Review | In the tumultuous ye...

Generated on 2023-07-15 10:10:36

Result #1

In the tumultuous yet dynamic art scene of the 2010s, Eleazar Cantor burst onto the canvas with From Scans to Dreams, a groundbreaking mixed media collection that made early use of 3d scanning technology. Cantor captured famous art objects and landmarks as digital sculptures, which he added to and transformed with surreal and often grotesque contextual elements. His supporters proclaimed that in these unsettling juxtaposition the twisted remnants of artistic history found a new form, haunting the viewer's psyche. The work was an example of the artists willingness to let go of the past and to move forward in time.This exhibition included a group of sculptures that had been inspired by the artists childhood memories. The artist has said that he first began to make sculptures out of toys he saw around his neighborhood. In this show, for instance, a large-scale work made from Christmas-colored plastic cups, which he has filled with small objects, including a toy gun, a stuffed animal, and a hammer, was titled Sculpture for My Father. The cup-based sculptures also evoke childhood memories, for the cups were his father-in-law's favorite pastime. The artist has said that he started making sculptures of these small objects as a way to get rid of all the things he had accumulated in the past.Cantors sculptures are not just forms of play, but also of guilt. The sculptures are reminders of the power of childhood. One of the largest of the sculptures in this show, for example, is called Sculpture for My Father, 2010, in which a small, round, wooden toy gun rests on a small table covered in pink and blue plastic. The gun is adorned with a black plastic cap that looks like a raffia-colored beanie and a birdlike design. In a small room in the back, a stuffed animal is perched on a shelf. The bird is adorned with a pink coat, and the gun has a bird-shaped cap. The bird-like design is reminiscent of a toddlers toy, while the cap recalls a birdcage. The toy gun and birdcage allude to childhood memories, while the toy bird and plastic cup allude to the power of childhood. The miniature birdcage, for example, is a kind of playpen or nest, which Cantor uses to explore his own childhood memories.

Result #2

In the tumultuous yet dynamic art scene of the 2010s, Eleazar Cantor burst onto the canvas with From Scans to Dreams, a groundbreaking mixed media collection that made early use of 3d scanning technology. Cantor captured famous art objects and landmarks as digital sculptures, which he added to and transformed with surreal and often grotesque contextual elements. His supporters proclaimed that in these unsettling juxtaposition the twisted remnants of artistic history found a new form, haunting the viewer's psyche.Cantors work is similarly marked by a belief in the power of the uncanny. His paintings are painted with thickly applied acrylic paint and all are textured with a smoky, metallic finish. The surface is often stained, darkened, or stained-glass-like in places. In From Scans to Dreams, the artist depicts the original painted-on-glass scene. He then captures the patterns of paint applied to the surface. The result is a painting of uncanny, even uncanny-looking texture. In the center of the painting, the word scans—which is rendered in a diagonal grid, like a grid of letters—is surrounded by a grid of dots, like a map. This grid is filled with ghostly lines that appear to be drawn in, but are actually drawn in from the sides. These lines are sometimes straight, sometimes curved, and often red or blue. The shape of the grid is also a kind of ghostly color: It seems to hover between the outlines of a circle and a circle of fire. In the bottom portion of the painting, the word scans is joined by a circle of dots. Here, the color is a warm, yellowish blue.The title of this work is a reference to a series of works by the artist that he completed between 2005 and 2007, in which he copied the original paintings of the famous French painter Jean Cocteau, among them the famous Scans and Dreams, from the 20s. In this series, Cocteaus paintings were based on the shape of his eyes, and the original paintings were based on the shapes of his hands. In these works, the artist renders the original painting in the same manner as he has reproduced it. But in the case of Cocteaus paintings, the original painting was a dream, and the copy is a photographic reproduction. In these works, the copied painting is no longer the original painting but a copy.

