the object is rooted in that vast ‘memory bank’ that is the evolutionary history of the species

Result #1

the object is rooted in that vast ‘memory bank’ that is the evolutionary history of the species <|startoftext|>Briana Kluft, Untitled (Architectural), 2012, oil on canvas, 66 x 78 3/4". One of the best things about the artists first major exhibition in France, curated by Jean-Philippe Sudéma and Timmbre M. Hrayer, was how the work in it (and the art it showed) seemed to share the same space. The gallerys main gallery is a long, narrow space, and the artists featured there were uniformly young, mostly male. At the same time, this relatively small group was not actually young (only twenty-three were included here), and their work seemed to reflect a certain shift in the French art scene toward a more contemplative, introspective approach. This would seem surprising, given the near-abstraction of the early-twentieth-century avant-garde and the the-end-of-art-as-curiosity that characterized the 1960s and 70s in the United States. But the artists and their works—the majority of them untitled—constantly suggest a broader historical perspective. This is perhaps best demonstrated by the two works included in the show, two of which were made last year in the artists studio: a painting of the floor of the artists studio, and a similar painting in the artists studio, but made this time in the presence of a photographer (Untitled [From the studio/photo shoot], 2010). The artist, a young artist from Zurich, has photographed many of his works in the artists studio, and he has also made photographs of his own works in the presence of his own photographer (Untitled [Untitled], 2009–). Both are large-format, black-and-white photographs of works by Willem de Kooning and Jasper Johns.

Result #2

the object is rooted in that vast ‘memory bank’ that is the evolutionary history of the species <|startoftext|>Judy Haberls paintings have been characterized as the work of the mind in the desert, and the work isnt entirely without intellectual undertones. Her art is predicated on the imitation of the paintings of artists in the 1940s, for example, by Piet Mondrian and Robert Rauschenberg, or by Robert Smithson and Robert Ryman. Yet she isnt trying to therouse the secret life of the unconscious; rather, her work does something more perversely. For Haberls paintings, theres a grotesque aspect to them that is at odds with the fact that they are so often considered just paintings. Theyre the freak paintings.Haberl is a painter who wants to look natural. Her paintings look like drawings. They are based on drawings by artists such as Wassily Kandinsky, Gerhard Richter, and Kahlos Klein. They are literally filled with shadowed forms. They are not paintings but drawings. The shadowing is done with paint, and its almost always on a larger scale than the paintings, giving the paintings an impression of being almost life-size. Some paintings are about six feet tall and are filled with little shadows. They are transparent, and the shadows are traced by paint, so that the shadows are also the marks of the brush. Some paintings look like easel drawings, and the shadowing is done with the paint itself.Haberls paintings have a strange intimacy. They seem to be signs, not images, and they are like letters that have been cut out of paper and glued onto canvas. They look like messages that have been sent to someone who isnt there, and theyre a part of the work because they show a presence that isnt there. They have a presence that isnt there but that we can feel. Haberl shows us that we can feel, and in so doing she shows us how we can become more human, even more human-like.

Result #3

the object is rooted in that vast ‘memory bank’ that is the evolutionary history of the species <|startoftext|>Pete Townshey, White Figure, 1991, acrylic on canvas, 50 x 60". The world is a mosaic of cultures and identities, the subjects of Pete Townsheys paintings and drawings are always themselves. In a sense, he paints them. But it would be wrong to think of him as an artist in the traditional sense. In fact, his works, which are largely abstract, have the quality of a sketch—and of drawings. This can be found even in the paintings, which are typically about two feet square. The canvas is mostly white, but the colors are usually yellow, red, or blue. Sometimes a few shades of gray or black are included, as in White Figure, 1991, a painting that can be taken for a fairly simplistic abstraction. The white form is usually a hollow mass; the edges are often filled in with a single color. The color of White Figure is red, but not in the usual sense. Its true that the solid form has been painted over; the color in the upper part of the canvas is a variety of blues and greens. This is not a color in the ordinary sense. Rather, it is a color painted in the most limited sense: it is an actual, albeit artificial, material. In White Figure, for instance, the white ground has been completely covered by a layer of white pigment, which is repeated in the lower part of the painting and then in the upper one. The color of this lower layer is a shade of red, and the two layers of pigment are joined with a narrow line to form a narrow white line which, along with the red at the bottom, forms a right angle on the painting, the plane of the canvas. The colors of the upper layer are not only red but also green and blue; these hues are matched by the whites of the lower one.The paintings and drawings are often very expressive; they are filled with nuances of the emotional.

Result #4

the object is rooted in that vast ‘memory bank’ that is the evolutionary history of the species <|startoftext|>In the early 90s, a number of German artists were drawn to the region around Tautzkärts (Snow mountains)—a small town of about sixty inhabitants located in the foothills of the Neuchatel mountains—by their love of painting and their desire to create art that would help them live their lives. In 2000, Tobias Rehberger began a long-term project to paint snow-clad mountains. He did this in collaboration with the local community, which provided the best possible basis for his art. His intention was to create a work that would be both attractive to the eye and to the human touch, yet also offer an escape from everyday life and a challenge to the viewer.The most recent work in Rehbergers exhibition was a series of ten paintings on canvas, which were hung around the gallery. The show was divided into two parts: five paintings on paper and two paintings on canvas. The paintings on paper were in a variety of formats; all were hung on the wall. A large black border was painted on the wall from floor to ceiling, forming a long, thin curtain, which the viewer had to walk through to reach the other side. The paintings on canvas were also hung on the wall, but the border was removed altogether and the canvases were arranged on the floor. The paintings on paper were also on the wall and were hung on a wall, forming a kind of sculpture. The color was applied in a thick, almost painterly manner, creating an effect similar to a painting on paper.The paintings on paper were also divided into two parts: five paintings on paper and three on canvas. The paintings on paper were split into two sections: five paintings on paper and five on canvas. The paintings on paper were divided into two sections: five paintings on paper and five on canvas. The paintings on canvas were divided into two parts: five paintings on canvas and three on paper.

Result #5

the object is rooted in that vast ‘memory bank’ that is the evolutionary history of the species <|startoftext|>In the wake of the collapse of the Berlin Wall, a new political landscape has opened up in Eastern Europe. The region has been rocked by the challenge of the dissolution of the Berlin Wall. Now, in an era when countries from Poland to Lithuania and Slovakia have emerged as the leaders of the so-called Eastern European Union, the question of a shared political space has become urgent. Thus, the 2014 Venice Biennale, the first large-scale international exhibition of contemporary art in Poland, provided a unique opportunity to experience the work of young artists in Poland. The exhibition opened with a selection of contemporary Polish art from the artists perspective: a series of colorful geometric objects from the 1990s. These pieces, made using a variety of materials, from rubber to metal to plastic, came from the artists collection of collectibles, which he puts on display in his studio. For the past two years, these objects have been arranged on a shelf that evokes the most radical aspects of the post-Communist world. These objects, with their large scale, strong color and light touch, take the place of the wall and ceiling in a room that is both exhibition space and exhibition space. The rubric of display is juxtaposed with the specific position of the works on display, which function simultaneously as political objects and political billboards.The show focused on three artists working in Poland: Żmijewski, who is part of a group of artists formed by the Museum for Contemporary Art, Warsaw, and the Center for Contemporary Art, Kraków. Żmijewskis latest work, consisting of a series of sculpture-sculpture pieces, was installed in a small, narrow room. A similar, more formalized, but more straightforward play on the concept of exhibition space was also played out in the other two works, which were hung on the wall in the gallerys main room.