cut outs of newspaper to make a mother hugging her son who is going to war

Result #1

cut outs of newspaper to make a mother hugging her son who is going to war in Iraq, and there is a childs leg in a photograph which has been framed in a white paper bucket. There is a photograph in which a female figure looks like a medieval papier-mâché cast of a head with a perfect head of steam hanging between her legs, which is also decorated with a Japanese-style figure of a woman reading a letter from an anonymous mail writer to her son. The theme of the childrens play, in both the sculpture and the images, is gender, and the result is a subtle exploration of social conventions.But for all the indulgent, kid-friendly style of these works, there are moments when this is not about any awareness of gender differences in the world or of the ways gender conventions are constituted and interpreted. The simple, framed photograph of a pair of women holding a letter to a child, a photo shot in which the girls face is entirely obscured by a photograph of a window in the gallery window, and the warm, throwaway environment of the photograph and its presence are all about making a photo look like a letter. Here, the street sign advertising the couple is replaced with an image of the sign above the window. The look is dehumanizing and short-circuiting the materiality of the sign—that of the street—by replacing it with the thinness of the image of the sign. This is followed by the photographing of a group of children whose faces, only partially obscured by their heads, are barely legible in the street, in an image that is both banal and ironic. These two images of young children, playing among the more ubiquitous and fragile structures of signs and photography, expose the inherent asymmetry of gender. The individual faces of these young children, standing out against the background of their game of hides, become an unavoidable symptom of the world of signs, images, and signs.

Result #2

in Vietnam. The work shows a tension between two-dimensional flatness and the two-dimensional perspective through which it is enacted. The sloppiness of the latest tomes and the complicated illusionism of their frames recall painting from Hieronymus Bosch or Albrecht Dürer, where the level of detail becomes even more delicate, and the fragmented figures and objects that appear at the edges of their works seem to become part of the polarity of painted circles and lines. Cucchis works, at their best, are about both flatness and perspectival refraction, but in her use of panels and display elements, they are always extremely delicate, and about opacity and refraction. Just as Joan Mitchells drawings suggest that a pictorial composition needs to be like a sea of water; Cucchi seems to be trying to work out what the word water means in both her own art and that of her contemporary counterparts.In the end, Cucchi seems to have found her answer to the question of what painting is for a woman. By showing, in an art context, that there is a feminine word, she has created a psychological language that invites the spectator to examine her own answers to the question.

Result #3

in Kosovo. The installation carries a playful and generous charge. It is an oddly compelling mix of heartbreak and humor.No Irony by 3 Black Women is essentially a series of imaginative conceits. Such as a bent-over hair and an oversize crutch for helping her walk are apparently more clever than any real portraits. Yet, to come to terms with the women, one needs not be a demystified illustrator but a committed and thoughtful curator. The process of introducing women to this world is complex. The delivery is awkward, the lighting (crowded) and architecture (rural) vary, but together, the work is a surreal, surrealized but funny take on a seemingly mechanical world of human stereotypes and stereotypes. And that is a thing that designers should be—not only because it is a significant step toward making meaningful political statements, but because it offers the opportunity to view another kind of awkwardness.

Result #4

. More chilling was the fact that the objects were not widely available for sale in the present. This is likely the result of a stringent ban on this sort of business, although one wonders how long the law remains in place. On the contrary, by putting this kind of noncommercial art in a commercial context, the city effectively and implicitly endorsing the products of mass culture—and here the label capitalist is precisely reserved for art that is directly political. In fact, as this analysis shows, the act of the museum is crucial to democratic participation and thus political involvement.Marlene Ng, a member of the Ingress Gallery who curated the show, placed her work at the intersection of signs and values, positing the exchange between the law and the freedom to make choices. This shows title, Instead of a protest, we must make a protest, called up echoes of the clashes at Benetton in 1983, when, in a symbolic gesture, the entire cafe on the island of Martinique was closed down by the British royal family for a few hours. Ng describes her refusal to participate in the occupation as a declaration of protest. But Ng was reacting to the British government, who she says had no right to arbitrarily and unjustly exclude her from the public sphere.In the end, Ng was left with few concrete choices, both because of the prohibition on her political action and because of the refusal of the most important legal system. Nonetheless, she succeeded in her effort to engage with her situation. She drew on various ethical, political, and aesthetic issues that are of political importance today: topics that have been addressed by film and photography, and a form of art that also carries an ethical charge.

Result #5

cut outs of newspaper to make a mother hugging her son who is going to war. Somehow they add up to a picture of five nations crossing arms and one nation standing near a banner reading STOP POLICE STATE!One of the most surprising images, a 1958 Kodak sign on the wall in which a toddler dressed in an expressionist cowboy hat is walking, taunts the visitor that its a sign of kid attitude. The only problem with this image is that the scene is surreal, not just as an ironic dig at child-glorification but as a too-political example of rampant juvenile behavior. The narrative nature of the photograph and the androgyny of the chair makes it a more effective horror than the real thing.In another strange work, a woman lies on her back on a couch, her head nearly covered by a blanket. It seems shes trying to sleep or perhaps she just needs a pillow. The caption beneath the picture reads exactly the same as that of the sign; theres something oddly disquieting about the two sets of text. The blanket seems a more reasonable thing to cover up the lack of a bed, and the photograph ends with the same knee-jerk smile of the one who first took the photograph. She tries to speak but does nothing. The girls body is covered in layers of green and brown, or maybe it is just that she cant get out of the blanket. Perhaps she was in such a bad dream or nightmare or maybe she is just too distraught to speak. That is the only other sign of life in this photograph. The blanket appears to be a strange relic from the last days of the blanket world or a kind of bed of dreams or nightmares. It comes off as both risible and pathetic. The nightmare of a giant pink blanket has moved on. There is no sense in waiting to see what it will look like when the blanket is brought back to life. But it does not matter, because the picture confirms the inevitability of dreams and nightmares and their possible failure.