Sixto Diaz Rodriguez, known professionally as Rodriguez, is an American singer-songwriter from Detroit, Michigan. Though his career was initially met with little fanfare in the United States, he found success in South Africa, Australia, touring the country twice, and New Zealand. Unbeknownst to him for decades, his music was also extremely successful and influential in South Africa, where he is believed to have sold more records than Elvis Presley, as well as other countries in Southern Africa. Information about him was scarce, and it was incorrectly rumored there that he had committed suicide shortly after releasing his second album.

Result #1

Sixto Diaz Rodriguez, known professionally as Rodriguez, is an American singer-songwriter from Detroit, Michigan. Though his career was initially met with little fanfare in the United States, he found success in South Africa, Australia, touring the country twice, and New Zealand. Unbeknownst to him for decades, his music was also extremely successful and influential in South Africa, where he is believed to have sold more records than Elvis Presley, as well as other countries in Southern Africa. Information about him was scarce, and it was incorrectly rumored there that he had committed suicide shortly after releasing his second album. <|startoftext|>The two greatest bosses in the history of art are Max von Sydow and Pops artist George Balanchine. Max is known as a producer and visionary, while Pops reign has been predominately one of self-promotion, and it is estimated that the odds are stacked against Balanchine. Both artistic patriarchs, Balanchine and Pops are now eighty years old, and both are in the early stages of their final years. In his new work, Lust for Power II, 1987–89, and Lust for Power II, 1988–89, respectively, Balanchine has once more managed to deflect from the earlier legacy of revolutionary art and creativity by reimagining himself as a master of ceremonies, not even.Nonetheless, Balanchines reputation is still established, and he will surely be invited to inaugurate the new Kunstverein Stuttgart in Germany in 1999, where he has just had his first retrospective. It is therefore gratifying to see his elegant renditions of his own work in this contemporary context. His historical imagination is still fresh, and there are certain affinities with the 1960s and 70s, but the historical perspective is less a function of what the artist himself has said about his creative journey as an artist than what the media has told us about his production.Balanchine has had no fewer than seven solo and collaborative shows in the world since the late 60s. In these formative years, his work has changed radically: From the first sculptures made of car parts, to the films and objects, the artist has been able to expand his conceptual repertoire. His first work of this nature was a series of sculptures from the late 60s on, made with typical industrial materials such as steel, copper, and zinc. He has always tried to draw connections between these materials, but without any preconceived notions about their function.

Result #2

Sixto Diaz Rodriguez, known professionally as Rodriguez, is an American singer-songwriter from Detroit, Michigan. Though his career was initially met with little fanfare in the United States, he found success in South Africa, Australia, touring the country twice, and New Zealand. Unbeknownst to him for decades, his music was also extremely successful and influential in South Africa, where he is believed to have sold more records than Elvis Presley, as well as other countries in Southern Africa. Information about him was scarce, and it was incorrectly rumored there that he had committed suicide shortly after releasing his second album. <|startoftext|>In her recent show, Shamim Mafisar, a young Iranian artist from Tehran, presented works that ranged from photos of the artists studio floor to the sphinxy illustrations of flower petals to a still life of orange petals and a maquette of a fake shell. In her video The Mammal Symbol, 2010–12, a woman spits in the faces of animals, such as a cheetah and a flamingo, while a zoo official listens and smiles. In another video, I want to play, 2010, we watch the artist turn on a speaker and, at the same time, reverse the direction of her movements in order to make the sound of her footsteps as she is walking backward. In the video a donkey crosses a boundary—the one, as they say, that separates the land and the animal. The herd of animals mounts the donkey and heads for the fence. The camera then zooms out and pans over the fence, which seems to reach the animals ears. To make the gesture, the artist repeatedly stalks the animal, seemingly like the donkey, as if it were an animal companion.In another video, Vagabond, 2010, Mafisar watches a slave woman trying to cross a border fence. It is not clear whether the woman is trying to escape or to cross the border. I dont know if the border is real or an illusion. The two are intertwined. The actress poses with the camera and the camera. The woman remains unseen, but the other comes into view on one of the stationary cameras. The two are in the process of crossing, but we know the border is real and that the two are in real proximity. Mafisar seems to suggest that all attempts at self-identification—whether imaginary or real—are in some sense individual and limited. I wonder how much if not, in the end, one is subject to impersonality.

