Review | I have created a wor...

Generated on 2022-07-28 16:31:15

Result #1

I have created a work that transfigures all the known precepts of the collective consciousness. An ebony sculpture evolving within the creation that by its elusive approach sculpts time. A mystical parable that attempts to forge a link invisible to the eyes of common man. It is this empirical approach that allows to reach this absolute nourished by a discreet but intense contemplation. The idea is in the form, the form is the idea. Not to see there a deep disagreement between the substance and the form would be to confuse impulse and inspiration. Sculpture as an extension of the living beyond any beginning but deeply inscribed in our veins. The blows of the chisel hammers, the tired steel squeaking with pain between the excited hands, this is in fact the result of the effort. <|startoftext|>Sixty-two pieces by fifty-eight artists and craftspeople were assembled for the gallery, an unusual but appropriate assortment of such disparate elements as landscapes, still lifes, landscapes of the street, and contemporary figure studies. The selection has something for everyone—from Peter Fischli to John Cage to Philip Pearlstein. There is no sense that anything here is for everyone. The key is all our visible activity and self-consciousness. We all want to leave this thing, a place of worship, free of all intellectualization. The force of friendship is there, and if the members of a group are all sanguine and friendly they will instantly become one group. . . .The whole idea of the show is a sledgehammer with which the individual artist is brought down to earth. For a part of it the hammer is presented as an actual key to unlocking the hidden treasures of the unknown. This means that the hammer is an instrument of domination, and the individual or a group of them is the submissive or passive owner. On the other hand, the sledgehammer represents an independent individual, capable of either acting on his or her individual rights or taking an independent course in life.Since the first realization of the potential of this concept, artists have tried to use it as a weapon, as a straight instrument of authority. It has been used not only by the prime time antagonists, but also by the more sophisticated artists. Indeed, the sledgehammer is the tool of the two who criticize or challenge authority. As the proverbial ironist: it is both an ironclad weapon and an ironless one. The sledgehammer is a tool of the righteous, one whose irony is often enough a form of triumph. It is the ironclad weapon that one wields to the utmost to prove the righteousness of any program or belief.

Result #2

<|startoftext|>The point of departure for Jorge Oteiza is the role of the artist, the idea of the artist as social being. He begins by identifying the point of arrival of his work as a starting point, a name, an identity. He proceeds to make that identification permanent, constructing an absence of time and place. The artist creates an absence of a certain time, place, a symbol, which in turn creates a sign of the time of an encounter with the work. For Oteiza the work is always present. Its presence seems to be the process of making its absence visible.It is this point of departure that distinguishes Oteiza from other artists who work with the process of an absence of time and place. Whereas the artist as time, time as identity or a symbol, has become a symbol of absence, Oteiza focuses on the appearance of the work, which is always its absence. The time that we experience is the present. This is why, when Oteiza is less than ten years old, his work is always presented at the gallery, at least in its original state, because an absence of time and place is of course necessary.An absence of time, place, symbol is also a vanishing point for Oteiza, a sign of the absence of the work. Thus, the very absence of the artwork itself, which always appears within the space of the gallery space, creates the image of a time without presence. Oteiza represents an absence of presence, but also a presence of absence. It is a positive presence, a presence in which all previous theoretical debates that have appeared are also manifested in practice. Oteiza is very much aware of the new discourse of fragmentation that has developed in recent years and which has brought together artists, critics, and dealers. This discourse is one of the most important current developments. Indeed, it is central to our understanding of the art of the 90s.

Result #3

I have created a work that transfigures all the known precepts of the collective consciousness. An ebony sculpture evolving within the creation that by its elusive approach sculpts time. A mystical parable that attempts to forge a link invisible to the eyes of common man. It is this empirical approach that allows to reach this absolute nourished by a discreet but intense contemplation. The idea is in the form, the form is the idea. Not to see there a deep disagreement between the substance and the form would be to confuse impulse and inspiration. Sculpture as an extension of the living beyond any beginning but deeply inscribed in our veins. The blows of the chisel hammers, the tired steel squeaking with pain between the excited hands, this is in fact the result of the effort. <|startoftext|>Walking through Jim Shaws recent show of more than 150 pieces, one sensed the prevailing mood to call the works monochromes. But, wasnt it just a little of both? The schizophrenic wariness which controls so much art has a way of turning into a compulsive compulsion. In the final analysis, it is the desperate compulsion to create and to believe, which is as frustrating as the quest to achieve the extraordinary.The show included painting as well as sculpture. Given the fact that Shaw lives and works in the small city of Philadelphia, a new aspect of sculpture has emerged from the desolate muck of the city. Shaw is a vain (and in the end vain) abstract painter. His not-quite-square, vanguardist brushstrokes are there to be held up to the light with thick, brassy gestures. His image-space is an expensive, seductive ambience. Like Michael Goldbergs work, it is both idealistic and ephemeral. It cannot be regarded as an authoritative statement, it can be felt as an existential statement about American art. But Shaws sculpture does not display the same indifference that the older artists are wont to exhibit. Instead, it is sensitive to the fact that people make things, and that objects, and not the other way around.Shaw uses found objects, like paintbrushes, which he stores in boxes that he uses as set-ups for his art. He then collects his own work, makes sculptures out of it. I dont know if he means this as an ironic comment on art-shucking, or if he means it as an ironic comment on the fact that everyone wants art to look like the stuff of art.

