Review | describe what the ar...

Generated on 2021-09-12 16:50:23

Result #1

describe what the art works look like and what elements and principles of art the artists used in these art works. these are the names of art work: Blackboard by Philip Guston 1969 Scared Stiff by Philip Guston 1970 A Day’s Work by Philip Guston 1970. A Day’s Life by Philip Guston. (Knots Man). (The Great Kouroi) The sun, as he is, is also the sunbursts of painting. The sun always has been so. Not even the sun, but the sun. The sun for him is, in the Nietzschean dialectic, the sun of history and the sun of the unknown, an anonymous god, and thus a symbol of death. If painting is the sun of death, the sun of the painter, the sun of all art, the sun of art itself, then its the sun of art itself, in art. It is no longer an effort, but a transition to one of the other things, from the secret to the known, the abstract to the concrete.Blackboard by Philip Guston. (Untitled; Self Portrait). Photo: Curtis Stetple. Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait). Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait). Photo: Curtis Stetple. Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait). Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait). Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait). Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait). Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait). Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait). Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait). Still from a 16-mm film of Guston making a painting. (Untitled; Self Portrait).

Result #2

describe what the art works look like and what elements and principles of art the artists used in these art works. these are the names of art work: Blackboard by Philip Guston 1969 Scared Stiff by Philip Guston 1970 A Day’s Work by Philip Guston 1970. Artists Work and Conceptual Art, an exhibition of ephemera curated by Michael Smith, illustrates the persistent problems with the idea that the artist is the aberration. While the work does not contain an arbitrary sampling of art subjects, it is nevertheless presented as some sort of escapist fantasy, thanks to the suggested sexual and ideological elasticity of these heterogeneous pieces of work. Such formulations may be in part responsible for the fact that many artists (including the two most overtly feminist artists in the show, Patricia Highsmith and David Reinfurt) have been excluded from this particular museum of art. Perhaps it is this very ill-considered inclusion that has made it the last gasp of an era, a way for those who value art as a fetes trash. In the wake of these artists exclusion, many artists in fact have attempted to create an escape to the natural world, to other realms of existence. And while all artists are now concerned with creating art of other kinds—imagining other possibilities, perceiving other spaces, and so on—and are not interested in endorsing the idea that the art is a uniquely American object, there are those who have sought to manifest the often unconscious ambivalence between art and the world that lies behind it. The results are not too bad, especially as the artists chosen among the excluded are often portrayed, as the many names in the show suggest, as such. The lesser-known names of the show include some artists whose artistic position seems somewhat diminished. (Notwithstanding the many excellent works by Philip Pearlstein, whose inclusion is requested by the show, and of whom one could not have wished to see.) George Condo and Chuck Close, in particular, deserve mention, but for the oddly bereft self-portrait, ironically the only one here that one is given to understand that the artist is, in fact, a man who lives in the world.

Result #3

describe what the art works look like and what elements and principles of art the artists used in these art works. these are the names of art work: Blackboard by Philip Guston 1969 Scared Stiff by Philip Guston 1970 A Day’s Work by Philip Guston 1970. Oil on canvas by Richard Diebenkorn 1970.sofar as the works were shown here, theyre an accurate sample of more than thirty paintings by a wide variety of artists in the twentieth century: from Alexis Madrigals work to Marcel Duchamp, Henry Darger, John Altoon, Adolph Gottlieb, Arthur Okamura, Giorgio de Chirico, Mark Rothko, and many others. Of the painters whose works are shown, Van Gogh, Mondrian, Picasso, and Jackson Pollock are the most canonical. Of the contemporary artists, Miriam Shapiro, Richard Diebenkorn, and Philip Pearlstein are the most familiar.All of the paintings were done in the decade 1950–2000, but some pieces have never been seen in their entirety. So, one is invited to complete a retrospective based on sixty-two years of art. One has to admit that the works are powerful and quite a few in number, even though their numerical form may appear to be a resplendent (if arbitrary) sign of individuality. The fifteen paintings included in this exhibition have all been shown in some capacity, but some of them are simply not displayed in a formal or official way. One can only hope that the curator will consider these works in the context of art and that they will be recognized as the artists work. However, the audience must feel less entranced with paintings provenance than by works that are but unlooked-for, like the ones that hang from the walls of the large gallery room that is the architects real tomb.The paintings are white and black with a faded, pastel-green washout of varying degrees of luminosity, with a slight blue tinting. A few are arranged in a row like topographic maps, others are staggered along a line drawn across the floor. A few are scattered on the floor, and a few are stuck on the wall.

