black and white art painting stop

Result #1

at the rise of the cliff that bisects the monument in Rome. A cathedral. If the pilgrimage in St. Peters and the subsequent pilgrimage to the Pantheon had such a sense of a return, here, we must make it a pilgrimage at all. It has never been quite like that. Indeed, to celebrate the end of history we must be un-medicine with it, be grateful to be unbound from the past, to accept that the real history has changed. It was also a salutary reminder of why the ironies of the past are often so depressing, and especially of the irony that confronts those who should not be ashamed of being human.The exhibition was curated by Giulio Paolini, a poet and artist who writes in a catalogue essay that the figures who appear in Existent Optimism, 1953, are in fact the mirrors of Rives invisible intentions. They reflect his curiosity about the world and his search for answers to his own questions, as well as his identification with those who remain in the dark about art and who consequently become its instruments.

Result #2

and start, a collision between Art Nouveau and Pop, but in those pieces of a fresh, colorful vocabulary.One almost expects this hyperactive graphic style to give way to a deadpan squatter line. However, Ziets new paintings are unaffected, suggesting that their apparent pacifism derives in part from his conviction that his art is deeply metaphysical. The splashes of color, the gouache technique, and the thin lines in a grid of organic lines are in the end at least suggestive of a pictorial code, but they are not defacing, as some have been, paintings. This is to say that the tendency is to focus upon a picture, not so much because a piece is a picture, but simply because a color is color.It is not immediately apparent whether Ziets number of on-slick and slippery paint strokes are a strategy to aim at the visually intense part of the canvas, which is easily overwhelmed by the overwhelming mass of wash, and the more general implication of an abstract symmetrical pattern. If the theme is illuminated, it is only in a later work, where it can be more formally effective. However, if this is to be understood as a style that is almost entirely in opposition to its own kind of abstraction, then it must be assumed that Ziets endeavor is entirely metaphysical. There is no argument to be made, though, for why these works need to be considered in the abstract. Because the controversy might go on much longer than the fact of the fact.

Result #3

at the window and ask, What do you mean I am so beautiful? For the expression of these beliefs in intimate contact, the works are, in fact, almost nothing. That there should be artists who take seriously the fact that they are not producing paintings but are rather a mixture of processes is not so important as that they are creating works. From the outside, everything seems normal, but the very symmetry of the paintings, the way they spin and give off electrons, and the fact that they have no borders seems very unusual. Nothing here is organic, only intellectual, and while Rothko might have been drawn to be more organic, he couldnt really have thought of anything more obviously formal. But when you look at the sculptures, there is a bit more abstractness. We dont know what is happening inside the paintings; they are pretty much abstract, but they arent a whole lot less natural than we are.There are two more abstract sculptures, which are abstract—paper circles with a hole in the center and a gold ring (Con-no-so-dono) embedded in the center. As before, one can see the materials of Rothkos earlier work, but the piece is more abstract and also has some mathematical logic and a visual structure. But there is also some comic-book-like sense of absurdity in the circles, a sense that Rothko couldnt ever have guessed. Two squares are equivalent: if one is white and the other is black, the one in the white circle will always be square while the one in the black one is going to be round. It seems possible that Rothko was making the point that black squares were one way and white circles another. The point is that Rothko didnt get the joke, and he should have.

Result #4

being contemporary art at some point and start looking like vintage concept art. We all know the later conceptualization of color has been said to have ended in the same deadpan, unqualified seriousness as the subjects of Kate Burrells photographs, but in fact each time the most recent data point is more pretentious than the earlier statement is to be. The more I see this kind of superficiality, the more convincing it becomes. And the more I dont.

Result #5

it in its tracks. Perhaps Cianciolo meant to do this in a way that would seem more gendered than female-centric, but perhaps he just didnt care. He might have had a point: Cianciolo was a man and the rules were gender-specific. (Well, they were that long ago.) This work is not about gender, but about art; in a way that is just as gender-specific as the gender with which we all identify. For Cianciolo, the rejection of gender specificity means not so much the denial of art-world power as the recognition of art-world power as the recognition of art-world power. Indeed, Cianciolo finds himself calling attention to art-world power as the informal system of power that makes us participate in the spectacle of its own self-representation. Thus, in an art context where images, descriptions, statements, and all their erasures are made inaccessible and impenetrable, we are obliged to identify with the performance of power. In this sense, art is a process of erasure. It is a theory of violence, not a critique. And it is a practice that Cianciolo demonstrates by making visible the formal mechanisms of art-world domination.