Result #4

I have created a work that transfigures all the known precepts of the collective consciousness. An ebony sculpture evolving within the creation that by its elusive approach sculpts time. A mystical parable that attempts to forge a link invisible to the eyes of common man. It is this empirical approach that allows to reach this absolute nourished by a discreet but intense contemplation. The idea is in the form, the form is the idea. Not to see there a deep disagreement between the substance and the form would be to confuse impulse and inspiration. Sculpture as an extension of the living beyond any beginning but deeply inscribed in our veins. The blows of the chisel hammers, the tired steel squeaking with pain between the excited hands, this is in fact the result of the effort. <|startoftext|>The author of this work, David James, is a poet, and his mood is one of profound melancholia, for when he is not writing, he works on a book. But this book, I think, has become too constricted to be wholly readable, and so this production is an attempt to reflect upon that limiting function of poetry in all its various and often ambivalent meanings. This is accomplished in the work by means of seven drawings which contain, each a fragment of a single line of speech from an unnamed speech-writing adventure. It is a series of question-and-answer exchanges, of the sort we usually find in an interview with an unknown speaker, but which, when translated into words, reveal the essence of the question and its answer. Their sometimes exact parallel in the content of the question and its ultimate meaning are usually confused by the addition of lines in the speech that tell the difference between the words and their English translation. This speaks of a vigorous, thought-filled contact with a linguistic impossibility, as it were, and it is precisely through this strenuous contact that the questioner is brought to speak with certainty and the answer is understood. In one, for example, the word is printed in the same manner as it is in the language of the question: This is why, I say, this language is beyond the point of comprehension. Yet James is not content with explaining. He uses this experience of the unlanguage of language to create a unity of meaning, an effect that is rendered direct, playful and easy, and free.There is one series of drawings in which James has made use of such a visual dichotomy, of dichotomies which are a combination of one of two distinct forces. The various fragments that comprise the drawing suggest a fragment of a source of the text, a fragment of the story that is somehow partial to itself, always in the process of becoming all-important.

Result #5

I have created a work that transfigures all the known precepts of the collective consciousness. An ebony sculpture evolving within the creation that by its elusive approach sculpts time. A mystical parable that attempts to forge a link invisible to the eyes of common man. It is this empirical approach that allows to reach this absolute nourished by a discreet but intense contemplation. The idea is in the form, the form is the idea. Not to see there a deep disagreement between the substance and the form would be to confuse impulse and inspiration. Sculpture as an extension of the living beyond any beginning but deeply inscribed in our veins. The blows of the chisel hammers, the tired steel squeaking with pain between the excited hands, this is in fact the result of the effort. <|startoftext|>The eternal repeat is more interesting than the distinctive form. The eternal repetition is the repetition of a universal action that is in essence the same, an action that is in itself a repetition, a repetition of itself. The eternal repetition is an action that, without being repeated, remains infinitely different, it is the repetition of a timeless action. This is the idea of Como Nacional de Arte, which has a long tradition in Latin America, from the 19th century to the present, and which has developed through different regional approaches and periods of development. It is a Latin American concept, and this is also the idea of the museum.Many countries in Latin America have traditionally been associated with the notion of the national museum, which, in the age of internationalism, has brought with it a great variety of responses, even depending on the particularity of the topic. The region can be thought of as having emerged from the tradition of European culture, with the ideal of the artist as an unmediated and objective observer, which is essential to any museum.The fact that the Franciscan museum is located in the city of San Antonio in south-central Spain is another object of concern. The museum takes its name from that city; indeed, San Antonio is said to be the capital of the state of Aragon. But because the museum occupies an enormous space, it must be considered in relation to its surroundings, that is, to the area surrounding the present-day city of San Antonio. This spatial condition is what creates the dimension of the eternal repetition.The present exhibition also included work from different periods of the museum, and the places that were involved with the development and maintenance of the institution. There was a brief period of indecision in the piece exhibited, after the elements that were brought together as a part of the museum were first exhibited in the gallery.