Nik Kosmas, modern, violent, internet, humor, hentai

Result #1

, video-game, realism, Cucinoco, non-interactive art, neoplastic, art-film, and video-game themes. The concept of the gallery becomes the subject of the work. With the exception of the gallerys natural-history display case and a selection of Haim Steinbachs artworks, all works in the show were painted in acrylic on paper. And yet this was not a show of the exhibition but of a show of the gallery. For the galleries are merely an element in a project, and hence functions as decorative material; the artist has painted his own paintings.In this exhibition, the concept of the gallery was opened up to different levels of reception, ranging from the intimate to the public. The social aspect of art has always been a part of the equation. But now it is the non-verbal aspect of art that becomes apparent. The gallery as a mediation between the artist and his public becomes a problem of self-definition, as the work of art becomes a work of social communication. The importance of the work of art to the art world is thus established as a problem of production. The presence of the work of art in a gallery is no longer merely a practical matter. It is a symbol, a sign, a symbol of the work of art, and in this exhibition the artist was challenged by the work of art. He had to deal with it as a communicator between his own work and the gallery.

Result #2

Nik Kosmas, modern, violent, internet, humor, hentai, shorty, I love you, 2002, video, color, sound, 6 minutes 30 seconds. One of the most interesting things about the art of Ján Mančuška is that it is an absence. The last years of his life were spent in the hospital, where Mančuška used the opportunity of his recovery to create a number of new works. The artist suffered from lung disease, but he managed to recover and did well enough to become an artist. This exhibition presented his life in a new light, with works made between the years 2000 and 2002. The show was divided into three parts: three video installations, two new installations, and a photograph, all of which are untitled, all dated 2000, and dated 2002. The three installations, which are at the same time virtual stills and static images, are connected to the artists health problems. The earliest installation is a series of three stills that take the viewer on a walk, and which resemble the subjects of a voyeuristic fantasy; the others are series of pictures of a nude man with his face half-hidden in a photograph of a woman. They are like the stage sets of a drama, although they are not staged.The video installation, I love you, 2002, consists of the sound of a woman singing, I love you. The first part is a loop of a woman reading a letter addressed to Mančuška and to his mother. It is the first of the three videos on display. It is a letter written in the past, and the first of the three installations that make up the second part of the installation, which also includes a photograph of a naked woman, two letters to Mančuška, and a photo of a naked woman in the hospital. The video begins with a close-up of the woman in a white gown, and her eyes are closed, as if she were sleeping.

Result #3

Nik Kosmas, modern, violent, internet, humor, hentai, pornography, and rock n roll, theres lots to see and do, and it looks like an art exhibition (which isnt it?) with plenty of things to see and do. There are over 700 works on paper and nearly 200 paintings on canvas. To visit the exhibition is to get a crash course in the art of the past twenty years. With only a few exceptions (Robert Ryman, Douglas Huebler, Eric Fischli), all the paintings and works on paper are in the present, and this was the most beautiful show in recent memory.The most successful paintings in the show were works from the 1970s, such as Jim Shaws now-classic Don King, which captures the moment when the artist, a drunk, with the loosest hair and the most achy grin, turned to a canvas and began to paint; in the process, he also lost his marbles and drew on his arms and in some way conflated his clothes and his life, as the saying goes. There are lots of things that can be said about Shaws work. Its a funny, sad, hilarious work. In it, Shaws realizes that the kind of painter that creates his own paintings—one that seems to have no boundaries—is more than just a means of expressing an experience of his own personal frustrations. It is a means of making paintings that may not be as accessible to everyone, but for the viewer they are surely one of the most important ways to show that a person is alive today.The show opens with an impressive selection of work by young, unknown artists: Dennis Adams, Matt Mullican, and Jody Pintos are two of the most obvious examples. Adams, a young painter who uses a kind of illustrative style, uses colors that look like they have been made by an automated spray gun. They are sometimes very intense, and the result is a certain romantic tone that adds to Adamss appeal.

Result #4

Nik Kosmas, modern, violent, internet, humor, hentai, Myron Wolff, humor, the third part of the Young Adult title of the show. The title is a pun on the name of a 1993 video by Carl Morris, in which the artist portrays himself as an adolescent boy, with his genitals, onanistic and naked, as a vampiric, sexually confused modern man. Morris video was shown on an Apple monitor and, of course, on a monitor, as a video, but the exhibition did not offer any commentary. The catalogue, however, did offer some helpful pointers to the behavior of the mature artist and artist, including a section on the role of the artistic and the photographic. The show also included a video, in which Morris tried to look like Morris, but failed, as was evident in the video The Departure of Morris and Tom. But Morris may be better than Kosmas.In his introduction to the catalogue, Wolff, the author of an essay on Morris, concludes with a neat, dramatic conclusion: Morriss work is part of a well-developed field of pop, a genre whose high point is the formation of the first wave of committed art-world hippies in the mid-60s. It is now possible to assess the current trajectory of Morris, who now is well into his eighties and the age of seventy-five. One wonders what it is to look at the works of Morris, who is at his best in his early 20s and who has a reputation for strong, at times lyrical lyricism, at times just as lyrical as it is abstract. Is it possible to look at Morris and do not think of the photographs? Does it matter if Morris is a cartoon character or a figure with a face? I would not have said that Morris was a great painter. He was great at drawing and at using a brush to create figures.

Result #5

Nik Kosmas, modern, violent, internet, humor, hentai, romance, hentai, sexuality, sex, etc. A while back, I saw a couple of Japanese artists spending a lot of time in the Los Angeles area and making art that is a combination of the abstract and the figurative. I saw a lot of small-scale paintings and some paintings that were small, but by and large had the same dimensions as the artists big paintings. (Their subject matter, the '80s, is generally about female sexuality, and they usually address the sexual aspect of female identity as opposed to the dominant aspect of female sexuality.) Two of the paintings shown here, I found particularly interesting. I didnt see their subjects in person but heard their descriptions from the artists, and that was interesting too. Kosma took a portrait of Kim Novros, then added an image of her own. I didnt know whether the subject was the artist or Kosma herself, but I could see the similarity between the two. Kosma made a portrait of her own face, which was a different sort of portrait. I found it interesting that Kosma took her portrait so seriously, and that she made it so obvious that her own face had been inserted into it. But I couldnt figure out whether the subject was Kosma herself, or if the self was there at all. Her decision to make this decision at a time when she hadnt really figured out what her role was as an artist was especially disappointing.The exhibition is more than a little ironic, of course, since Kosma is a woman, and the artist is a woman. Kosma herself is a woman. Her work seems to be constantly informed by feminism and her own identification with it. But Kosma should be concerned with her own role in relation to the other woman, not with an identity that is bound up with her.The real point of the show is that Kosma has a lot of female friends. And women have always been represented by artists—by male artists as well as women.