Result #3

In the tumultuous yet dynamic art scene of the 2010s, Eleazar Cantor burst onto the canvas with From Scans to Dreams, a groundbreaking mixed media collection that made early use of 3d scanning technology. Cantor captured famous art objects and landmarks as digital sculptures, which he added to and transformed with surreal and often grotesque contextual elements. His supporters proclaimed that in these unsettling juxtaposition the twisted remnants of artistic history found a new form, haunting the viewer's psyche. The show, curated by Antonina Vitti, who organized the show, reimagined the cultural history of the installation as a series of hidden fragments, a kind of labyrinthine web that the artist explored and filled with references to the past.In From Scans to Dreams, the artist tried to integrate the geometric and organic elements of sculpture with the organic and geometric elements of nature. The show included fourteen sculptures from the series From Scans to Dreams, 2010–, all made of wood, and the artists compositional vocabulary was also evident in each piece. The wood sculptures are large, upright pieces that are made from wood and bronze, and each has a different shape, a different scale, and a different color scheme. The bronze sculptures are smaller, more delicate, and less solid, but they have a distinctive character: They are marked with sharp edges and composed of layered bronze and wood elements. The wood sculptures are also more difficult to identify visually, as the wood shapes and angles are not so clearly discernible. The bronze pieces are much more difficult to identify visually, as the wood shapes and angles are not so clearly discernible. The wood sculptures are more difficult to identify visually, as the wood shapes and angles are not so clearly discernible. The bronze sculptures are more difficult to identify visually, as the wood shapes and angles are not so clearly discernible. The wood sculptures are more difficult to identify visually, as the wood shapes and angles are not so clearly discernible. The wood sculptures are more difficult to identify visually, as the wood shapes and angles are not so clearly discernible. The wood sculptures are more difficult to identify visually, as the wood shapes and angles are not so clearly discernible. The wood sculptures are more difficult to identify visually, as the wood shapes and angles are not so clearly discernible. The wood sculptures are more difficult to identify visually, as the wood shapes and angles are not so clearly discernible.

Result #4

In the tumultuous yet dynamic art scene of the 2010s, Eleazar Cantor burst onto the canvas with From Scans to Dreams, a groundbreaking mixed media collection that made early use of 3d scanning technology. Cantor captured famous art objects and landmarks as digital sculptures, which he added to and transformed with surreal and often grotesque contextual elements. His supporters proclaimed that in these unsettling juxtaposition the twisted remnants of artistic history found a new form, haunting the viewer's psyche.Cantors work has continued to expand in scope and scope. In the past decade, he has produced a vast array of series of maps of the United States and of the world as a whole, and is now working on a massive data-based art installation, titled Bicentennial, 2020. In the meantime, he has produced a range of objects from the past decade and a half. This exhibition, like all his previous ones, was a meticulously curated exhibition that placed the artist at the center of the show. The exhibitions most striking element was the large-scale installation, whose title, Beyond the Present, appeared in all its colors, shapes, and textures. The exhibition was accompanied by a large-scale video installation, which was shown on two screens, one red and one white. The red screen was projected onto a large screen, while the white one was projected onto a small screen. The red and white screens were hung in a row along the wall, while the blue screen hung at an angle from the floor. The image was taken from a digital digital camera and digitally manipulated to create a trippy photograph. The blue screen was projected onto a mirror, while the red screen was projected onto the wall. The resulting image was then printed on the walls of the gallery and hung on the wall.The video installation was the centerpiece of the show, which featured a large-scale digital print, also titled Beyond the Present, 2016, that was hung on the wall. The artist has made a career out of making things that are so unreal, so complicated, that they defy explanation. Through this series of images, the artist attempts to connect the world to his work. In the past, he has made images of his own body and of his own body parts. In this exhibition, he presents his body as a virtual sculpture, one that has been digitally transformed into a digital print. The result is a work that is at once uncanny and real.

Result #5

In the tumultuous yet dynamic art scene of the 2010s, Eleazar Cantor burst onto the canvas with From Scans to Dreams, a groundbreaking mixed media collection that made early use of 3d scanning technology. Cantor captured famous art objects and landmarks as digital sculptures, which he added to and transformed with surreal and often grotesque contextual elements. His supporters proclaimed that in these unsettling juxtaposition the twisted remnants of artistic history found a new form, haunting the viewer's psyche. Cantors self-portraits, like those of his own works, often express the artists own desperate need to recover from his or her past, to make amends for the tragedies that have been inflicted on it. The artist has never shied away from the power of his past, but the present is the only way to honor it, he has said.Cantors self-portraits are more than just self-portraits, though. They are also reflections on the artist as a human being, a man whose life and work are shaped by the violence and madness of his past. The artist was a victim of a brutal and bloody civil war in his native Lebanon, and he is now recovering from that experience. In this exhibition, he also wrote, in an essay on the back cover of the show, about the viciousness of the civil war that he experienced in his hometown. The conflict between the secular and the religious—the secular, the secular, the religious—is the most destructive and tragic element in our world. In this war, we are faced with the unimaginable: the death of our brother, the death of our father, the death of our mother, the death of our mother-in-law. We are all victims of this war, and we are all victims of the same, brutal, destructive, inhuman, and unfeeling enemy. The people of Lebanon have been forced to flee their homes, and the violence they have experienced is beyond description. They are terrified, and they are desperate. The sense of fear in Cantors work is palpable, and his art is as disturbing and disturbing as it is beautiful.Cantors self-portraits have always been about the power of the past, but here, he used them to reflect on his present situation. In the exhibition, he used photographs of his hometown to create the wall relief From Scans to Dreams.