Pretentious majestic mounds phoenix bursting beauty

Result #1

do not fire the imagination in this place; the viewer is left to try to comprehend them.In the meantime, a car explodes through the bottom of the display and we are confronted with a hybrid thing, whose complexity is at once incomprehensible and inexplicable. In the end, these modest objects, which some of us thought were fragile, provide a whole new opportunity for architecture to evolve. Architecture is a region of all cultures, not just those of our own, but also those of neighboring countries. They are ephemeral objects whose absence signifies the absence of an architectonic past, of a future. We can no longer assume that architecture is synonymous with modernity. To believe that architecture is purely a modern past is to absolve architecture of its duty to meet the challenges of a changing world. It is to leave it to history to guide our own future.

Result #2

Pretentious majestic mounds phoenix bursting beauty and non-fascinating moment in a poetic apocalypse. Though his sculptures are elegant and finely-finished, they are not beguiling. Mixtures of mementos and waste and individual artifacts, his sculptures are not pieces of a sacred temple, but lost relics.The fall of the Masons is a catastrophe that we are brought to bear to pay for in the present, and not so much in the past. We need not wait for the Masons fall to explain what is happening, or to judge our predicament in the present. We are fortunate, the masons, that we do not need to be reminded of the miracles we have performed to keep our minds clear and our hearts in the present. We are fortunate that the Masons, from the moment they began, were able to learn that we are not doomed, that we have the strength to hold our heads high, and that we have the strength to make choices that we can control. They have chosen to remain where they are, so that we may live in a world of our own making.Mason isnt a modernist critic, but his work is modernist in its subtlety. He doesnt just try to propose the modern, he teases the modern out of the modernist apparatus. Mason uses modern forms and materials; he uses modern logos and modern sign systems; he uses modern architectural elements, and modern figures; he uses modern structures and modern objects. He uses modern printing, modern advertising, and modern printing design; he uses modern materials; and modern words, but he doesnt try to modernize the world. The masons are trying to modernize themselves by selecting modern materials. The industrial revolution has all but destroyed the masons; weve moved from the idea of man as machine to the idea of man as machine-made object. Mason is not afraid to choose his preferred materials: steel, aluminum, bronze, copper, silver, and his favorite, paint.

Result #3

Pretentious majestic mounds phoenix bursting beauty-free in their torchlit gloom. The flying gem in each work, from the most overtly representationist to the most ethnically homogenizing, is the mark of the outsider in the highest art. The spirit of the outsider—the spirit of its most faithful and sincere, artistically committed kin—is a high and precious thing.This exhibition explored the archetypal, spiritual, and mythic virtues of authenticity and authenticity-realism. The work of white, eastern European writers such as Joseph Beuys, Jannis Kounellis, and Georg Baselitz was represented by studies and sculp-ture from the various levels of the art world, as well as a few astonishing pieces of Polish art that had been imported from Poland. The Polish avant-garde, with its spiritual and mythic references, is among the most underrepresented and distorted aspects of the Polish avant-garde. These works exemplify a much maligned and misunderstood world view that does not fit with the ideology that defines the Polish avant-garde. The anti-Semitism, racial bigotry, and religious fanaticism that was prevalent in Poland during World War II were evidenced in these works. The work of Poles who have emigrated to the West—the most famous among them, Antoni Polec, Tomasz Malek, and Jerzy Solak—was a special surprise, for they are the only Poles in the show to admit their personal involvement in the avant-garde and work on it with an artist-fanatic zeal.The Polish avant-garde has an elaborate literature, an elaborate history of art, an elaborate memorial, and an elaborate cult of personality. The work of these artists and intellectuals attests to the social support and self-reliance that are central to this culture. The long-term and democratic survival of this avant-garde has been an important part of this culture.

Result #4

Pretentious majestic mounds phoenix bursting beauty out of the canvas; of broadsides, gridlocks, all-out wall battles, a flash flood, solar flares. Such apocalyptic events are offered in a processional stillness, as we are given a concise take on events that have not yet been triggered, but whose vivid surfaces, stunning reds, greens, and oranges, fade away with the light of day. In the meantime, the artifacts and images of our early modernity have been gently buried, as though the bodies of the past were nothing more than a memory floating away in the night. Like the artifacts of the past, the colors of art are now grainy and rocky, but the dirt they contain is unmistakable; like ancient, unspoiled artifacts, they have gone to the very bottom of the earth. Kitten washes, zigzags, and flowerpots take on a color and a texture that is a work of art, yet they do not overwhelm the vibrant color fields of the vast majority of paintings, but are blended with a sort of artificial atmosphere, like paintings in the dark. These paintings have the feel of abandoned ruins.We are not dealing with a reanimation of an ancient civilization but with the result of a modernist emergency. The problem is that we seem to be moving from a point of no return, no hope for reconciliation. Modernist painting has been the most successful of the modernist arts because it has been able to resist the urge to revive the past and present in an attempt to define and retain relevance, but at the same time, to make the present worthy of reparation.

Result #5

Pretentious majestic mounds phoenix bursting beauty, illusion, shock, sparseness, absence, and wonder. These form the centerpiece of Kovets unfinished study. The artist executed a variety of gothic and grunge and pop obsessions, but the characteristically blockheaded art world was a bit too far from the stylishly heterodoxy of the Greenwich Village scene to sustain such a stereotyped product. The desolate lightness of these minimalist images might have added to their awkwardness.Not far from the gallery was a wall-mounted white-cube room decorated with a wall of interlocking photo-engravings, which, though mostly titles of famous artworks, included such obscure old names as the distinctive Paul McCarthys. The sheer volume of these imprecise assemblages gave the works the feel of a lone museum exhibition, although the accompanying catalogue gave the impression that Kovets main function was to demonstrate the impotence of modernist icons. The photos—first staged as part of an exhibition and then in the catalogue—were reproduced on a large scale, while the majority were selected from Kovets most recent series of meticulously rendered woodcut casts of galleries. Although the artists signature flourishes made up most of the series, a few works displayed a far more juvenile, cartoonlike visual vocabulary.The paintings were framed by aluminum shelves that stretched to a wall. The number of suspended-over-the-gallery-window-screens could not be less than four; Kovets inverted form allowed the viewer to make out his or her innermost thoughts, moods, and even small moments. Some of these works were remarkably colorful, while others were unnaturally simple, like a piñata of chocolate, with images cut from newspapers, magazines, or other popular media.