Portrait of a Red Square.

Result #1

Portrait of a Red Square.  The same picture was shown in a single, relatively small, photograph that the exhibition catalogue included. In it, the artist stands in front of a red square, his head and shoulders cocked and his face shrouded by a semi-dark hood. The square itself is the same size as his body, which is also the same size as the surrounding wall. It is a photograph of the front of the square, showing the wall behind him; in the back of the square, the image of the square is hidden by a hood. In the middle of the square, the artist wears a hat, a shirt, or an oversize black jacket. The dress is typical of the sort of garments the artist wears in public. The top is made of a high-collared jacket and a leather-jacket-like jacket; the bottom is made of a leather jacket with a leather-jacket-like collar. The shirt is a single piece of fabric, like the jacket, but it is made from two layers of leather. The only material used in the photograph is the hood. The idea here is that the hood hides the front of the square, which is also covered by the square. The photograph is a demonstration of how the front of a square can hide the front of an object. One can see that in the back of a square, the hood is a part of the surface, and the front is a different one. The artist then looks behind him and sees the hood. In the middle of the photograph, he has his back to us, but his head is hidden by the hood. The effect is a classic photograph of the third sort, in which the object has a hidden back. A detail like this is sometimes just what makes a photograph interesting. The photograph was taken from the back of the square, where the front was revealed, and then the photograph was made from the front of the square.

Result #2

Portrait of a Red Square.  As we stand over a rainbow-blue landscape, the image appears, unblocked, on a screen, a kind of test for vision. Just as the mind and body move, the eyes are shut down.In the book, Whitehead observes, The retina is the most important part of the brain, and thus the most important part of our vision.  Yet the work also explores the anatomy of sight, which is an area in which Whiteheads expertise as a scientist is unmistakable. His retina studies the retina, and he photographs the retina, dissecting it to study its structure. The work offers a full picture of the human eye, but in a way that is as unexpected as it is delightful. In this sense, Whiteheads work is a kind of incommunicado reading, in which we cannot tell if he is photographing something that is still but not yet seen. He is looking at something that is still and not yet seen, and, as such, the eye is the same as the brain, and hence we can say that he is looking at the mind and body, the mind and body, but not the retina. The eye is the same as the retina, and the body is the same as the retina, but this body is a part of the brain, and so the brain and the eye are one. If we call it a brain and eye, it is a body, and the body is a part of the brain. This body is the mind, and the mind is a body.In Whiteheads photographs, we are seeing nothing but the retina, and we cannot tell if he is looking at something that is still but not yet seen. There is no way to know if he is looking at the retina or at the mind. If he is looking at the retina, we are seeing the retina, and he is not seeing the mind. The mind and body move, the body remains frozen.

Result #3

Portrait of a Red Square.  What do you say about a square with a strange stripe on it?  The answer is that you dont know, you just cant take your eyes off it. The painting is about the struggle between the artist and the bourgeois art object. In contrast to the Monets, which are more like objects, and therefore more like paintings, the Red Square is a space of pure painting. The painting does not depict reality, but merely reproduces it. By applying this myth to reality, the artist is able to surface it and transport it into the real world. In fact, the Red Square can be understood as the title of the paintings. In the painting, reality is expressed by the strip of red, and by the painting, which reproduces reality by means of a square, which is itself a square. In the Red Square, reality is the painted square; the painted square is reality. The painted square is reality; the painted square is reality. The painted square is reality; the painted square is reality. The Red Square is reality.The painting is the surface of reality, the surface of reality. The surface of reality, the surface of reality. The surface of reality is reality. The surface of reality, the surface of reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality. The surface of reality is reality.

Result #4

Portrait of a Red Square. (detail) The last work in the show, several hundred feet in length, is a nearly identical photograph, but the difference is that the two pieces are much smaller in size, and that the photograph is labeled A. The first photograph is in the same size, and has been reduced to a half-inch square; the second is a bit larger and has been reduced to a square and a half-inch cube. The photographs are titled A, and the glass-plate negatives are numbered A-1 through A-5. The numbers are printed in a block-letter format, as though the paintings were a kind of sticker for the photographs. To put it another way, the photographs are like paintings, just as the paintings are like sculptures. Their surfaces are painted in a black-and-white style, and their paint is applied in a matte finish. The paintings are painted in a muted red, and the photographs in matte black. The results are paintings in miniature.The artist, or artists, have a great deal of freedom with these works. He can paint a painting, he can make a sculpture, he can paint a canvas, he can take a picture and make a sculpture, or he can make a painting and make a sculpture. Theres nothing that he cant do, but he cant do it with any sense of precision. He can make something as big as he is and as small as he is and make it big and small and still have it small. He can make a painting come out of a photograph and be a sculpture, and make a sculpture come out of a photograph and be a painting. He can make a painting be a sculpture and be a painting. These are paintings in miniature.The major difference between these paintings is that the paintings are in miniature. The sculptures are large, and the paintings are large, but the sculptures are miniature, which means that the paintings are not only big, but they are also small.

Result #5

Portrait of a Red Square. The statues are equally impressionistic, yet the artist has often used the form of a figurative figure as a starting point for his own work. In this show, he uses a figure from a magazine photo and a close-up of the eyes of a human being. The close-up of the eyes shows the eyes of an abstracted woman and a figure that is actually a mirror. The woman, who stands in a corner, is blindfolded and her arms are raised in the air; the mirror is connected to the eyes of the dead woman by the wrist, which is adorned with a wreath of flowers. The mirrors reflection of the hands and the hands of the blindfolded woman creates a kind of mirroring effect. The mirror that the man is wearing is in fact a red square. The mirror image of the eyes and hands is not the original reflection of the eyes, but rather a reflection of the hands of the blindfolded woman.The next part of the show consisted of eight photographs of heads of angels. The heads of angels are normally born blind, and they have to work hard to find an avenue of vision in their blindness. The angels heads are made from wire, which is sometimes red or white. The wire, however, is stretched over a masklike shape and is not flat, but curves and rises and falls to form the head. The head of a blind man in the museum is presented as a white oval on the floor. The metal mask gives the head a creepy look. In the end, the heads of the angels are painted in the same manner as the mirrors, but the lack of transparency gives the works an eerie look.The last part of the show consisted of seven abstract paintings of animals. These abstract paintings are small and simple, although some of them are extremely beautiful. The animals are drawn from nature, and the nature of the drawing is not so much natural as artificial.