A banana is duct taped to a wall. The piece is named "Comedian". Included are instructions to replace banana every 7 to 10 days.

Result #1

A banana is duct taped to a wall. The piece is named "Comedian". Included are instructions to replace banana every 7 to 10 days. In this case, the piece is just one of several in the exhibit. The other items are drawings, such as a cake-bowl patterned cake-bowl holder and a crochet patterned base, all for the purposes of the illustrations.All the works are made from white acrylic, with pink topper. The colors are subtle, often very muted, and the palettes are often very diverse. All are made from graphite and enameled onto the canvas, but the colors do not add up to black. These canvases have been lacquered, with crayon. In one of the more interesting pieces, a study of the surface of a fruit, a completely black-and-white-colored print is stenciled onto an enameled canvas. In addition to the white surface, the enamel has been infused with an olive, deep yellow, green, or red substance. The color of the image is in turn determined by the brown paint (in this case, white). The marbling of the enamel reveals a luscious, darkly hazy aspect. The oils richness and rich greens make up the unusual and beautiful surface of this work. In addition, the medium seems to function as a foil for the paint in the painting.In an earlier series of works, the canvas (with enamel) was an appropriate medium for expressing feelings, thoughts, and ideas. The same can be said for the present work, which is made from graphite and enameled. The painting is based on a drawing of a banana. In addition, in a separate set of pieces, one can see various symmetrical layers of green enameled canvas. In these enameled works, the colors seem to flow from the base to the top and bottom, and the layers interpenetrate the color structure.

Result #2

A banana is duct taped to a wall. The piece is named "Comedian". Included are instructions to replace banana every 7 to 10 days. And yet a banana is meant to be replaced every three days, and only if the machine malfunctioned. So, in the process, the artist reversed the rules of the game. The work consisted of a wry remark, made in an impassive manner, that made reference to the repetitiveness of human activity.Its not that the artist didnt know how to play this game, but the piece was something else. The routine she chose to play the game consisted of repeating the work of art through a series of cardboard boxes with misprinted and camouflaged stickers. The boxes contained the same objects: stickers, Polaroids, and Polaroids in pairs. In this way, the artist argued that there is no way for art to be conceptual or expressive when only the surface is visible. But when all the surfaces are gone, the art-like objects are nothing but a more artless version of themselves.This exhibition consisted of six other pieces of art from her recent series of small, minimalist works. These pieces were all aimed at being simple but significant: a thumbtacked cover to the wall, four Polaroids, a scrap of plywood, and a glass bottle. In the middle of each of the pieces is a sticker, the same one with the wrong letter; the artist made a plaster-board wall to mimic the rest of the wall.The installation includes material that can be used to create an expressive object. For example, a thin sheet of Plexiglas, eight pages of thin colored paper, and eight pictures on cardboard are placed on the floor. With its small size and compact construction, these pieces had an incredible elegant beauty; they seemed to have been set out by a magnificently designed hand. The viewer could see that the sheets were made from Plexiglas and colored paper, but they had a resemblance to stickers. The Paper-Kite Wall, a six-part piece, also incorporated stickers and wall cards.

Result #3

A banana is duct taped to a wall. The piece is named "Comedian". Included are instructions to replace banana every 7 to 10 days. This works off the back of one of the earliest photographs on the works presentation; the original belongs to the artist. But the work holds together as a clue to the identity of the anonymous creator, with which its subject is revealed to be not only an artist, but an icon of modernity.The exhibition included a number of drawings and paintings that see the modern in relation to the present, including drawings on paper and painted acrylics. The line drawn across the surface of one sketch is a version of the lines in the line drawing. The penciled outline of the drawing has no sound, and no color. These drawings seem to follow in the order of the work, the same order that the photos follow. The work is positioned as a string of signs, a drawing on a page. These signs have no meaning, no movement. The drawings are expressive objects. The works on paper show photographs taken from the line of the things they depict, their potential for communication being identified only by the lines of their traces. The colors are defined by the lines, and the line and paint are analogues of time and space. The lines are not only used to convey movement, but also to encode movements. In the works on paper the lines are indicated with dots, and the painting with a drawing on the front of a page reveals the line that demarcates the photograph. The paintings on paper are in close proximity to the drawings, the drawing appearing less like an iconography than a given sign. A work on paper has a back, a front. The paper is revealed to be an element in a sign, it contains a map, a recording of a gesture. In the paintings the lines are more like borders, but in the drawings they are merely trace lines, a kind of vague mark, a medium for the signifieds depicted. But the line itself does not have a way of communication that is not represented in the photographs.

Result #4

A banana is duct taped to a wall. The piece is named "Comedian". Included are instructions to replace banana every 7 to 10 days. . . . This is a serious piece of art. One finds not only a response to that which is hard and narrow, but also the expression of a tenderness for what is either rough or thin, big or small, on display.This exhibition was called Unconscious Modernism. The work of the 80s is now in reverse, with the emphasis placed on the work of the 90s. By laying the foundation for the current art, one gives the impression that it is a new art. Another is that modern art is in a constant state of being itself—a process of being in the process of being.Modernism has moved from small things—car windows and a wire fence—to large things, from the naked body, to the headless body, to the tools of war and control. The recent works by Frank Stella, Allen Ginsberg, Max Beckmann and Gary Hillall are typical examples of this new process. The important thing about modernism is not just its size, but the fact that it is always confined to a small number of features and only one setting at a time.The 8 and 9 works in this show were constructed using reinforced steel and fired plastic. The 8 works, comprising six individual pieces, were finished between August, 1980 and January, 1981. Some of the pieces were part of the exhibition, others were created for the exhibition.Each work is different in shape and color. The finish of these pieces has been fairly consistent from piece to piece, between a translucent plastic look and a glazed steel one. The current pieces tend to look as if they have been punched out of the same kind of material as the original sculptures. This plastic-for-steel quality makes them look as if they had been welded together. The older pieces have the same look, and the new pieces look as if they had been used as sculptural base sheets.

Result #5

While the bananas are replaced, the piece is never destroyed. The instructions warn, not to be afraid to see the code. The works surprisingly large size reminds one of vintage construction equipment.Roberts artistic shift from pipe and tubing to bronze, rubber, and fiberglass is an integral part of his strategy. The artist places the popular and the sacred in a similar mode. In the works shown here, for example, Robert combined fiberglass and plastic into a detailed cast of the Eiffel Tower. Robersons casting of the Eiffel Tower evoked both the history and tradition of French engineering. The work was called La belle époque de Paris (The beautiful of Paris), the title referring to the artistic director, not the artists or contemporaries, as one would expect. The Eiffel Tower—which measures 70 by 54 feet (18 by 8 by 3 feet)—is a sacred monument, a monumental structure of stone and wood that is sacred to the French people. The piece was originally a hydraulic wall, but the underground ducts in the towers inner chamber required a harder and stronger material, fiberglass. Robersons work suggests that his work is essentially a shell of a French civilization. The Eiffel Tower reflects and gives an overall look to a lost, crumbling civilization.