mother unnature pollution and the destruction of natural habitat

Result #1

mother unnature pollution and the destruction of natural habitat <|startoftext|>In the new paintings and drawings shown here, the artist, now 50, has re-familiarized himself with the problem of painting. He has abandoned the decorative, the purely descriptive, and the allover in order to depict a painted landscape. In the past, the painter has used flat, rough surfaces of contrasting color; the new paintings use a variety of different, carefully arranged and painted planes of color, some of which have been superimposed one on another.The new work is mostly about perception and pictorial experience, and in particular about the perception of the landscape. He has a great deal of visual vocabulary to work with. The color has been changed from the saturated color of previous paintings to a more delicate and balanced color, a combination of different shades of gray, a spectral green. The paintings are all angular in the best sense of the term—they do not follow a straight line—and some are decorated with figures and geometric shapes, usually on top.The painting is in a loose sense, but not without its own sense of structure. A painting of this kind has a strong sense of space between the plane of the painting and the edges of the canvas. The edges are not only the space between the plane of the painting and the canvas, they are also the edges of the plane of the painting itself, the planes of the surface. The general appearance of the painting is that of an extremely delicate and geometric painting, somewhat as an ideal landscape or a series of abstract drawings. The paintings are not about a picture of an object, or about a picture of a landscape, but are rather about a painting, a landscape.The paintings are still predominantly white. The colored planes are still parallel to the wall, and the painter has always been concerned with the illusion of depth. He always uses the same surface, even in a series of paintings.

Result #2

mother unnature pollution and the destruction of natural habitat The ground-floor gallery of the Museum of Contemporary Art, which is home to the only European branch of the Bibliothèque Nationale de France, is known as a historical and cultural treasure trove. It is a museum that has created a dynamic visual and aural space for the exchange of European and American visual and intellectual thought. But this show was a departure for the museums director, Bruno Ghautardelli, who had to leave the institution due to the accident of his wife. The situation was further complicated by the fact that he had to leave the country to attend a military training course. The exhibitions title, Les Bleu du monde (The Blue Mountain), refers to the state of the art world when it took power in 1947. The Blue Mountain was, in fact, an accidental sign of a political crisis, since it was impossible for Ghautardelli to have known the meaning of the word when he saw it in the newspaper of the moment, Le Figaro, of June 27, 1947, a day before the formation of the Communist Party of Great Britain. When he read the article, he felt compelled to use it as a starting point for his investigation, because it conveyed to him the great importance of the blue mountain as the symbol of a new political and intellectual consciousness. Ghautardelli has always sought an artistic form that is capable of incorporating the changes and developments of a given moment. In the present exhibition, the artist combined his own knowledge of the world of visual art with a profound awareness of its history and present. The exhibition was divided into two parts, and the resulting disjunction created a tension between the elements that were grouped together. The first part was comprised of two works. In a small room, five drawings on canvas, each titled Les Bleu du monde (The Blue Mountain), 2013–14, were hung on the wall.

Result #3

mother unnature pollution and the destruction of natural habitat <|startoftext|>From the 30s until the end of the 1960s, the Montreal-born, New York–based artist was active in collective anti-art activities. She created works and installations, and maintained a long-term friendship with such artists as Andrew Lord, Hélène Cixous, and Yoko Ono. In her late 60s and early 70s, she made photographs of herself, her friends, and everyday objects, often in serene, modest, and somewhat feminine poses. These were presented as fragile, carefully composed works. A strong, intimate, and emotional vision, they reflect a deep and abiding sense of self.In the late 90s, Raffaella Antolini opened the doors of her gallery to a myriad of talented artists. The first was James Casebere, who showed her paintings of Raffaella Antolini and her mother. Then came Nuska Rehnberg, who presented a young girl, her own daughter, in a room, and also presented works by Antolini. In August 2002, Antolini made her last contribution to an international group show at the Centre Pompidou, Paris, in which she and Rehnberg interacted in the role of performers. In this version of the piece, the artist took charge of the presentation of the paintings. This allowed her to express her emotions, to take charge of her own body and its history. The contemporary works by young artists were also shown. These were not simply reproductions of her own early work, but also part of a series of vignettes that explore the gap between the world and oneself. The artist herself participated in each. This display was more than an exhibition of paintings, it was a meditation on self-reflexivity and self-reflexivity.In the last decades of her life, Raffaella Antolini lived in Paris. This is the artist's last solo exhibition.

Result #4

mother unnature pollution and the destruction of natural habitat reproduced by the sublime of the Grand Canyon in Yosemite National Park and the adobe of the Tuscan desert in California. The procrustean courtyard at the Grand Canyon—with its double nature/human dichotomy—is a monument to the hard work of nature, the heroic efforts of nature to maintain the integrity of the earth. But the Grand Canyon is also a place of escape from the earth, a place of the sublime that is a symbol of the strength of human effort. The interior courtyard at the Grand Canyon, on the other hand, is an interior in which all that hard work of nature has been transformed into a domesticized, isolated, and lifeless public monument.The Grand Canyon is one of the last remaining wilderness areas in the United States. It is the last bastion of nature, the last refuge of the savage, the last place where man has a chance to be, or to be, the master of his destiny. The Grand Canyon is a place where the wilderness of nature has been transformed into a domesticized, solitary, and sinister landscape. The desert that surrounds the Grand Canyon is the wilderness of man, the exile of the remote.The Grand Canyon is the last frontier of the American West, the last place where man has the right to assert his sovereignty over nature. It is a place where all that is pure and innocent has been transformed into an alien, repulsive reality. The solitude of the Grand Canyon becomes a prison for the frontier, a place where the unspeakable horror of the subjugated, of the outlaw, of the deviant. The romantic image of the wilderness is a romantic image, a kind of Romantic scene that has always been present in Western art, and that is also present in our culture. But in the present century, the Romantic image has been transformed into an alien, threatening reality, and the landscape that surrounds us has become an alien, threatening terrain that both obscures and reveals the wilderness of man.

Result #5

mother unnature pollution and the destruction of natural habitat <|startoftext|>This show of recent sculpture, paintings, and drawing by William T. Wiley was the first of a series of exhibitions in the United States. It opened with paintings and drawings that are unusual in the recent works. The paintings are large, black and white in the traditional sense of the term, and the drawings are black and white in the same sense. The paintings are also large, and the drawings are, in the majority, rectangular, and very much of the work is of the same scale. These paintings have an almost abstract quality, as if a haze had fallen over the surface of the canvas and the drawings were trying to recover it. The drawings are more like drawings in black ink and a white pencil. The drawings are a little bit more abstract, but not as abstract as the paintings. The drawings are more like a small grid with a few lines per canvas, which is almost a composite of the paintings. The drawings are also often very densely worked, with the effect of working through the surface of the canvas. These drawings are often quite delicate, and are executed with a delicacy that is almost elegant.The paintings are more of the round, and in most the canvas is left unpainted and unlettered. The paintings are more intricate and more painted. The drawing is more complex, and more interesting. The paintings are very uneven in quality. The drawings are more ambitious, and less successful, but they are more interesting.The paintings are more like the work of an expert than the work of a beginner. They are complex and finely worked. The paint is extremely glossy, and the colors are richly vivid. The drawings are clumsy and uninspired.The new drawings are, for the most part, much more successful than the paintings. They are executed with a directness and confidence that is far more apparent than in the paintings. The drawings are much more personal and expressive than the paintings.