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Result #1

Pink brown purple green spacing <|startoftext|>Ralph Humphrey, Two Figures, 1968–69, acrylic on canvas, 12' 5 1/4 x 6' 9 1/4. From the series Drawing with a Sharpie, 1968–69. From the series Drawing with a Sharpie, 1968–69. In the fall of 1968, Ralph Humphrey opened his own gallery in New York with a show of drawings and sculpture. The art world had never seen such a display of works by such a young and charismatic artist (who had previously worked as a photographer and an assistant to Dan Flavin) as it had at the gallery of the University of California, Los Angeles, where Humphrey had taught. Though Humphrey had recently turned from film and had been working in sculpture for the past four years, his drawings from that show looked like early abstract paintings, and they were clearly influenced by the work of artists like Jackson Pollock, Willem de Kooning, and Willem de Kooning. In fact, Humphrey had even seen the work of de Kooning, who was also invited to the show. Humphrey chose to focus on the line, the key element of his early abstractions. (He had worked in the film industry, where he had worked on a variety of scenes, and he had studied at the Art Students League and was familiar with de Koonings work.) For Humphrey, who had never studied in the studio, the line was the key to understanding the work of others.It is fitting that Humphrey chose to start his career as an abstract painter, since the line was the key element of his early abstractions, and he used it often in his drawings. (In his early work, the line was a recurring element in the compositions.) The drawings were often simple and direct, and they had a powerful physical presence.

Result #2

Pink brown purple green spacing <|startoftext|>At first glance, the works of Helen Mirra look like straightforwardly abstract paintings, with their blues, greens, and whites. On closer inspection, however, they reveal themselves to be more closely related to the sculptural forms of Carolee Schneemann and her work of the 70s. In her paintings, Mirra tries to bring her abstract paintings into the realm of the tangible, using materials such as plywood, fiberglass, and foam rubber. In the end, she succeeds, for the work is far more than a simple record of materials.Mirras recent show included a number of works on paper, including drawings, watercolors, and photographs. The drawings are mostly in the vein of her earlier works, in which the artist refers to a blackboard as a blackboard, a pencil as a pencil, and so forth. The drawings are not her most recent work, however; they do have some of the qualities of earlier work, such as the possibility of a playful twist. The drawings are, in fact, made in collaboration with Mirra. They are not her own; they are the result of the collaboration of Mirra and the artist.In her drawings, Mirra has used paper to create a delicate surface with a variety of textures and textures. She has also used color, which she has used to imply a multitude of meanings, both literal and metaphorical. In some of the drawings, Mirra has used a series of colors that are scattered over the surface of the paper, as in a tableau vivant. In other drawings, Mirra has used a variety of kinds of paper, as in a scene from a childrens book, and as in a picture book. The artist has also used collage, as in a photo-collage, or collage on paper, as in a drawing of a page from a book.

Result #3

Pink brown purple green spacing <|startoftext|>Joel Fishers recent show at the Modern included a number of sculptures made from reclaimed wood, which were arranged on the floor in a kind of organic-organic-grass pattern, with a few pieces in the corner of the room that could be entered. The majority of the pieces were made from pieces of board, and were made of lengths of wood that had been painted and sanded and then soldered back together. The boards were then cut, twisted, and joined in various configurations. Fisher has long been fascinated with the poetic possibilities of the board and its many functions, and here he again used a process that emphasizes the organic, the organic, and the natural. The boards were also, of course, painted a bright, colorful color, and the painted wood was sometimes even carved with a wooden stroke. The result was an environment of suggestive, playful, almost playful possibilities.These possibilities were clearly spelled out in the sculptures, which consisted of a number of boards covered with paper-thin strips of wood, some of them open at the edges, and a few that were pushed back into the wood so that the wood was exposed and inviting. The wooden strips were arranged in a variety of configurations, and a few of the pieces were also made of paper. The juxtaposition of the wooden strips with the paper strips, on the one hand, suggests the works playfulness, and on the other, it suggests a kind of playful, playful realism. The paper strips are also a reference to the simple, almost casual, way paper is cut, bent, and folded. The cut paper strips evoke the patterns of a bird or flower, and the carved paper strips, in their resemblance to the carved paper strips, imply a sort of floral subtext. The cut paper strips are also a kind of double-sided sheet, and the carved paper strips are arranged to make up a sort of graphic triad, a cross between a saw and a compass.

Result #4

Pink brown purple green spacing <|startoftext|>The impression is of a group of young women, all wearing the same bright blue dress, and standing in a circle on a white field, which they are expected to occupy. But the group of girls is scattered all over the field, and the few who are in front of the circle are scattered among the others. The field is divided into four zones, which are filled with various objects—a red rug, a large red kettle, a red kettle, a red rug, a small red rug, and a large red kettle—and set up like a stage. The rug is placed against a blue wall; the kettle stands on a blue rug; the rug is placed on a rug; the kettle is on a rug; and so on, until the field is covered with everything. The group of girls, all of whom are dressed identically, are asked to fill in the blank spots in the blanks with objects. The objects are divided into categories: a red rug, a red kettle, a blue rug, and a small red rug. The categories are based on everyday objects that have been used in the past, and they are linked to categories of sex: a red rug, a red kettle, a blue rug, a red rug. The blank spaces are filled in by the objects that were used in the past. The categories are the same as those in the past, but the categories are more specific. The objects are marked with an object class marker; they are assigned a category by the categories they refer to. The categories are also linked to categories of sex: a red rug, a red kettle, and a small red rug.The same objects are used in a series of drawings. The drawings are placed on the white ground in the same way as the objects in the drawings, except that they are placed on the white ground, not the blue.

Result #5

Pink brown purple green spacing <|startoftext|>The art of the 1950s and 60s was not the best of the era, but it was a breath of fresh air, a breath of innocence, and an antidote to the post-Minimal, hyperreal, and other-thing-that-failed-to-fit-in-the-new-world world. In the 50s, the Chinese artist Zeng Xingbo and his colleagues formed an extraordinary generation of artists who stood for the freedom of expression and who were known for their uncompromising opposition to the authoritarianism of the state. They were also the first to use the Chinese language as their medium. In the 60s, they also began to use art as a vehicle to express their political views. The idea of political art is not new, but its impact is still felt today.Zengs recent exhibition was a combination of old and new, old and new, and old and new, with a hint of the unexpected. The show was divided into two parts. The first was comprised of sculptures and paintings made in the 80s. They were made using old pieces of wood, which were then broken and transformed into new ones. The two main works in this show were the six-foot-high Three Monkeys, 1989, and the four-foot-high Power of Life, 1989. Each consists of a single piece of wood that has been cut into a form that is approximately the size of a standard wooden chair. The tools used to make the sculptures are not ordinary tools: they are the tools of a sculptor. They are not ordinary knives. The knife blade is cut into the chair, then the chair is carved with the blade, and finally the chair is carved with the blade. These are not ordinary tools, but rather materials that have been used to carve and to cut. The knives are not ordinary knives; they are the blades of a sculptor.