ASian fishing floating village, boken wooden panels, wood texture, acrylic paint, blending in with background

Result #1

ASian fishing floating village, boken wooden panels, wood texture, acrylic paint, blending in with background <|startoftext|>Melissa Hicks, Follies, 2014, collaged acrylic on canvas, 78 x 90". A few years ago, Melissa Hicks made her name with large-scale paintings on canvas that she has painted with collage and stencil. A process that has been a staple of Hickss art since the mid-1990s, collage creates an array of things that range from abstract patterns to symbolic illustrations of an imagined world. Her work evokes the history of painting and the history of painting, from the Renaissance to the present, while at the same time remaining grounded in the real world. In this show, Hicks displayed a series of large-scale oil-on-canvas paintings with collaged text on them. In one of the paintings, a dense blue-gray brushstroke is drawn across a dark-blue ground, which is then left to soak up a drippy, splintered color. The text reads: WELCOME TO MY WONDERLAND. . . . MY WORLD IS A COLONY OF ANIMAL STARTS. . . . I AM IN YOUR WORLD, MY WORLD IS A COLONY OF ANIMAL STARTS. The words are written in the same low-key, monochromatic style as the pictures themselves, but the painting is larger, more complex, and more colorful than the collages.The title of the show, Follies, 2014, is a pun on the title of the collaged paintings, which are about colonies. In one of the larger paintings, a sort of Ophidias-like colony of white-skinned men looks out toward the viewer. The men stand in front of a large, bare-chested, bare-bottomed pool. On the side of the pool is a tree whose trunk is an arrow, a symbol of the colonizing force of nature. The men are surrounded by a dense, blue-gray sea.

Result #2

ASian fishing floating village, boken wooden panels, wood texture, acrylic paint, blending in with background <|startoftext|>With the work of so many artists, it is easy to forget that, in this age of mass production, design and craft are as important as art. For example, in the catalogue of this years Whitney Biennial, the American designer and designer artist Michael Campbell makes it clear that he is not concerned with the work of designers, only with the work of craftspeople who use design to create their own products. Campbells abstractions are presented in three major categories: small-scale, conceptual and large-scale, and all are developed in a single way. The works are on display in two unique ways: on the floor and in an array of small, articulated sculptures. The objects are arranged in an assortment of ways: the abstract, the figurative, and the functional. The conceptual is not for Campbell, but for the designer, and not only is it a phase of the design process. The large-scale design is more like the work of an engineer, a mechanic, or a carpenter. They use design to create their own designs. Campbell is not concerned with the design process, but with the design itself. He is not concerned with the process of making a design, but with the design process itself. The process is not the product, but the product process. The designer is concerned with the design process. In this regard, he is like an engineer, who is concerned with the design process.The sculptures, which are small, modular pieces, are made of materials like fiberboard, corrugated cardboard, Styrofoam, and rubber. The pieces are placed together in a series of logical groups. The work is made up of two main groups. The first group are pieces of plywood which, in construction, have been mixed with polyurethane, painted in black and gold and then hammered. The second group are small, flat-footed sculptures.

Result #3

ASian fishing floating village, boken wooden panels, wood texture, acrylic paint, blending in with background <|startoftext|>The New York Times last year ran an article with this title: It is a personal affair. A couple of weeks after the Manhattan Institute of the Art Museum published the exhibition, Reena Spaulings and a Small Landscape, her first major museum show in New York, I received a call from a collector in the US. It was a small affair, his mother said. I went over to see what he was doing. He was playing with a beautiful show. He was bringing a lot of art into a small space. I said, Well, you know, that's nothing to be excited about. But the way he said it made me think of the art world I was living in, and how much of a responsibility it has for all of this.As the New York Times notes: The exhibition, to be called The Artist/Artist, was to be organized in New York and exhibited in New York. So why not in London? Spaulings, who is from the UK, moved to New York in 1992, and in 1993 she opened a gallery in Manhattan. The three-year show was to be the first comprehensive survey of her work, a project she had begun in 1993. A dozen artists were to be shown at various stages in the production process, including Peter Halley, Laura Nelson, Kiki Smith, Steve Bischoff, and Cindy Sherman. Spaulings have been working on this project since 2003. The show was to be held at the Museums collection and on view in New York for the next three years.But where to go from here? In October 2007, the Museums permanent collection moved from its MOMA holdings to its permanent collection in the US. Its permanent collection also includes art from the British Isles, where Spaulings first exhibition in the US was to take place.

Result #4

ASian fishing floating village, boken wooden panels, wood texture, acrylic paint, blending in with background Exhibitions like this one tend to be the least well-known of the new gallery spaces. Of course, when the old spaces are still in the process of being renovated, the exhibition does look new. The answer is not to be found in the new spaces but in the old ones, which are constantly being reinvented, and the new ones are always on the verge of being abandoned. The old spaces, however, always retain a mysterious aura, which makes them seem even more mysterious, even mysterious, almost as if there is no existing history to tell them about. This is why, in the best of these works, the original intention of the artist is to express his own sense of the meaning of his installation, rather than to give the work a strictly pictorial interpretation. The meaning of meaning is a psychic state that cannot be determined by empirical reality. As a result, the meaning of a picture is always a matter of feelings.The show is divided into two sections, one of which is called The Meaning of Place, and the other of which is called The Meaning of Place. The first section deals with the place, of course, the place of the image, and the place of the viewer, and the place of the viewer as a whole. The place of the viewer is often the place of the mind, and the mind is often a place that is in turmoil. A brilliant illumination, for example, by the artist, evokes the mind in the state of mental agitation. The images that were painted in the second section, The Meaning of Place, are places that have had a new meaning: the meaning of place, that is, the place of the mind, is a place where the body has been transformed into a means of moving.The second section deals with the meanings of place, and with the meaning of the mind as a whole.

Result #5

ASian fishing floating village, boken wooden panels, wood texture, acrylic paint, blending in with background <|startoftext|>When theres no room in this town for pithy essays on contemporary art, then why bother? These are the questions that face the exhibition of seven works by James Ihlen, the first retrospective of his work since the early 1980s. The paintings are stunning, but even more so are the sculptures: large-scale, often sumptuously colored and often strikingly beautiful, they are as individual and private as paintings. Ihlen is best known for his strikingly devious, fantastical, and often surreal sculptures: oversize, stridently articulating figures, grotesquely grotesquely distorted faces, or grotesquely abstracted animals. Like his earlier work, these works are in fact reproduced in large-scale photographs and enlarged by large-scale, fastidious hand-carving techniques. Theres a certain nostalgic intimacy to these sculptures, and they all seem to be about the same time.They're an intense, meditative and incongruous mix. The sculptures are made of hollow fiberglass, a plastic material that lets the artists hand paint the surface of the clay, thereby revealing a subtle but unmistakable surface texture and a certain physical presence. The sculptures are typically marked by a stark, sharp, and vaguely anthropomorphic coloration: black, red, blue, yellow. Theyre made of soft, slightly translucent materials, such as resin, plastic, and wood, and are often draped with metallic leafings or twisted into a polygonal shape. The sculptures are designed to look like bird nests or nests for cats. Theres a frenzied quality to the arrangement that recalls the paintings of the Cocteau school. The sculptures are almost always very large, usually over a foot in height, and they often contain the bodies of women.