Eyes evoke surreal images dark luster

Result #1

vernacularly over the veneer of their painted surfaces. The title of this exhibition, The Joke of Wax, refers to the part of the year when the wax museum in Los Angeles opens, and it is the work of the show as a whole that is associated with the humor of the time. The wax sculptures and installations that predominate in this exhibition are made of wax, a medium that was banned from sale in 1967, with the exception of a small number of specialty shops. The wax in The Joke of Wax, 1969, is painted with a modernist brush in an attempt to capture the look of the period, but the results are only shades of tinsel, since the wax has been heated to an extremely high temperature.The wax sculptures in this show are also, at the same time, examples of the now-extant methods of contemporary drawing. The works are drawn in wax, and in some cases all are placed on a paper-covered pedestal. The objects in this exhibition are a collection of drawings that indicate the history of the medium. The drawings are constructed of metallic wire and painted with a high-key, stenciled style. The wax objects, which were never intended for the art world, are quite clever in their use of high-key marks and are especially successful in their exuberance of color, which makes for a strong visual experience. The wax, paper and metal works are not intended to be seen, but to be viewed and enjoyed.

Result #2

Eyes evoke surreal images dark luster vernaculars, and the metaphor is one of the exhibition as a whole. Its entries, which appear as postcards, are sized to fit the wall, yet are made to look like miniature sets for a show. Although theyre intended as exhibitions of cultural heritage, the works are rather mementos of the past. The artists avatars, too, often feature their own brand of ekphracy, as in the lushly foresty, green-and-yellow Goonies and the freshly bearded, hairless figures from the Tales of Da Vinci series, both 1995. While the Grimms, in their disembodied heads, are grimly upstaged by the Rorschach, their bodies are presented as unrecognizable. Their naked bodies, even their faces, are scarred with a dark-green beard. As a result, the figures are almost entirely obscured by masks, such as that of a Moses or a Leon Golub. The artist, in his own tongue, would call them ghosts of the past. The paintings in this show, all from 1996, are even more elaborate and elaborate than the ones in the exhibition catalogue. Like the paintings, they appear as miniature models for what the artist has created in the past, such as a head from the Tales series or a figurine from the The Golden Ass of Rhodes, both 1998–99. The paintings are all hung on walls that feature a type of soft-soled, pink-painted polyester resin that acts as a protective coating and draws the surfaces into a natural, organic texture. The artists hands are also on display in these works, as are the intricate, hand-spun embroidery on the canvas. The result is an impression of harmony, even a rather spiritual harmony.If all this sounds like a bit of a claptrap, well, its not. The paintings are not simply realist ghost paintings, but rather allegories of the past.

Result #3

vernacularly, if not actually; and in one case the contours of the skeleton are given a strange expressionistic expression by a bright, high-key color. In other works, the pencil line is too clumsy to carve out the space of the skin. If you try to take in the ghostly figures, you end up looking like faceless, gross-looking things.

Result #4

×glow a pale blue and suckling ague. A lesser painterly touch adds to the strangeness. With the exception of a few large canvases, all are in solid color. They convey an aura of eerie beauty. In this age of spooky painting, the look of this work is surprisingly cool.

Result #5

Eyes evoke surreal images dark luster urns of a few years ago, but their ghoulishness is actually a result of the artists long exposure to a tradition of high modernism. We are in a moment, in a world that no longer looks as if it has been run by Jimi Hendrix, as if it has been reduced to a mere string of numbers. Theres no story here, no pattern, no story to latch on to, no hook, no hook to latch onto. But in this case the hook is the material, the picture. We are pictorially and socially enchanted by it, by its presence and the sight of it.And so, too, the notion that painting can provide the picture. Not that painting is a kind of picture-making—but rather that the picture itself is a picture of painting. Painting is a picture of painting, and so are paintings. Painting is a picture of painting. Painting is a picture of painting, and so are paintings. And so is painting, as the painting that appears in so many of Romes frescoes, which has a whole life of its own, a life of its own. It is a picture of painting, and so are paintings. So are paintings, as the one shown in the show, a painting of paintings, a painting of paintings, a painting of paintings, a painting of paintings. I doubt that Romes frescoes are a set of pictures—that they are merely a succession of pictures of paintings, as the show is a series of pictures. Romes frescoes are not pictures of pictures, as such; their surfaces are pictures. The frescoes are frescoes, but their surfaces are frescoes. The frescoes are frescoes, but their surfaces are frescoes. Romes frescoes are frescoes, but their surfaces are frescoes. They are frescoes, but their surfaces are frescoes.