Gina is a contemporary artist who made a video to investigate the idea of the invasion of a safe space. Gina covered a doll in ladybugs and filmed them crawling over her. She chose to use a doll, which is an object linked to children, and ladybugs as they seem innocent and harmless. By using video as a medium, She wants to capture a contradictory and more frightening side to these elements by showing how the ladybugs infest the doll.

Result #1

Gina is a contemporary artist who made a video to investigate the idea of the invasion of a safe space. Gina covered a doll in ladybugs and filmed them crawling over her. She chose to use a doll, which is an object linked to children, and ladybugs as they seem innocent and harmless. By using video as a medium, She wants to capture a contradictory and more frightening side to these elements by showing how the ladybugs infest the doll. <|startoftext|>Villa Emerson, TLC, 2014, live, color, sound, 47 minutes. From Grand Central Station on La Cienega Boulevard. The sound of a familiar opening, not at La Cienega Boulevard but on the surrounding streets—Grand Central Station—didn't come as a total surprise, but it didnt surprise: It was a relatively small, seemingly arbitrary selection of not much that was taken for granted. The station is in the heart of the region where its a hub of urban commerce and a main point of access for daily commuters. You might arrive at the station, and then to the ones to the right, where a row of advertisements for automobile insurance companies and construction firms could be seen on the walls.This wasnt a game. I stood outside the station and looked through the window, watching as the ads passed through the window to arrive at the other side of the street. The images, which turned up more often in a series of small round cameras and multicolored signs, were of people of different ages, from men and women to children and adolescents. There was an absence of focus, a blankness that was followed by a feeling of being an observer in the middle of a movie set. There was a feeling of appearing before an audience and being able to read the conversation without being able to understand it.The advertisements were printed in Spanish on Plexiglas, showing a wide assortment of characteristics of the people they showed: many in masks; some wearing masks and sometimes the masks themselves, some unclothing, and most of them wearing gloves. The images ranged from the exotic, such as a man with a beard and a man in the head of a shark; to the everyday, such as a group of people who were both children and adolescents.

Result #2

Gina is a contemporary artist who made a video to investigate the idea of the invasion of a safe space. Gina covered a doll in ladybugs and filmed them crawling over her. She chose to use a doll, which is an object linked to children, and ladybugs as they seem innocent and harmless. By using video as a medium, She wants to capture a contradictory and more frightening side to these elements by showing how the ladybugs infest the doll. <|startoftext|>In her installation, Elodie S. lent her voice to a virtual couple. S.s cheeks and hands became her interlocutor, morphing into two glowing pink faces. Hanging from the ceiling was a copy of the piece, with a couple of facsimiles of her in place of the figure. To the right of the door, a pyramid of three phallic toy figures positioned the phallic heads of two phallic, upside-down hands. Above the entrance to the gallery was a digital print of the trio, with one hand holding a pair of breasts and the other a pair of peaking phalluses. They were the final two lines of a missive, which contained the same message as the missive from her laptop.In the video, S.s words had been overlaid with the video imagery, and the video figures had been repainted. This feature made for a visual grammar that overlaid the lines of a question. S.s demeanor seemed to have shifted from bawdy to soft-spoken, but it wasnt clear that she was aware of this break in tone. S.s voice came across as interested in the psychological ramifications of her changes in sexual identity—the possible reasons behind her confusing one face with the other—and in the gestures and expressions of her friends. But S. didnt seem interested in her most vulnerable subject. A playfully peep show ensued: a conversation among a couple of bumbling dudes, a group of young men in jeans and T-shirt, and a figure in a pinto hat. Each man had a pacifier on his head, one of them looking quizzically at S. and a second one laughing, while a third put his hand over his mouth. The scene was followed up by a humorous, amusing video interview in which S. talked with a woman about her lifestyle changes, and about the difficulties of having to live in a trailer park.

