"The Babies series and how it relates to the Abbreviated Development Scale

Result #1

"The Babies series and how it relates to the Abbreviated Development Scale in particular is an ongoing exploration of the different senses of scale in an extremely simple yet universal language. The first Babies were made in 1983 and followed from there. The meaning of these labels is unclear. The word Babies may have been created for a show, but they also refer to a series of pictorial components that can be used to make a work of art. The Babies are composed of small round objects that, if they were not placed on a scale, would remain flat, and the scales of those objects would be distorted. In the middle of the show were the key items, the triptychs of the 1980s and early 90s, including the Etruscan tondi (Triplet), 1987; the French egg tempera (Eau), 1987; and the German Einst entwurf (Standard thickness), 1987.The difference between the periods in which the works were created is significant. In the early 80s, the objects in the modern triptychs were both flat and made of cotton and were never shown on a scale. The objects in the triptychs were never seen on a scale either. The two parts of the work, the panels and the whole, were never put together on a scale either. In the late 80s, the objects were assembled in boxes and placed on shelves. The box also contained two diaphanous tondi panels and a mirror. These mirrored the objects in the triptychs, which in turn had mirrored the objects in the boxes. In the early 90s, the boxes were removed and the mirrors replaced with rings. The mirrors were installed on a wall.In the middle of the show, there was a large collection of these triptychs. This was a second version of the Babies. The triptychs had been removed from their original context, and the original context was found again in the display of the triptychs.

Result #2

"The Babies series and how it relates to the Abbreviated Development Scale are the most interesting aspects of this exhibition. In a series of seven Abbreviated Development Stills, 1996–1997, the smallest of which are barely more than an inch in height, we find a kind of cognitive language of terms—like, for instance, code, with its infinite permutations—used to describe the growth of forms and processes in the world. They are composed of small symbols (such as the letter A) that act as representations of what they signify: the progression of a life, the development of a body, and the evolution of the world. The baby, too, is a symbol of the body, and a symbol of the future. The lightness and permanence of these symbols seem to be the result of a preeminent unity of mind and body, of consciousness and feeling. Each symbol, as we see, has a finite life span, and the process of its creation is always in process.In addition to the abstract representations of the form, the symbols that surround us in the world are rich in meaning and complex in meaning. In one of the abstractions, the abstract symbol—the diamond—is an example of an abstract form, and it refers to the diamond. In another, the abstract symbol—the star—is an abstraction, and it refers to the star. The star also refers to a constellation, and so on. The representation of the universe is as rich as that of the cosmos.In this context, one should note that the abstract form—the diamond—is a symbol of the universe, of the universe itself. But what do the abstract forms in the series have to do with the cosmos? In the Abbreviated Development Series, 1996–1997, the abstract form—the diamond—is a symbol of the cosmos, and it refers to the cosmos. The diamond also refers to a constellation, and so on. The representation of the universe is as rich as that of the cosmos.

Result #3

"The Babies series and how it relates to the Abbreviated Development Scale (AD) is a special kind of project. For it is an attempt to redefine the way that we think about development, and to find a way to make that thought fit within the categories of modernist architecture and design. In order to do this, the artist lays out the building blocks of the buildings in his photographs. The buildings are then photographed, reconstructed, and modified in order to meet his specifications. With this work, the creativity of the original idea is reinterpreted through an artistic process which involves a search for new paradigms. The result is a collection of buildings that speak to the contemporary concerns of architecture and design. The series title, Babies, refers to the first group of buildings constructed by the artist, including the one shown here, and the series Babies and Babies, is based on the term used by the architect, Joseph Beuys for the first building that he designed for the Mercedes-Benz plant in Bremen, Germany. In this context, the idea of a creative, non-traditional approach to architecture and design is clearly evident. The result is an architecture that is highly detailed and detailed, but without any pretension to beauty. It is a nonconventional architectural design that is developed for the modern modern market, but without any pretensions to modernity. The buildings are nonconventional, as well as nonconventional buildings. The drawings of these buildings are based on the original plans, but the individual buildings are not. Because of this, they are based on ideas and concepts that have been known for some time, and that are no longer relevant today. The result is a building that is highly complex and more difficult to understand than the original ones.Babys is a kind of architecture that can be traced to the idea of the originary and the invention.

Result #4

"The Babies series and how it relates to the Abbreviated Development Scale (AD) is an attempt to understand how to make something that is like a baby but also looks like a piece of clay. The Babies series is an attempt to understand how to make something that is like a baby but also looks like a piece of clay. In this series, nine sculptures, each dated between 1985 and 1991, were assembled from materials chosen from a variety of sources, including cement, copper, rubber, and turpentine. These are works that examine the basic materials of the world and how they interact.The show was organized in two parts. First, there was an exhibit of the Babies Series: Fragments from the Babies Series, 1986–88. The pieces are marked with a number of abbreviations: PAR, for Para-Voxel; VHS, for Video-Video; FET, for Fetish; and, finally, XBMC, for X-BMC. Here, the series began with the simplest of beginnings: two sculptures that were made from a small piece of clay. The clay in these pieces consists of the claylike shapes that have been used to make basalt in the past. But the clay in these sculptures, in fact, is not a real basalt but a modified one that was created by heating it up. The clay in these works is inscribed with the minute, microscopic details that make it a sculpture, which is a group of marks that give a visual appearance to a sculpture.The two sculptures in the show are composed of layers of clay. Each layer is made of the same material as its predecessor, which is a finely cut, ovoid form. The clay in the clay works in the series, however, is not very varied. A number of different kinds of clay are found in the series: ceramics, plaster, bronze, and steel.

Result #5

(AD) is a great example of the uncanny correspondence between the everyday and the abstract in contemporary art. The beautiful Béacondous of the Abbreviated Development Scale (AD) are objects that are so familiar they are simply incorporated into the standard supply of contemporary art: with their primitivist textures, their perfect fit for a mass-produced object, they are modernist chic. But unlike so many of the modernist chic objects, these objects are neither commodities nor decorative objects. The Béacondous are not objects but the right to be rendered into art. They are not traditional objects, but modernist chic. What is modern about them is that they are new.