Guerrero Habulan Somewhere Over the Rainbow Oil on canvas 2013

Result #1

Guerrero Habulan Somewhere Over the Rainbow Oil on canvas 2013 was a big year for the artist and his art, a collection of large-scale, abstract paintings that was inspired by the Parisian market. The first one, a group of portraits of artists, was titled A Motif (all works 2013), and was hung on the walls of the gallerys three rooms. The second, a series of abstractions of animals, was titled Déjeuner sur le livre (Diary of the Living), and was hung on the wall of the gallerys second room. The third, which included a number of black-and-white prints, was titled Déjeuner sur la peinture (Diary of the Painting), and hung on the wall of the gallerys third room. The artist himself was represented by a series of abstractions of landscapes. Theres no doubt that these works are filled with the same rich and penetrating color as the paintings, but they are more sensuous, more expressive.The show included two of the largest paintings in the show, each titled A Motif (All works 2013). The first, entitled La Déjeuner sur la peinture (The Painting), is a dense painting that stretches across two walls and is painted in deep reds, black, and purples. The second, titled La Déjeuner sur la peinture (Diary of the Painting), is a thin painting that covers the floor and is hung on the wall. The paintings titles are inspired by the title of a poem by the poet Émile Zola: La Déjeuner sur la peinture (The Painting) means the painting itself. The title is also a play on words, as in La Déjeuner sur la peinture, la peinture, la peinture, la peinture, la peinture. In this way, the artist is suggesting that his paintings are a series of paintings.

Result #2

Guerrero Habulan Somewhere Over the Rainbow Oil on canvas 2013, two sets of seven canvases, each approximately 18 by 24 inches, are the same size. The paintings in the series, Untitled, 2010–2012, are all based on a series of black-and-white stripes, sometimes in a single color, sometimes in two or three shades of black. In each case, the squares are made of oil on canvas and painted in the same matte gray. The paintings are all on paper mounted on stretchers and hung in a single line on the floor of the gallery.The work in the show was all about the relationship between the painting and its support. The colors in the paintings were derived from the colors of the paper used to make the surface of the painting. The paper was often made up of several layers of thick black paint; in some cases, the paint was applied in the same color, but in other instances, the paint was applied in a different color. The paint on the surface of the paper was applied to the surface of the canvas and then let to dry before it could be applied to the canvas. The results, depending on the thickness of the paint, are either dry or wet. The paper was also sometimes stained with gold and silver paint. The gold paint was applied in a single stroke to the surface of the canvas, and in some cases the gold paint was applied to the surface of the paper. The gold paint was applied to the paper in a very light, slightly irregular manner, sometimes with a bit of paint stuck to the paper, and sometimes a few dots of paint on the paper. The gold paint was applied in a very dark, even, gray color, and the gold paint was applied in a very light, even, dark gray. The gold paint was applied in a very dark, even, gray color, and the gold paint was applied in a very dark, even, gray color.

Result #3

Guerrero Habulan Somewhere Over the Rainbow Oil on canvas 2013, a series of paintings by the late Colombian artist Luisa Villafuerte, was on view in this show, as was a recent series of paintings by the late Brazilian painter Luisa Villafuerte. In the first gallery of the exhibition, the artist was represented by a number of works dating from the 1970s and 1980s. The series, which is comprised of six paintings on linen and two on canvas, is divided into three sections: O de hora cinzas (From the Heart), O de ajemplar (From the Heart), and O de irregulação (From the Heart). In O de ajemplar, the central image of the series, the artist is depicted in a state of exuberant expression, her hands clasped in a gesture of affectionate embrace. The central figure of the series is a woman with a shimmering red dress whose body is enveloped by a deep blue background. The painting is titled O de ajemplar (From the Heart) and features a female nude, whose expression is one of rapturous emotion. The painting is also titled O de irregulação (From the Heart) and features a woman with a gold-plated dress whose body is covered by a thicket of trees. The painting is titled O de irregulação (From the Heart) and features a woman with a gold-plated dress whose body is covered by a thicket of trees. The painting is titled O de irregulação (From the Heart) and features a woman with a gold-plated dress whose body is covered by a thicket of trees. The painting is titled O de irregulação (From the Heart) and features a woman with a gold-plated dress whose body is covered by a thicket of trees.

Result #4

—the title of the exhibition—seems to be a riff on the word meaning something like under the covers or over the blankets. But what is under the covers and what is over the blankets? Theres a sense of de-clothing, of a low-key time in which one is free to be present and free to experience the world, but in the art world, that time is often spent in a high-security bunker. It is a time of military surveillance and surveillance of those who are not on active duty, and as such, is a time of self-imposed exile. This is a time of confinement, of isolation, of conformity. Theres an air of detachment and a sense of no return to the real world. Theres a sense that one is being watched, and that one should not even think about leaving the country.A gallery owner in Caracas, Bambara has been producing works that exploit the most extreme of the contradictions that surround the Venezuelan artist: the countrys divided by a very unequal relationship between rich and poor. The two camps are not only economically but socially, and in this exhibition, the artist linked the two poles of the countrys political and social landscape by depicting a portrait of the artist as an oppressed subject, one whose work is being censored, one who is under surveillance. In this way, Bambara challenges the political and the visual, but also the social and the private, as well as the traditional and the exotic. This exhibition demonstrated that Bambara is an artist who is always trying to find a way out of his situation, but who is always caught up in it. His works are an attempt to find a way out, but in the end, he doesnt know how to escape the situation, and the only way out is through the dark.

Result #5

Guerrero Habulan Somewhere Over the Rainbow Oil on canvas 2013–14, two-color oil on canvas, 56 1/4 x 62". This show of eight canvases from the 2013–14 collection, curated by Bernice Martínez and organized by Christine M. Höch, was the most comprehensive exhibition of Bernhard Grieser to date. The show, titled The Guggenheim, marked the first time Grieser had participated in a major art museum, and included paintings, collages, and objects from the collection, as well as three pieces from the collection, one of them belonging to the art collection of the Haus der Kunst.The show was divided into two sections: an overview of Grieser and a more personal essay by the artist on his relationship with the collection. The first section featured Griesers paintings, all dated from the early 60s, and the last from the mid-70s. The first section presented a selection of paintings by Grieser from the Guggenheim collection, including The Glorious Rainbow, 1965, a painted version of the famous painting by the German artist, and two from the collection of the Haus der Kunst, all from the early 60s. The Glorious Rainbow is a work from the collection of the Haus der Kunst, in which the red canvas is joined to a black ground, and the result is a work that is almost indistinguishable from the originals. The painting, one of the most beautiful in the Guggenheim collection, is in fact a collage, but it is one that Grieser created from the same materials as the originals. The Glorious Rainbow was a symbol of the power and beauty of art; it was a painting that was at once beautiful and terrible. It was also an attempt to show the power of the Haus der Kunst, which was at the time the most powerful art institution in Germany.