Result #4

describe what the art works look like and what elements and principles of art the artists used in these art works. these are the names of art work: Blackboard by Philip Guston 1969 Scared Stiff by Philip Guston 1970 A Day’s Work by Philip Guston 1970. Blackboard by Philip Guston 1970.etheless Ive Never Seen Such Contemplating Ive Seen Them Before! by the late Philip Guston, as showed at The Museum of Contemporary Art, Los Angeles, a special performance/installation dedicated to the artist. In this performance/installation Guston sat in a chair and completely covered his eyes with his hands and a scarf. He looked around, away, and through a mirror. Then, over a period of several hours, he read a statement, as part of an e-mail, to all of his friends. Ive never seen such contemplative Ive seen them before! From one person to another, the wide-eyed and gleefully nervous reactions of the artists closest and dearest to Guston (many of whom did not attend the event) gathered an aura of expectation that he would return. Guston had asked his gallerymates to imagine what they would do if he had to do something new for them; they responded by asking him to sit and start doing something, even if it was something he had never done before. Only shortly after the performance was over, and Guston was done, did he tell the gallery that he would not be doing anything more.The event was a particularly good way to remind the audience that the art world is a game, and that as a group, the four artists in it arent really going anywhere. They may be interested in the question of why he didnt do it when hes in it, but theyve got more important things on their minds: painting, writing, and music. Theyve got an audience, and theyve got some money in the bank—for each other. Theyve got the space to themselves, and theyve got an impressive set of equipment, and theyve got a good sound track.

Result #5

describe what the art works look like and what elements and principles of art the artists used in these art works. these are the names of art work: Blackboard by Philip Guston 1969 Scared Stiff by Philip Guston 1970 A Day’s Work by Philip Guston 1970. Istavorism. Wittgenstein: Its a purely intuitive instinct, not a logical one. Hobbs: No, not at all. Only a rational one. I just cant explain it. I cant understand the impulse, because it seems totally alien to my sense of wanting to express. I dont want to be criticized for expressing it, just to be a rationalist for expressing it. Wittgenstein: There must be a logic. Hobbs: One. Without a logic there can be no art. Wittgenstein: Hasnt art always been an expression of an inner necessity? Hobbs: Yes. But the expression of that necessity is a result of an inner necessity. The expression is a sign of the inward necessity, not the expression of a logic. I dont understand the impulse, because it seems totally alien to my sense of wanting to express. I dont want to be criticized for expressing it, just to be a rationalist for expressing it. Wittgenstein: Hasnt art always been a expression of an inner necessity? Hobbs: Yes. But the expression of that necessity is a result of an inner necessity. The expression is a sign of the inward necessity, not the expression of a logic. I dont understand the impulse, because it seems totally alien to my sense of wanting to express. I dont want to be criticized for expressing it, just to be a rationalist for expressing it. Wittgenstein: Hasnt art always been a expression of an inner necessity? Hobbs: Yes. But the expression of that necessity is a result of an inner necessity. The expression is a sign of the inward necessity, not the expression of a logic. I dont understand the impulse, because it seems totally alien to my sense of wanting to express. I dont want to be criticized for expressing it, just to be a rationalist for expressing it. Wittgenstein: Hasnt art always been a expression of an inner necessity? Hobbs: Yes.