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Result #1

smart monkey Capricorn Virgo love sex mercury 6 3 mercury blue platinum Endless shadows (lights that cast limitless shadows) are the most intense feelings and the most interesting feelings. Cibachromes are beautiful, and the pleasures of art are eternal. No matter how content I become, my body is always dry, time goes by in the following days, and objects seem to move faster in time. The negative and the positive, our sex life and our art, are nearly identical.Sculpture and emotion are not mutually exclusive. Both deal with feelings—to live, to be comfortable. Both communicate with the power of language, to communicate with all kinds of things. Both exist in an infinite and space-time continuum. What makes a sculpture beautiful is not the fact of its existence but how it expresses feelings.There is a kind of abstractness in the process of making sculpture. For example, Jim Dine has tried to use words that mean more than they mean: beginning to break down the facade of language in his art and in life, he seems to be using words that look like made-up words. These words are funny, he says, especially when they are actually made-up. His sculptures—in the sense of being fabricated, he has said—are easy to make. Dine does not use words that make you feel uncomfortable, he has said, and he has done that. His sculptures are not the enemy of your word, he has said. His sculptures are the result of the words you use, the result of the emotions you have on your mind. He expresses, through his words, the human experience, the emotions that his sculpture evokes, and he shows you just how he feels when he makes his sculpture. His sculptures are like words, he has said. His sculpture is a metaphor for all the feelings you have and the emotions you think you have on your mind.Dine has created a big heap of objects that are complex, but also very simple.

Result #2

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Result #3

. . . . it is an object of delight for this observer to marvel at the majestic, ethereal, violet, purple, and white nature of these shrines. I dont know if there is anything, and no, the sculptures have never been included in any recent survey of the New Zealand art of that type. Well, there is a few that have been shown, in New York and New York, and the rest are still waiting. The only New Zealand show I could find was of a specific group of bronze sculptures. They are fascinating, and perhaps the best example of New Zealand sculptural evolution.The first works to show were very unusual, although they are not new. The sculptures that are not new are always expressive, and the expressive sculpture, I suppose, is often the best one. Three of the best are filled with shadows which make them interesting. Not all the sculptures are ornate, though many are. The most distinctive of them are filled with light, for the shadows are brilliant. They are strange, intriguing, and beautiful. They are a new kind of art, and they are just as New Zealander as New Zealand art is. The shadows and the light, and the way the shadows give the sculptures a personality—a fine characteristic that New Zealand sculpture is known for. The paintings of the sculpture are beautiful in the best sense of the word—it is elegant and beautiful in an unusual way. This is not meant to imply that New Zealand sculpture is all that beautiful, but that the more exquisite it is, the more New Zealander it becomes. The difference is that New Zealand sculpture is very simple—the shadows, the light, the shadows, the beauty of the shadows. New Zealand sculpture is beautiful, but elegant.

Result #4

smart monkey Capricorn Virgo love sex mercury 6 3 mercury blue platinum iphone-slimmering (chimera) diamonds transparent plasma display aluminum snake play (flesh-eating) oyster mouth rubber skin, foreskins, dolphin, and other small organs bottomless, as if you were possessed by a marionette.The show (and its métier) was a giant circuit of chiseled holes, crevices, and other holes and crevices, creating a sort of devil-may-care sense of different heights and depths of experience. The empty space was created by the accumulated and continually building forces of the moon, and they were executed with unrelenting effort. This state of enhanced perception seemed to be an artifact of the art world.Dowd has talked about the surreal and the weird and what happens when you find out your subconscious is unconscious. In that light, the holes, crevices, and paintings made of jagged, jagged holes were a satisfyingly casual, premeditated, and nonspecific assemblage that resonated with a numinous and subcultural frisson. The effect was an orgasmic rush of energy that could pass for psychedelic graffiti. The galleries spatial continuity was reinforced by a succession of wall-mounted-to-wall paintings that made the current dome pieces seem one cohesive thing. But the cumulative effect was more than just a photodocumentary of someones experiences. It was a kind of supreme geometrical hyperbole.This exhibition included work by James Casebere, an artist who goes by the nickname Raskulah. Raskulah is a collection of objects and other materials such as hair, clothes, and jewelry; an open book (1996) records a series of clandestine compendia, which list everyday objects and supplies in all their textures, colors, and permutations.

Result #5

smart monkey Capricorn Virgo love sex mercury 6 3 mercury blue platinum A toy-sized chemical cube circa 1970. Out of all the things in this show, shes the most touching. A poster with two lilies for stars as topological constituents. A mineral-climate portrait of the present-day rippling mountainscape. Just three Lidl books. These descriptions are all punctuating the figurative narrative around the exhibition. The images float between expressions of obsessive distaste and scatological delight. But while they give the show a sense of nostalgic bent, they also make one feel like a voyeur.In one corner of the gallery, a collection of discarded garments hanging from the ceiling described as lingerie was flanked by an array of contemporary cutouts (after the fashion industry), a similar selection of pots, pans, and casseroles, and a solid pot. The show contained an interesting juxtaposition of styles. On one wall hung four photographs of women; on another, two men. But while the women were all covered with dyed or applied wax, the men were uncovered and beaded. In the end, the wax colors were black and white and the costumes were arranged according to color scheme. It was a great mess. The photos of the four women on the right were of a more prominent European female consciousness, while the women on the left were more American, a point clear in this show. The photographs of the men on the right also recalled the almost clichéd idiom of H. M. W. Bischoff. A specter of lust and lusts, they were also of the middle class—the photo-conscious business-men.They are also essentially revealing texts: In each of the photographs, their bodies are, like their everyday expressions, covered in wax. Another text: The color of wax has to be very thick, never to become too sticky, or else the color will rot. And if you rub too hard you may die.