A dog with a strong resemblance to a horse pig

Result #1

A dog with a strong resemblance to a horse pig—not to mention the dog—was standing in front of a row of 12 hand-painted bookcases, with a collection of newspapers in one of the boxes. The four corner-mounted bookshelves contained copies of various dictionaries and books on historical writing. A notebook, printed with a photograph of a black-haired man, was taped to the wall. This self-portrait, which depicted the artist as a black man in a black coat, posed as a reflection on the ways in which racism, gender, and race relations are constantly reified in contemporary culture.The show was a perfect complement to the architects studio, where a rickety construction bed and a garden shed were set on a small table. Three large walls were covered with photographs of speakers, arranged in a semicircular formation of three stripes, each describing a different speaker at the New York Times. A set of a four-sided photo lamp hung next to a small telephone in the corner of the room. A small notebook had been taped to the wall with a black-and-white photo of a woman walking along a New York street. A picture of the room, taken by a passerby, had been printed on a large sheet of paper. The page, which had been taped and placed on the sheet, bore a page of the newspaper, below which a woman with long black braids, wearing a pinstripe suit, walked to the window. The image is actually a picture of the studio, where the artist sat, wearing a pinstripe suit. The postcard in the corner of the room was also a self-portrait, with the words PASSAGE ONE (ALSO) in bold letters. In the back room, a white-framed photograph of a womans face, taken by a passerby, was printed on a small sheet of paper.

Result #2

A dog with a strong resemblance to a horse pig at the point of a snap is sprawled out in a muddy field with a haystack on top of it. The animal has been painted in a color reminiscent of the russet-red-brown of a puddle; while the rest of the canvas is left blank, the sketch of the horse in the middle of the field is repeated on a small white paper. The similarities between the drawing and the painting become clearer as one learns the historical background of the two: The first painting, by the 19th-century French painter Jean-Anton-Paul Iotan, is a monumental meditation on the crisis of Western civilization and the threat of destruction in general. The last painting of this trio is a version of Iotans painting of the same subject. The colors in the two versions of Iotans painting are almost identical, and the gray and black outline outlines of the horse are almost identical. Here the painting is placed on a flat white ground with a red border, giving a visual echo to the horse, and as such it seems a direct parallel to the last painting of the trio. The third painting, in contrast to the first two, is a pure rendering of the second, and it is a more ambiguous one. It is a color chart with a dark brown border and a yellowish triangle at the right and left edges. The central point is painted in the colors of the border, and in the bottom third of the painting it is a brown blob, while in the top third the yellowish triangle is a dark blue. In both cases the color is absolutely clear. The left edge of the canvas is painted in a pure white, but the right-hand half is painted a dull gray. Here the painting is seen as a kind of mural, a picture of the world on a flat, white ground. It is a sober, precise painting, a simple presentation of clear and sober colors.

Result #3

A dog with a strong resemblance to a horse pig is lying on the ground in front of a tree. The shadow of the tree is visible in the distance, but only through the trees leaves. The dog appears to be trying to carry the shadow of the tree into the trees wood, but it isnt much help: The shadow of the tree is already too big for the dog, and it is too light for him. The trees roots are already too big for him. He might as well be carrying the shadow of the tree across the mountain.In the absence of any visible evidence of an actual tree in the picture, the shadow is less a clue to the existence of a tree than it is a hint that the trees trunk is a tree, and that the shadow of the tree is a shadow of the tree. By painting a shadow of a tree, Fernandez has suggested that the shadow of the tree is also a shadow of the tree. In this way, the shadow becomes an actual, tangible sign. This is precisely the point of shadow. It is a sign that is both real and imaginary, as real as it is and as imaginary as it is. This is also the point of a shadow on a mirror. The real mirror image is seen, but one that is reflected and known, while the imaginary mirror image is seen only by the artist, who is an anonymous, disembodied, shadow, outside the mirror. The shadow that is a real image, the one reflected in it, is only seen in the mirror, but not the real mirror. The artist mirrors the real image, which is also the mirror image of the real image. The real image is seen, but the image is not—only the shadow of the real image is visible, as if the real were a shadow of the real. The real is only seen in a mirror; the image of the real is not, and the artist is only showing the image of a real object.

Result #4

is seated on a throne. The dogs head is an image of a man, a man who stands as a point of reference for a Westerner. A painting of a man gazing at a dog is accompanied by the words, What do you see? What do you see? What do you see? The figure, which is also a painting, is a reference to the Manichean struggle between good and evil, of which the dog is a symbol. In this painting, the dog is represented as a statue, a symbol of the individual striving to attain spiritual perfection. The mans eyes and ears become a symbol of the search for inner and outer reality, which is reflected in the constant shifting of his gaze between two states of consciousness. In the left hand painting, the artist is portrayed as the mysterious figure of the true master. The right hand painting, on the other hand, shows the final master—the artist, who, in the hands of the true master, achieves the desired image of perfection.

Result #5

A dog with a strong resemblance to a horse pig, this stray was a purer and more human incarnation of the original, as he walked with his tail between his legs. In a sense, this was a play on the notion of the original and its destruction—an attempt to demonstrate the instability of the original, to see if it might be destroyed by its use-value. As the work continued it became increasingly more concrete, and a dog is revealed as having a small head, a flat chest, and a belly with a human-sized protrusion. It was clear that this was a play on the notion of the original, a playful, playful attempt to show how playful we are. On the other hand, it was clear that the only way to show that the original is destroyed is to destroy it. This is what the artist wanted to avoid.The loss of the original is the loss of a thing, but it is not only a loss of a thing that is visible. The artist had used a common, everyday material, straw, to represent the destruction of the original. The straw was used in a playful way, but as a sign of the destruction of the original. The artist wanted to show that the original is destroyed in a playful way.The show was divided into three parts. The first part consisted of a group of three paintings—one on canvas, another on paper, and a third on paper. These were all roughly the same size, and hung side by side. The paper paintings were of straw-covered paper. They had been painted with a textural brush that was used on the straws. The straw paintings had been made with paper painted on the straw, and the paper paintings had been made with straw-covered paper on paper. The straw paintings, as the artist has said, were made with straw-covered paper. They were clearly the work of another artist. The artist was attempting to present the process of destruction as an ensemble, but also to demonstrate that the destruction of the original is still possible.