Liza Soberano, there' s still a chance to abdicate that group.

Result #1

. . . While those who took the chance may feel that they have missed the mark, the intention is clear: to make a statement about the nature of the work itself. If the past has taught us anything it is that the notion of the work as a work of art is an illusion. The work is not that bad a job, the artist must be paid for it. The work is good and the past is a fact. The artists who have tried to make it, and have been unsuccessful, should be taken to task for their inability to realize it. All of them must be given the opportunity to do so. This may mean some very heavy thinking indeed.

Result #2

Liza Soberano, there' s still a chance to abdicate that group. . . . . This is not to say that her work is altogether without redeeming features. In fact, it was in the early 90s that she exhibited at the Pompidou in Paris, and she has recently made a significant foray into sculpture. From the library of the University of Pennsylvania: Department of Art and Architecture.

Result #3

An artist may be able to turn to the past and find a way to speak to the present, but to do so without becoming trapped in a future of despair. Her work is also filled with visual and verbal references to events and places from her life. But what would that look like? The same as any other artist? The art world? I am not saying that you should not be curious about her work, but the point is that she has a choice. If she wants to make art, she must choose to be an artist. There is a difference between the art world and the world of culture, a difference which she must accept or face.

Result #4

For, for one thing, theres no way to get rid of the fact that she has spent so much time in the shadows of her parents, as well as all the imbalances and traumas of the contemporary art world. Theres also no way to hide the fact that the idea of the director of the studio is so entrenched in her psyche that it would be better if she did not have to be reminded of it at all times. Maybe she can step back and concentrate on her work.In the end, however, its as if Soberano would rather to go back to her roots in a time when she can still afford to live in a space where her artistic ambitions are respected and where she can still be judged as one of the very best artists in the world.

Result #5

Liza Soberano, there' s still a chance to abdicate that group. Last year, for instance, the gallerys inaugural group of artists were not so much self-reflexive as self-reflective. In this context, a series of memorably American names, including Susan Rothenberg, Dona Nelson, and Robin White, seemed to hint at the gallerys philosophical roots. For their most recent show, The Names Are Not So Clear, the gallery has brought in eight new members, and the "no clear points of view" aspect of the earlier exhibition has been replaced by an array of erudite, diverse works.The shows seven newest paintings, which were presented in a side room, could be seen as a return to form. A full-size mural was hung in the main gallery space. On it, Lila K. Kim, a young artist from Los Angeles, painted the names of female authors—among them Lucy Lippard, Martha Rosler, and Lidia Albert—against the background of the mural. In this instance, the paintings are thus portraits, with the authors names scattered around the canvas like so many baby dolls. They look like pageants and are, in fact, small paintings of the same size as the actual paintings. They are strikingly different from the two-dimensional versions they are modeled on, and they demonstrate an excellent sense of compositional balance.The new paintings are full of clever, often unexpected juxtapositions of colors and textures. They are often in collaboration with each other. Kims technique is to paint thin layers of acrylic on canvas, then to cut the acrylics into small squares and arrange the pieces of it in diverse combinations. This combination of paintings surfaces and color schemes is often astonishing and makes the works seem both organic and inorganic, alive and dead. The compositional system is complex and includes both painting and collage. The paintings are sometimes filled with overlapping and overlapping details, and sometimes the actual collage elements are placed directly over the painted ones.