Parking sign blacked out. Slightly bent.

Result #1

Parking sign blacked out. Slightly bent. . . . . , 2017, a photograph in the aforementioned accompanying catalogue, is a tiny grid with the word rendered in gray. Untitled (both of these works are collages), 2017, is a grid of 24 black-and-white collaged prints that emphasize the grid: The surface of the picture has been textured. Brownish stains on gray, superimpositioning both contrast and flatten the grays. Paint is then applied on the surface in harsh, uneven strokes, which make each image look fluid and unnatural. In a collage titled Map, 2017, the word map is inscribed atop a dark brown background. A white line across the bottom of the map extends across the center, briefly matching the perimeter of a bar, which stretches diagonally. The result is a kind of optical blankness.Like other works in the show, the paintings share a number of qualities: A blue border (or the edges of a piece of paper) radiates light in a solid, rippling white. Youd have to look very hard to understand that there was no color, or that the field of paint had a perfectly straight path from the left to the right. The paintings make no attempt to hide their color, either through their tones or their hues. Almost all the works have a subtle, mostly indistinct palette, ranging from deep aqua tones to deep blues. In a sense, these paintings suggest that in some way the reality behind the surface—the middle ground, the edges, or the edges of the canvas—has been obscured. They are abstract paintings, in other words, as much as the light- and color-heavy pasts and frescoes that are discussed in the shows subtitle, as much a kind of collage as a painting. Maybe the paintings are a kind of tutorial for a future generation of painters. Dont forget that painting can be done with paint, so that you can do with it whatever you want.

Result #2

And in a few other instances, (not all of them), the artist stumbled over his words, never quite putting them together: New York, I know, can be dangerous, but this is more like a trip. And you cant always be safe. In the end, the work made one wonder if that golden moment of no return, when life is not only not safe but outright deadly, isnt the very idea of a new day.

Result #3

Parking sign blacked out. Slightly bent. The result, then, is a series of consistently elegantly thought-out, leisurely, deeply thought-out compositions that, all in all, are simply beautiful.Featuring the kind of quality, of course, that is hard-edged, the implication is that the minimalist paintings are more shallow, the more strongly impressionable, and the more obvious. But unlike the expressionistic abstractionists, whom tend to build up their works around a central motif—often as their central motif, or at least their signature—the minimalists are not content with anything but the most subtlety. The minimalist painter is as much a maker of character as an architect, architecting the scenes in which he or she is engaged. Its the way in which these paintings are constructed that the minimalists suggest we dont know, but that we can read. Minimalist painting is a vivid, deeply, deeply personal matter.A minimal aesthetic is an art of simplicity. Minimalism, in short, is a way to transcend that simplicity. Minimalism, of course, is a way of thinking without thinking. A Minimalist painting can be a painting without thinking, a timeless timeless, abstract, or familiar world. The difference, I believe, is that Minimalism is not thinking at all. Minimalism is thinking. All Minimalisms are thinking. Thinking is thinking. Making Minimalism a painting is making a painting without thinking. Not thinking is thinking without thinking. Thinking is thinking thinking without thinking. And then theres thinking without thinking. After thinking, thinking is thinking again. No thinking, no thinking.No thinking, thinking. No thinking, thinking, thinking, thinking. This is thinking. Thinking is thinking, thinking, thinking, thinking. And thinking, thinking, thinking, thinking, thinking. Thinking, thinking, thinking, thinking.And then theres thinking without thinking, thinking without thinking. Thinking, thinking, thinking, thinking, thinking.

Result #4

Parking sign blacked out. Slightly bent. Standing: standing. All material objects and bodies are transparent.The painting cast a shadow over the audience, a palpable presence that could be felt in the room. As in other works of the decade, the viewer was played by a hidden camera, still though he or she was still in the studio, and cast a shadow on the wall behind the painting. This time the images came from sources unrelated to the paintings, such as color film, video, and acoustical recordings. It was a bit like the film that would be shown on a computer monitor and that will be transmitted to a monitor mounted on a wall. One image shows an inverted high-tech rectangle of the kind used in television. Another shows a piece of plastic crystal.The "sculpture level" of the paintings is evident in the work, which ranges from drawings to illustrations. However, all of the works can be seen by standing up or lying down. This is accomplished by pointing the viewers head toward the painting and looking for an image that reveals the parts. The objects are so carefully observed that they can only be seen on and off, not both at once. A classically shaped wood block and a small metal globe holding a camera are displayed as one object. It is difficult to see what is hidden behind the scenes of the paintings. The eye is caught in a position of concentration. The pictures are so carefully constructed that one could not read the details. The painting is so tightly fitted that any reading is impossible. One is caught in a trance of concentration and concentration.The "textual level" of the paintings is also visible in the drawings. As in all of the works, the painterly process is reflected in the figurative image. The number of details—image forming, frames—is emphasized in the drawings. The more pictures are made, the more details are drawn out. As the number of details grows, so does the size of the painting.

Result #5

Parking sign blacked out. Slightly bent. . . The new site at the foot of the mountain offered two significant images: an open-air amphitheater, a religious site, a fortified walled city, a museum, and an airport. The images become subject to a much more complex iconography: The names of the two cathedrals, the names of the two churches, the names of the three baths, the names of the four bridges, the names of the four towns, and the names of the four bridges. In a single, rectangular panel, a large, yellow (in white) image of the same cathedric saint stands upon a plain platform. This is a starkly exposed church that promises both hope and security. Two large red bands of bright orange paint have been applied to the exterior, transforming it into a spectacular, hulking, icon-rich, decorative, mostly gold-plated installation. The buildings interior, meanwhile, is blue-gray. A raised platform at the top is for a white flagstaff; below it, white cloth patches have been applied in black-and-blue patterns. The upper part of the two-story building is made up of four rectangular sections. Above and behind each section is a pyramidlike array of more white cloth patches. The sections are connected by three black wooden planks, one of which carries the words MARX ALMOST BRIDGE, referencing the architects plans for a bridge. From the second floor, the white cloth is reapplied in red, orange, and black stripes. Three ceramic rings, some of which are still embedded in the walls, are placed beneath the support.These four images, the highest ones, are placed in a long, narrow rectangular display case: The four images are arranged in a grid. To take the last picture, the last blank sheet of paper, the viewer must walk to the back of the gallery, where the red band is not included.