Result #3

Sixto Diaz Rodriguez, known professionally as Rodriguez, is an American singer-songwriter from Detroit, Michigan. Though his career was initially met with little fanfare in the United States, he found success in South Africa, Australia, touring the country twice, and New Zealand. Unbeknownst to him for decades, his music was also extremely successful and influential in South Africa, where he is believed to have sold more records than Elvis Presley, as well as other countries in Southern Africa. Information about him was scarce, and it was incorrectly rumored there that he had committed suicide shortly after releasing his second album. <|startoftext|>Seen in high-school portfolios, Celmins works frequently indulge the aestheticization of reality. He has become the hipster-geometric detective-cum-n-rhetor in the 80s, and in some of his last works he managed to conjure a glimpse of Delphine T. Burroughs into his fleshy, shriveled skin. Celmins has always been a masochist, but this exhibition was no surprise. Over the course of the exhibition, we visited each piece in a seedy alley, and each time found ourselves under a sign reading, HELL OVERTIME! A standing artist with a Western-style body (ironically), Celmins has never been in the business of making subversive art. His technique has always been a form of subversion, but it never has been subversion with subversions. Celmins has been a precursor to the artists of the 80s, with his name, with his subject matter, with his intentions—pragmatic and unabashedly obscene. At first glance, there was nothing subversive about these works. But the works in Celmins show, with their overblown titles (DEM AND CORA), provoked thought.The first room contained five drawings and two wall pieces (comprising smooth steel rod and a model of a naked human torso), along with a wall-size poster and an invitation, along with a picture, to an all-day, two-hour party. The introduction to the title Eros and Perverse (all works 1998) provided the music for this gig, a strange introduction of sublimity. A wall-like version of the same picture, dully a mere four by five feet, was set up in the gallery, while a poster of the artist in burlesque costume and spiked leotards hung on the back wall.

Result #4

<|startoftext|>The idea behind the eight paintings that constituted the opening show at Denis Gonzalez-Foerster was simple: to highlight the continuity between different points in the history of painting. The artist, who was born in 1970 and lives in Madrid, Spain, traces his interest in the tradition of Cubism and Surrealism back to the 1920s, when he had just finished his MFA in painting. But he soon discovered that Cubism and Surrealism have completely overlapped each other.In this show, Gonzalez-Foerster continued his work in this vein. His palette is dominated by white, with the exception of a few black and white areas. While the occasional use of the black and white elements recalls the approach of Barbara Bloom or even Helen Frankenthaler, the juxtaposition of the colors tends to overshadow the content. Thus the works title, shown here in the form of a short text, becomes an excuse to render such organic and mechanical traces as the outline of a tube in a body, and thus of our own bodies. The lines, which are the artists own reflections, can be read in reverse. The figures, in turn, have been drawn from traditional landscape painting. The titles of the works, printed on canvas or paper, are usually enough. In The Fields, 2006, for instance, the artist has placed a black dot on the white ground. This is an allusion to Godards famous poem that ends, Without a frame there is no picture. Here, the black has been removed; the painted line remains, only on a white background. The other works in the exhibition, from the series New Main Menu (About Picture Painting), 2006–2007, also bring together two distinct approaches. While they are based on actual paintings and objects—a drawing, a drawing, a drawing, etc.

Result #5

Sixto Diaz Rodriguez, known professionally as Rodriguez, is an American singer-songwriter from Detroit, Michigan. Though his career was initially met with little fanfare in the United States, he found success in South Africa, Australia, touring the country twice, and New Zealand. Unbeknownst to him for decades, his music was also extremely successful and influential in South Africa, where he is believed to have sold more records than Elvis Presley, as well as other countries in Southern Africa. Information about him was scarce, and it was incorrectly rumored there that he had committed suicide shortly after releasing his second album. <|startoftext|>Ana Maria Sosa, I might have been born a perduña, 2016, dyed enamels, carna-isabago, black-silk silk, gesso, pigment, porcelain, resin, 83 × 84 × 26". During a three-day screening of Ana Maria Sossos film San Isfero de Olonzo (The Birth of Olonzo), 2014, the singer/comedian Erica Garner, who passed away last year, spoke about her recollections of her father yelling, Ha ha, he killed so many people! as if she had just been a teenager. The particularly timely and still prophetic part of this lament, a reminder of the ongoing violence against women in Colombia, is that it is also an ironic reflection on the countrys proud traditions of freedom of speech, and the tradition of mending inequalities by spreading democracy and equality. In fact, in Colombia, the artists early memories were intertwined with those of another historical figure, Bolivian revolutionary Olivo Goldschmidt, who was assassinated by the military dictator, Juan Pablo Alvarez, in 1980. Like Alvarez, Goldschmidt was also murdered by the regime of the former dictator Pablo Sandoval, which continued to wage war against the opposition throughout his lifetime.Sosa tells her tale of Olonzo—who was a bisexual woman who dreamed of joining the army—in a part-comic fictional account that is also told via flashbacks. The film begins with snippets of footage shot during a drug raid on a bar in which the protagonists identify as soldiers and the show begins with Goldschmidt wearing an American flag and handing out orders. Sosa is seen interviewing men and women about the motivation for joining the army, expressing gratitude for the opportunities that have opened up. But there is also a disturbing sequence in which a shot is shown of a handcuffed and hooded man with a pistol.