Esoteric avant garde struggle of autism

Result #1

: Her grandmother had a mental illness, it seems, and so the artist attempted to get therapy, sending letters and calling the psychoanalysts she saw, and even going as far as to present to them what she considered the record of her life in therapy. The results were not surprising: The psychoanalysts were horrified, saying, You are making me crazy! If I had brought this to the therapists attention, I would have taken his advice to heart.But the patient in this group, the psychoanalyst, was very different. His grandmother did not treat her patients with psychoanalytic methods. She put the patient in her life in therapy, an art that sometimes succeeded in overcoming his or her patients irrational fears and fears of psychoanalytic theories and rituals. One of the greatest strength of this art, the psychoanalyst explained, is that it is true that when a person is in a mental state, they can experience a lot of things. It is up to the therapy to stop putting up all these metaphorical images, to start thinking about things that can be real, not only in the sense of having reality as a reality, but also in the sense of having reality as a person.As a child, her grandmother threw herself into and out of the psychoanalytic art world. In the late 50s, she tried many different types of art: ceramics, prints, and paper constructions. Although these works, she stated, were mostly rubbish and useless, she made them up because she thought they were the only way to express her feelings. But the best of them came from psychoanalysts: They gave her the power to express her feelings, and she did so, and she did so. It is this sense of freedom and individuation that my grandmother loved, and that I strongly love.

Result #2

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Result #3

Esoteric avant garde struggle of autism, it is also an art that tests the boundaries of the cultural field, testing the limits of the most fundamentally absurd artistic tropes. The eight works in this show are a continuation of this process. Each piece consists of a pair of canvas-covered construction sheet with an indentation cut out to form a circle and a black-and-white neon sign; the works title refers to the end of the circle as the one to be broken by the ensuing radius. The painting work is by no means a connoisseurial product. The work consists of some of the most esoteric, most talented, most open and overrated strategies of the 80s. Yet, like any of these approaches, it is a product of a creative process that is worth celebrating.The eight works were made in 1970 by using a mixture of paint and glue. The results are figurative and psychological studies that require a layered reading. The more enigmatic and ambiguous the painting, the more visceral the response; the more abstract the painting, the more metaphysical the object; and the more esoteric the object, the more emotional the response. In a sense, these works are disjointed. The painting paintings are not independent objects, but a series of acts that a certain personality will take part in and then give up; the paintings are physical experiences that require a certain mental and physical reactions. The paintings are personal works and not analytical; the paintings are not works of art, but emotional experiences. The painting is not a sum of individual objects, but is an experience that can be used and reinterpreted. The paintings are not works of art, but emotional experiences that can be repeated. With the same openness and enthusiasm, the artist creates an environment in which feelings and states of being can be experienced. The painting is not a social entity, but a personal and moral entity.Like other art, the paintings are concerned with how to interpret and communicate an experience.

Result #4

Esoteric avant garde struggle of autism is a twentieth-century variant of psychological dupe, it may not be far removed from the social anthropology of anti-Semitism. The linkage is evident in the many parodies of Jewish identity that have been produced since the Holocaust, but the current countercultural practice has even more in common with the anti-Semites–including those who wish to hide their Jewishness and identify as non-Jews. This can also be seen in the passionate anti-Semitism often directed at women and homosexuals. The anti-Semitism against which this work must be compared is the anti-Semitism of anti-Semitism, of course, but it is the anti-Semitic, as opposed to the anti-Jewish, who cannot be dismissed as merely reactionary or merely a tool of the bourgeoisie.The best of such expressions in the artists work comes from the work of Frank Inga, whose work is based on the strategies of anti-Semitism. Her art is based on the use of associations and symbolic allusions in order to question the meaning of the media through a critical examination of the social and political context within which such associations are made. In her recent exhibition, in fact, two sets of works displayed the nature of the language of anti-Semitism, those of the Yiddish language and the Yiddish myth. In the Yiddish-language, according to Inga, a metaphor of antisemitism is the image of a Jew and his or her family, as a cross and/or symbol of an individual identity, a Jewish birthright. In Goyas Yiddish, a portrait of the father, the mother, and their children, she points out the political character of the Jewish family. This is one of the most striking works in the show. The mask is much more convincing in its distortion than in its interpretation.

Result #5

Esoteric avant garde struggle of autism. In Mecessor, all the doors were left wide open. This is not to suggest that my impressions of the space are purely objective. The work itself is based on an elaborate spellbinding of circumstances, with its connotations of the dream state. I even recall the exquisitely deliberate approach of a painter like Théodore Géricault in his seventies, to which I must confess I only wish to add more to my understanding.Mais or Madame, 2001, is a work by the artist, Jean-Luc Godard, whose first film was about the marriage of the artist and the model Françoise Berlat, in a show that took place in New York in the middle of the 70s. The theme, the interior as a model, is recurrent in the work: a pattern of mirrors on the walls mirrors their own reflected light, and their reflections are inevitably altered by the presence of objects and the environment. In this case, all the mirrors are blocks of translucent glass. The projection of the glass onto the floor is, as in the video, a rhythm that is only tangentially erotic. The glass plate is broken by a cascade of very white and very bright light, and this intensifies the illusion of the camera, which slides along the walls. The effect is interesting: The glass plate is suspended in the space, in this case above it, a delicate mist that covers the floor of the room, causing the mirror to float.The visual world, in general, has always been a central theme of Mécanist theory. We might say that Mises thought about the world as a machine—the world as an artifice, an assemblage—is directly responsible for the development of the avant-garde. We might also speak of the revolution in optics, the machines becoming artifice, the optical apparatus coming into being.