Result #3

Gina is a contemporary artist who made a video to investigate the idea of the invasion of a safe space. Gina covered a doll in ladybugs and filmed them crawling over her. She chose to use a doll, which is an object linked to children, and ladybugs as they seem innocent and harmless. By using video as a medium, She wants to capture a contradictory and more frightening side to these elements by showing how the ladybugs infest the doll. <|startoftext|>Since 1986, Olafur Eliasson has been photographing the young dancers who appear in his performances. He gives them the dignity and respect that a child has in a grown-up world. The photograph shows these young people in the most ordinary of circumstances, in a banal and nostalgic way. The photos are not clearly characterized, but it is clear that they are also concerned with sex. The cameras are meant to look like a hand camera; they are not any other, but pictures that you might use to take pictures of you, the subject of the image.When I first saw the photos, I was convinced that the choreography they were taking was also quite extraordinary. I thought they were engaging in some sort of ritualistic activity, just like the photos. But the photographs seem to contradict that assumption; at that moment, the photos of the dancers had nothing to do with the choreography. Instead, the photographs looked like old postcards, and they were boring, like an assortment of curiosities that you could find in the back room of a store. To my surprise, this moment changed. The photos showed a lot more interest in sex, and they also showed an interest in performance. The photographs, even though they were the dancers, were a reflection on the camera as a tool of our desire for images that would be intimate and meaningful.After seeing these photographs, I realized that the work and its theory have changed a lot, but not much. In the previous work, Eliasson had always used a camera that was nearly invisible, that allowed him to leave the camera only a shadow. In this new work, he has no more shadow, and he has replaced it with a very good one. The distance between the photograph and the body is constant.

Result #4

Gina is a contemporary artist who made a video to investigate the idea of the invasion of a safe space. Gina covered a doll in ladybugs and filmed them crawling over her. She chose to use a doll, which is an object linked to children, and ladybugs as they seem innocent and harmless. By using video as a medium, She wants to capture a contradictory and more frightening side to these elements by showing how the ladybugs infest the doll. <|startoftext|>You have to put the accent on the painting. If you dont, the work fails. John Gossages new paintings are way better than his past ones. His previously been able to get away with a lot of earnestness on the subject of interpretation, but it was only in very small doses. Gossages is able to provide something solid in these small works, and it is a quality he has to work with. They are also able to be painted, and are beautiful.The exhibition consisted of two series of works, both of which were made up of black-and-white paintings. In the first series the artist covered the canvas with his finger; the paintings that result are his most hard-edged, the two black-on-black paintings on the right-hand side of the left panel. The paintings are almost painterly in feeling, in some cases a simple section of one color covering the whole canvas, but the effect is beautiful in a way that does not work in the way that works that are so simple. The black paintings show that Gossage is a really good painter, although his touch isnt as precise as that of the others, and the marks on the canvas are not as precise. The range of areas and the precise marks on the canvas are further developed in the paintings on the left side of the right panel, but these paintings are very much about figure/ground relations in the negative. The other paintings on the right, by the way, have a lot more actual space. The paintings on the left panel are a lot more economical than the ones on the right, and the separation between the two sections of the painting remains very much the same. The painting is a very physical object, about four feet high and six feet square, and about two feet wide and eight feet long. The painting is white and unpainted and very light.

Result #5

Gina is a contemporary artist who made a video to investigate the idea of the invasion of a safe space. Gina covered a doll in ladybugs and filmed them crawling over her. She chose to use a doll, which is an object linked to children, and ladybugs as they seem innocent and harmless. By using video as a medium, She wants to capture a contradictory and more frightening side to these elements by showing how the ladybugs infest the doll. <|startoftext|>While the citys top galleries may now be transfixed by the spectacle of a Formula One grand prix at the Sochi Winter Olympics, the art world may find itself wondering what to make of the New Museum in New York that recently opened a partnership with Art in General to host an International Festival of Contemporary Art. Art in General is the trade name for the association of art and commerce, with the Museum of Contemporary Art, New York, as the center of the New Museum. New York, it turns out, was the ideal location for a first International.The Museums installation of Art in General on July 11, 1997, made clear that its emphasis on the transformative power of art is not limited to exhibitions of art. Indeed, it can be seen as an invitation to engage contemporary art with contemporary society. The legacy of the first Internationals "art in general-art in general-art in general" can be seen as a paradoxical response to the fact that much contemporary art is made by means of a capitalist economy. The International does not explicitly propose an international art movement, but it implicitly refers to a world in which art, like money, is produced by internationalized networks of ownership. (In addition, the results of this relationship have had a profound effect on the American art world.) The invitation to take part in the international dynamic is a call for those who take the risk of joining the global community to participate in the global marketplace.For the first International, the New Museum presented a crucial opportunity to test the waters of the international/global dichotomy. No longer content with presenting art as a localized (or even global) phenomenon, the museum also asked artists to take an active role in its politics. It announced plans to promote art in general among local groups.

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