snow balls north multiple Phallus White

Result #1

snow balls north multiple Phallus White hetics!—as if the desert of the mind were his trompe loeil canvas. The artist, whose fascination with the signifier of life is well-known, most famously in his formal work of the 70s, offers a dramatic instance of signification as representation, a series of black-and-white collages that identify the signifier as both substance and sign. Though these paintings rarely include any sort of subtextual or explicit imagery, they are nevertheless evocative of a stream of consciousness. These images bring together representations of inner monologue and outflow. Here, signs intermingled with nonsignifiers. Gazing at them, the viewer is tempted to commit a double act.Lined up at the back of the gallerys main room, a picture from 2009 on display, Autonomous: Meaning and Meaninglessness, might best be called a series of exhibitions that succeeded each other: In the shows title, Autonomous: Meaning and Meaninglessness, the artist is a black-and-white self-portrait taken while wearing a white spandex bodysuit. This work also has a collage-like component: In it, a chart of the distances between various parts of the body—including those of the head, shoulders, neck, and torso—is set to a looping rhythm. In the painting, the same chart is set to reverse. In this configuration, the head is a passage, a transition from sleep to wakefulness; the neck is the place between sleep and waking; the torso is the space between sleep and waking. In the left picture, the chart points to the head: Its at the point of sleep where the mind begins to dream. The right picture, meanwhile, shows the chart at the same point, and the picture of the head: A new dream.As the series progressed, the right picture becomes a diagram of sleep: the head shows the head; the chart shows the chart.

Result #2

6::5:5. Kells, England (1946) and Yorkshire, England (1950). The first of the first works in this show, the second installment of five photographic series called United States (1950), reveals a clear, unflagging commitment to one subject, the United States. This must have been a special but difficult time for the country that had been largely left behind in postwar America, the first world war having been won just over a year earlier in August, 1945, by Franklin D. Roosevelt and the Congress that had replaced it. The third and final series, United States: Your Postcards, 1959–1960, was created in the late 1950s and early 60s for the exhibition catalogue for this show. Here, however, as was the case with the others, the paintings and drawings in the show have not been used for the same purpose. Instead, the works shown here are simply the result of the artists choice to make new drawings. For all their connotations, these new works, like all the others in the show, reveal no trace of the artists hand. Rather, they are the result of an open creative process—an internal dialogue—that is not only revealing but also very personal.

Result #3

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Result #4

snow balls north multiple Phallus White undown Red out red (all works 2006) shows a woman in the middle of a bed, her legs spread, her face turned back to the viewer. A tuft of reddish hair and a wound on the back of her neck invite the viewer to linger, perhaps a little longer. The shape of the head is a nearly square profile, and the nude body casts a shadow over the edges of the canvas; the two deep shadows in the painting suggest a space between the wall and the bed. At the center of the painting is an arrangement of formless, black-and-white lines, each outlining a girdle, like the base of an anchor. The figure is suspended in an ominous absence, the calm of the deep blue sky filling the painting, as if it were an illusion.This painting hints at an allegorical and almost archetypal narrative, said Tansey, one that centers on the female body as a dead thing. The painting seems to be a figment of the mind, perhaps even a manifestation of the mind itself, but the piece also seems to be a seething substance, spewing out liquid from its center. This substance, the women head, bears a resemblance to a pod of long tentacles. The figure is both aquatic and terrestrial, from the looks of it. With her right hand, she holds an immense mass, an appendage that sprouts out from her shoulder. Her left hand holds a drum, and the two clasp hands to form a kind of catapult. The hands rotate around the center of the ground, and the body, which resembles a sort of huge brood nest, stretches out like a gigantic butterfly.This miniaturized version of a 1970s Parker and McGough painting, the newest in the show, shows the figure spiraling around the surface, coming in and out of focus, slipping from shadow to light, hiding and revealing itself.

Result #5

snow balls north multiple Phallus White bedroom fire set to sleep, but the dead are now buried. The press release notes that the artist is a Marxist theoretician and political activist, and the artist recounts her early battles with depression. As reported in a previous interview, she has lived for years in denial of the wounds of class, and in her 2009 video (stilled at the bottom of this article), she repeats a series of explosive details of her life: The scaffold for the house that was built by the aristocratic homeowner who once owned it is a wall; at the end of her film, she is sitting on a bed covered with papers about her childhood in China.Some of these harrowing details are familiar, but there are also others that run the gamut: Her father was murdered by his own father; she spent most of her life in solitary confinement; shes deaf; shes diabetic; she has cancer; shes terminally ill. The abstract paintings also speak directly to the sufferings of social, economic, and racial oppression. The walls of her home are filled with references to drinking water, food, and dirt. The yellow-eyed susan she uses to brush her teeth is also the material of her favorite film, the 1979 soap opera Red Wedding. The china-sculpted reliefs that connect her mother to the Chinese burial mounds she built for her father are plastered on the walls, as are the candies and flowers in the portraits of her mother and father. Theres an almost ghoulish air about Red Wedding that doesn't quite compare to the horror of the White Cube, but does evoke the contrast between the halls of power and the general chaos of the streets.The weight of the paintings and sculptures in Lightworkers was an apt metaphor for the artists ongoing struggle to gain entry to contemporary art.