The Grim Reaper staring at you with his scythe behind him with the word Reaper written in arabic

Result #1

The Grim Reaper staring at you with his scythe behind him with the word Reaper written in arabic on his hand was the same guy, but the artist is black. Both depictions are drawn in cursive script on the ground. In "The Grim Reaper, 2003, another black-and-white series from 2002, one of several on view here, the lines are drawn on the canvas with a brush. Each series traces a single event—the death of a black man, a black African American, a black man in police uniform, a black-and-white photograph of an African American confronted by the Grim Reaper—while the drawing looks like a hand in heavy, oversize paint.These works touch on the racial tension in the United States and the political divisions in the country, yet they also point to another aspect of the painters sensibility: He knows when to leave his mark. In one series, he sketches various figures, including people and abstract shapes, one of a black woman with a patch of fur on her head. The drawing is impastoed with painted lines that act as anchors for the drawn shapes, thus forming a texture of sorts. Two portraits in the show, in which a young white man stands above a human being of the same age, recall John Donnes portraits of men who are considered whites in the South, but who are black in the West. In another, a man sits in a chair with a flower on his head, a mouth open in a smile. Here too, the drawn shapes make an impression, a continuity that extends from the artist to his subject and even to the artist himself. His fingers move across the surface, laying down very loose, "sloppy" lines that get less bolder as they flow back and forth. The brushstrokes themselves seem to be there to keep the shapes, but they leave nothing to chance.

Result #2

on his face, however, is an old dead man. I admit, I am guilty of a sort of childish fascination with the final apocalypse, a kind of thinking, that is to say, of taking it for granted. Yet somehow, I dont want to believe in it, to believe in it, to believe in the exact beauty and tranquility of the autumnal scenes and forests in the winter, and of the way the trees themselves are made to grow. My interest in these final days is not in the end of things, which is to say, not the end of civilization, but in the beauty and tranquility of those things, the way they grow, the way they fall apart in time. But what I find most fascinating about Autumn for Me is the way in which we all behave with such total devotion to things that are in essence vain: the trees, for example, that grow in perfect stillness. Even more remarkable is how the trees become perfect—perfect in the sense that nothing is disturbed, that no one is bothered by it, and that no one feels threatened by it. It is as though they have been left to themselves. The trees that have been cut down in the winter grow in perfect stillness. These are trees, planted, in a sense, in the vault of heaven, the mystical garden of childhood. The foliage is perfect. These are trees. This is what we should do with a complete garden. I dont want to believe in it.

Result #3

The Grim Reaper staring at you with his scythe behind him with the word Reaper written in arabic in blue on his lips. On his neck is the word LOGO—a word that is both ironic and completely banal. Another, pulled back from the front, speaks in a less mocking tone: YOU, A RETRO MAN, ILL BECOME A RAPIST. Not only is Deadhead the artist, but he is also the victim. This is a true nightmare. A real bad dream. Deadheads cyberpunk future is as unreal as a movie script. This vision was contained in one of the boldest works in the show. From the title of Deadheads latest exhibition to the poetic title of the title of the show, Made in Heaven, evoked a constellation of ephemera from every aspect of the Deadheads past and future lives: tattoos, vintage coffee cups, prop sheets, school yearbooks, and childhood notebooks.Deadheads story was told here via ten photographs from the series Emoji, 1998–2001. The photographs, taken from the artists personal collection, are generally titled after cartoon characters. While some are based on characters from the American cartoon business, most are derivative; the artists style is based on the use of emoji to signal psychological states. The emoticons in Emoji 1–8, 1999, are; PUNS, the tone of the one in Emoji 9, 2001, is a cute-pussy tone that is both silly and out-there. The emojis in Emoji 1–8, 1999–2000, are phototactic in that, in each case, the size of the emojis plays a critical role in defining the sentiment. The smaller emojis—i.e., the little ones—are the most powerful, and they function as a rudimentary language for the larger emotions.

Result #4

over his head—a reference to the language of the Middle East, a region which the Brits were trained in (and whose military potential they sought to possess). In fact, the title was taken from a song by the Detroit sound group Busted (Avalon) The Detroit sound group, which theyve been working with since 2007, including works on paper and video. Their collaboration is not without a knowing lightness: with their kitsch, celebratory fashion, they seem to be less about romantic gestures than they are about disarming them. Still, there is a visceral dimension to their discursive approach to the very same subject matter.Hitchcocks new pieces recall the early-twentieth-century drawings of John Chamberlain, but even more than Chamberlain, Hitchcock is about the sense of the post-war era and of the end of a time, in the context of the middle ages, when creativity was often stifled by the disquieting doctrines of the reactionary church. In the close-knit groupings of drawings of Théodore Géricault, Giovanni Battista Tiepolo, and Clement Greenberg, Hitchcock relates to the feeling of this state of affairs with the certainty that he is dealing with it in the same way. In this case, the work is about the psyche of a human being as much as about the world of contemporary art. But what does it mean for the individual to be part of this kind of reality? What is it in our culture that we find so appealing about our present moment? And what is the significance of our national identity to an artist like Hitchcock who is always in search of a deeper, more personal connection to his subject matter? Sometimes, Hitchcock suggests, it is just like this.

Result #5

The Grim Reaper staring at you with his scythe behind him with the word Reaper written in arabic on his tongue. Such depictions of hate and violence are masterful, and they are, as to say, here with us. And yet there is something wrong with them. The works are, like the deceased, neither familiar nor unfamiliar, and while they are less familiar than the other works in the exhibition, their shared form and subject matter make them feel even more familiar. Who is this killer? His face looks more human than any human face, as if its the victim of some awful state of mind. It doesnt make the abstract expression of rage visible; its too stiff. These images are as many faces of a single mind as of a single human being.The works are less intimate than that. Theres a suggestion of all the individual faces in the exhibition. The paintings all seem to be taped off from each other to create a certain look. Theres a layer of abstraction over abstract painting, but abstraction isnt the point. These paintings are not photographs, and the abstract photo-esque pictures of old masters are not photographs either. The abstraction, then, is the subject matter. An abstract subject matter is a fragile thing, a thing that could be burned or torn or melted or crushed, and by and large, it doesnt belong to any single identity or tradition. We have no common language for abstract ideas; it doesnt belong to any particular human tradition or discipline. It doesnt follow any progression in knowledge. It doesnt possess the consistency of precision, nor does it have any intrinsic significance. To be abstract is to be absent.The abstraction here, however, is strong, even imposing. Sculpture is something of a past, a touchstone. Art has to be a way of life, a means of expression. A well-made abstract object is powerful enough to declare its abstractness, so strong that it can be the subject of a painterly textural painting. It can be a method of expression or an act of attack.