penn station painitng with dog stickers plastered on top

Result #1

penn station painitng with dog stickers plastered on top !" Almagro was also the title of one of several bizarre paintings in this show. Almagro (Almagro, 1988) appears to be a portrait of a naked, emaciated, but otherwise otherwise healthy man in a bathtub. The heart-shaped face is surrounded by a series of cherubs-like appendages, which grow out of the skin at the side. A couple of straight lines, perhaps the result of the artists stroke, seem to spiral around the central body in an arc. The painterly style is said to be inspired by the work of Goya.Almagro is a favorite subject of the artists father, the painter Chia. Almagro has been depicted in the paintings of the artists grandmother, Maria Almagro, in two versions, both titled Almagro (Grandmother, 1988). The subject of the first painting, Almagro, was recently exhibited in New York, where it was accompanied by a set of photographs that documented her grandmothers activities. Almagro is part of a group of women in this exhibition, all of whom are known for their eccentric, almost surrealistic works. The title of the second painting, Almagro, appears on the upper part of the canvas. The composition, a rectangle of light-blue acrylic, is split by a row of lines, like a cross, that lead off from the center of the canvas. The overlapping lines create a kind of vortex that is visible from either side, creating a dreamlike feeling. The white, damply misty surface of the painting is slightly darker than that of the original painting.The subject of the third painting, Almagro, was also on display in the Almagro exhibit, but it was not in New York. The three paintings in this show were produced in Yugoslavia. The pieces in Almagro were created by cutting a sheet of canvas and applying it to the surface of a mold.

Result #2

penn station painitng with dog stickers plastered on top  of the plaster. On the cover of this issue of Artforum, from the April, 1963, the same-sex marriage, the argument for gay rights—and the need for a gay pride flag—is explored. He says, To be gay, to love, to be an artist, is to love the people who love you. . . . In spite of our differences, we are united by a common love for each other.That love, according to Marcel Broodthaers, is a mixture of the masculine and the feminine, and it is one that makes it possible for two men to exist together. In other words, gay life is a mixed-up mixture of the male and the female.It is not surprising that Brodthaers and the gay community would find it convenient to reconstitute the old debate of the nature of the soul as an activity that both men and women can participate in. The gay community was once thought to be a closed community, in which the group was an isolated individual, isolated from the outside world, and excluded from the history of the human race. This idea of the soul as a natural state—a state of being—was reinforced by the belief in the immortality of the soul by a belief in the resurrection of the body. A wide variety of works by Brodthaers, from his life and work to his paintings, attest to the fact that he valued the potential of both sexes in his life, and he valued the personalities and characteristics of the male and female sex. In his work, he would often create situations that called to mind the life and times of his friends. For example, in one of his more successful works from the late 60s and early 70s, the homosexual couples in a 1961 story by the German writer Walter de Maria depict themselves as children in an imaginary home. The children are at the same age as the adults, and they share the same favorite toy, a piece of wood.

Result #3

penn station painitng with dog stickers plastered on top  of a gas station, holding a sign that reads to the point: 1 MILLION DOWN TO TWO MILLION. If youre one of these, youve had your fill of the machine. That is, the-body-has-more-to-do with-the-machine-has-more-to-do philosophy. It is the connectedness of the machine that keeps going on, and with this connection, I would suggest, there is the potential for a lively commentary on the modernist imagination itself. A collection of white-capped, seemingly simple-minded sculptures by Fischli and Weiss are as lovely as the original ones in the gallery—at least in the sense that they are the work of a truly gifted mind.The show is a large selection of works by eight artists. The selection was made by curators Hans Ulrich Rückenhol and Helmut Furrer in collaboration with the organizers of the Museum of Contemporary Art, Los Angeles. It includes nearly one hundred pieces, from nearly forty years of Fischli and Weiss art. They have tried to assemble a group that would represent the range of the artists intellectual and artistic positions, and in doing so have included more than one hundred. The work is organized chronologically. The show is more than just a catalog of the artists works; it is a critical one, presenting the artists to be admired for their distinctively modernist tendencies.Modernist sculpture is divided into three broad areas: the geometrical, the architectural, and the utilitarian. In these three areas, the shapes and forms used in the work are most often formed by the use of a mathematical model. A Geometric Cubist Figure, for example, is formed by an outline of a square cuboid. The geometry is not only the shape of the cube but the shape of the geometrical shape, which is formed by the angles of the two adjacent axes.

Result #4

penn station painitng with dog stickers plastered on top  of the new tile floor; it was also this exhibition that truly cemented ODohertys reputation as an artist, a thoughtfully circumscribed figure of the contemporary.In a recent interview, ODoherty revealed that he was working with the floor-bound tile of the Met, a tile company based in New York. Although he could not completely make out the details of the tile, he was able to read the letters written on the tile, and he did make a few connections to the tiles original design. The tiles floorboards, for instance, were made of blue and yellow-green plastic, an extruded-glued-coated steel, and Plexiglas. The work was clearly the result of a highly sophisticated and laborious process, but one that ODoherty had found himself in the middle of. He described the work as being so intricate it was like a puzzle with all its parts. The tiles surface was entirely covered with bird-eggs-like chirpy patterns, and the letters were written in cursive, which he had mixed with honey and then sewed together. He then cut off the bird-egg shapes and sewed them back together again. It was as though he had been weaving the whole thing together in a single, chaotic action.The tiles floorboards were originally made from plastic, but they had been treated with beeswax, giving them a glossy, glossy, shiny finish. At the Met, the beeswax had been used to create the tiles, and it was here that ODoherty found the beeswax-covered floorboards. ODoherty had coated the floorboards with beeswax, which he then applied to the tiles. The beeswax-covered floorboards were then covered with beeswax, which had been heated and sprayed with beeswax paint. The beeswax-covered floorboards were then removed from the wax and stapled to a steel frame.

Result #5

The crazily long title of the show, titled The Bunkhouse, appeared in its entirety in the top two pages. The roomy theme of the entire installation made it all the more astonishing that there was nothing wrong with it at all. Its a desolate, dank, and nearly black space filled with the occasional whiff of heat. In this dark, smoldering underworld of stench, that smell was most obvious in the heat, which suffused the room, setting off a beautiful white phosphorescent glow that made the walls seem to glow with a pungent red. The lighting was harsh but not harsh, the air dead, and the darkness evoked the misty darkness of the interior. It was a haunting experience, one that all of us can relate to, and that is sometimes found in the dark, but not always in the dark. The experience of the Bunkhouse was magical, even when one was conscious of the dankness of its surroundings. The spectacle of the Bunkhouse is also a great deal of fun. The word Bunkhouse is an allusion to the interior space of a house—a place like the one in which we live—in which we can imagine ourselves as occupants of the house, to make the living space feel alive. It is a place in which we can pretend to be inside the house, so that we can escape the oppressive gloom of the outside world and come to terms with the comforting glow of the interior. The feeling of having found a home, a home in the dark, in the Bunkhouse, is a marvelous, surreal, and beautiful thing, which is why it is hard to describe it in words.