these concerns would appear to be inseparable, since his methods reflect an obsession with bodily proportions, the tension between totemic and functional, the dimension of artifice and the organic, with the symbolic and the physical. This is very much an artistic project, and the resulting pieces could be just about anything: books, buttons, or collages. In works such as Friends and Foes, 2001, two rubber butt cheeks, one a pair, one a mouth, are arranged on an open coffee table, the other a rough-hewn key. Their insides are emblazoned with the trademark logos of the German Democratic Republic: the Communist Party and the Social Democratic Party. These and other elements seem to signal a renewed belief in the autonomy of the individual, a belief that persists even in the face of the break-up of the German nation.In several pieces, Rödek sketches the faces of his models, mostly with a black pencil, with a white ground, or else with the force of his brushstrokes. The images are then embellished with illustrations of a few of Rödeks past collaborations, such as Push, and a few white-glittering prints. These are often accompanied by printed words, often taken from the artists notebooks, such as YOUTH, LEGION, OR WILL I STAY IN THE FUCKING THING? It seems that the works fascination with materiality and the edges of the page have been translated into a multilayered and evocative representation of a moment in German history.

Result #3

Cat hungry angry passionate paper destroys toilet paper ||> <|startoftext|>Robert Pastels show at Michael Werner focuses on a finding a positive and dynamic place where the pastoral is organized around the idea of the artesian spirit. The room is divided into three areas: a dark, spacey, and colored sculpture; eight color drawings on paper; and two temporary walls. Pastels means of placement are based on an analysis of his reading of traditional landscape paintings—taking the perspectival distortions of the Etruscan, the Greek, the French, and the Italian as an example. The drawings, displayed on the walls, are portraits of Old Master masters, showing a European master with the head of an Etruscan. The paintings, on the Etruscan masks, are much smaller, the framing blades much shorter. The masks are delicate, as are the portrait heads, and one assumes that the Etruscan heads are painted. But the mask subjects are starker, with the French Master as white as an altar and the German Master, black as a (Christian) altar. The masks are in the style of Greek and the Etruscan. But Pastels art, as the Etruscan Masters suggest, has changed since these Greek masters. The masks and the masks look like studio objects and they look like miniature mimes. The masks, however, have been removed, leaving only the masks as the Etruscan Masters demonstrated, or perhaps only as Degas did in his depictions of art. The masks are gone, replaced by a series of seven colored drawings on paper, which are framed with colored paper and paper from their previous exhibition. The paper has been stained with a streak of paint to give the paper a haze which seems to say, You see. This dust is an effect of the stringing of a thread through a surface, a trompe loeil.

Result #4

Cat hungry angry passionate paper destroys toilet paper ******** picture photographs of someone smoking iced coffee *-*-*= table with a stack of iced coffee iced iced coffee iced iced iced iced iced coffee iced coffee iced iced coffee iced coffee iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced iced

Result #5

urns—are precisely the kinds of materials you might find on the street.And this is where another problem crops up: Despite the widespread recognition of its importance in the war on drugs, such materials are used as raw materials in the construction of low-tech, low-tech—and thus high-tech—gigs, from WifiKan, a gallery built by art students around the world in collaboration with drug workers, to Jardin Vitória, a low-rent living room of beds, chairs, and appliances. Such mass-produced products seem like elemental remains, out of touch with their function but still waiting to be transformed into a useful social agent. Due to its placement next to a sculpture by Christo, CÄquero, Jardin Vitória offered a glimpse of the connection between human efforts and the messy lives of animals. The ground floor was endowed with a barracks-like space, furnished with a chair, chairs, and a bed. Around the table, a pile of jute was placed on the floor, inside a room framed by a wall and table. An enormous white mask was placed on the table, its plastic mask frozen in a digital photograph, and his face and mouth covered with a small cloth, indicating that Christos face had been removed. Immediately to the right of this was a circular table with sheets of paper glued onto it, the sticky residue of the installation confirmed that the museum had emptied its paint cans and not merely had emptied its cup.