This modern greek piece of art references classical Disney characters and hence is a parable for modern capitalism.

Result #1

The painting is divided into seven panels, each with a one-point perspective view of a group of figures, which move from left to right. These are from King Kong to Hercules, from Gabriel to the Horned Hydra. Pictures of the seven heads are in both color and black and white, but are more spatially compressed. Each heads pose with one or two hands over his or her head, a handful of dried flowers at the end of each. They are surrounded by books, which contain printed advertisements, cartoons, newspaper clippings, and a stack of childrens boards. A yuletide sunburst covers the stacked-up books in a group of light-orange-and-yellow-frog pieces, and four much larger floating fingers. The drawings in the bottom section resemble bank-mark boards, with green paper outlines; the top section has one-point perspective, like a photograph, and a small text (written in ink) about a high-school crush. These are all covered in a kind of translucent paste and crumpled up to reveal the inner workings of these brain-geek utopias. Another painting has a parasol in front of a long-necked rose-petal with a rhododendron hanging at its center. This creation of a missing, just barely visible female torso and then a bare-chested stand-in for the head suggest a rebellious and rebellious sensibility. The paintings strongly contemporary post-Modernist air.While such comments would describe this as ironic, the works are rather undignified. The absurdism of the work is not unexpected. After all, these are unashamedly narcissistic and self-possessed works. I have to go back to them, Ive been told, so that they can be an updated version of the original. But, is that to say that they are ready to make a comeback? Not so fast, lads.

Result #2

This modern greek piece of art references classical Disney characters and hence is a parable for modern capitalism. The works title, Dark Matter, was, according to the press release, not entirely decisive in determining the precise form of this piece. A more curious but related point of reference was the museum itself—an important theme for Kunitz, who was born in Germany and now works in Cologne. The conglomerate of floor plan of the galleries space—including a large wall plastered with a lushly colored mosaic and two huge, barely visible, cotton balls that seemed to suggest a blank gallery space—suggests a totalitarian structure. Indeed, Kunitz has said he often creates works that are both already recognizable as abstract and yet, through the intervention of the spectators imagination, changed into the text.In the last room of the gallery, Kunitz erected an enormous mirror in the center of the hall. This monstrously curved, contorted mirror evoked the dark and monstrous aspects of reality, at once depicting the real space of the world and revealing its pathological aspects. This theme was most visible in the careful placement of an enormous pile of wooden floor tiles, the kind that fill construction sites in northern Europe, which was covered in paint and wallpaper. The piles of tiles and the paintings of a dark and brooding figure against the dark background recall the work of Helmut Middendorf. Many contemporary artists are preoccupied with the articulation of the image, and Kunitzs art suggests an awareness of the historical limit, an awareness that human nature can no longer be solved or even lived.Kunitzs work is full of traces of history, and its presence can be felt in almost every aspect of the space. The presence of an existing space is often emphasized, as when the floor tiles are placed next to a group of works that were hung on the walls as a group. In the final room, Kunitz installed two large slides of his own images—images he took of pornographic Web sites. The slide show is accompanied by newspaper articles that offer commentary on the art.

Result #3

Stylistically and conceptually, it also taps into the archetypal female figure, the mythical ideal of beauty and beauty in general. The structure is a boxlike space within which multiple vessels containing various materials are suspended. The visual and tactile references are abstract. The chaos of individual elements, each with a specific motif, is comprehensible only to a spectator whose gaze is adjusted to the meditative state of the work itself. As one passes through the vessel for a close look at the fabric, it becomes clear that the motifs of the vessels are scattered about, but are clearly recognizable as such. The project of identification is a pose, a seductive one, for which the viewer is to be anticipated.

Result #4

This modern greek piece of art references classical Disney characters and hence is a parable for modern capitalism. She is a fairly oracular name, the face of the name of the world, not only for its domination of media culture but also for its combination of malevolent capitalism and sexual repression.Incorporating so much information, at once scientific and cultural, and composing a morbidly delightful marriage of outrageous and tender portraits of two sorts of young men in actual encounters, The Consultant, 1986, and The Human Centaur, 1986, Hardy layered a caricature of the heretofore omnipotent power structures of capitalism with a diorama of true life and an imaginary of its demise. In this panoramic room of images in which nudity is ambiguous, a model emerges, partially clothed, standing nude and robed at the center of a pale, open-topped table in a cabin. On the table is a tableau of art and a poker with a large black-glazed pot on it. Behind the model is a pair of golfing shoes, a golf ball, and a tree stump with his balls in play. In this distanced vision of a quintessentially nude man who must attempt to avert his gaze, Hardys masculinity becomes incommunicable to the rest of us; he is a high-octane embodiment of the savage. Hardys work speaks to the tormented desire for recognition of the people around him, whether they be in the world or not. The fact that the man has a tattoo on his penis suggests the masculine role models of American capitalism, the fantasy that every man, to a certain degree, has inherent authority and value.The next room contained a photograph of the actual models clothing, the scene of the reveal, which Hardy had constructed from knitted, shawls, oversize pom-poms. The former model, who appears to be a man of social class, wears a studded jacket and boots.

Result #5

 The puerile, surrealistic vignetting of the adult male persona finds its parallel in the fantastical world of the secret lives of Disney Princesses. In the context of a mythological expressionist economy, this is the only work that is animated by a sense of the absurd, of the grotesque, of the fantastical dimension that the voices of patriarchy keep a watchful eye over, that the average public cannot effectively understand. The adults are too occupied with the pleasurable freedom of interacting with the forms of their sexual identity that any irony is sacrificed for the sake of identity formation.