With regard to the issue of content, the iconicity of the facture spatially undermines the distinctive formal juxtapositions.

Result #1

With regard to the issue of content, the iconicity of the facture spatially undermines the distinctive formal juxtapositions. The forms are often simple and transparent, yet not at all transparent, and the paint is applied with an almost painterly, almost volumetric handling. The images are often small, but not small enough to be easily seen, and the shapes are often simple, yet they are never simple. In this respect, the works resemble photographs, with the difference that they are often cropped. The large-format works are more often than not panoramic, and their scale is emphasized, and it is the flat surface of the canvas that dominates. The black-and-white pictures are also panoramic, but the colors are used to accentuate the figure.The form of the work is complex. Its main function is to convey the image, and the imagery is developed in a series of images. A central central figure, usually a male, stands in the center of an ambiguous space, with a central eye, which is often cracked open, like a morose hat, in some of the works. The central figure is usually surrounded by a horizontal band of white or black paint. At times the bands are like the edges of a book, suggesting that the central figure is looking into the painting, into a world beyond the canvas. The central figure is often broken by a surface of black paint, and the colors are often like a black ground, with a thick, irregular border. The central figure is always fractured by the surface of the painting, but the fragments are always renewed, and the fractured image is often like a cut in the surface of a book. In several works, the fractured image is an image of the central figure, and the central figure is also fractured by the surface of the painting. In the most recent, the fractured image is the head of a male figure, but the central figure is broken by a surface of black paint. These works imply a new, more enigmatic reality, as if the central figure is still looking at the painting, but has moved beyond it.

Result #2

With regard to the issue of content, the iconicity of the facture spatially undermines the distinctive formal juxtapositions. The use of a pictorial grid is followed by a vertical grid, and the fact that the grids are joined at a diagonal makes it seem as if the lines are being pulled apart from the horizontal planes, which are in fact the same planes as the pictorial ones. In other words, the vertical and horizontal grids have to be read in relation to one another, and the fact that they are joined at a diagonal makes the work more like a drawing in a graph. The individual panels of each work are grouped in a way that is a little bit different from the way they are in the paintings, which suggests that the grids are not quite as big as they seem and the paintings are not quite as big as they seem. The work seems a little too literal, and its too easy to be read as a statement about representation. The horizontals are not quite as big as the verticals, and the horizontals are not quite as big as the verticals. In fact, they are quite small, and the verticals and horizontals are all the same size. The grids are not quite as big as the verticals and the verticals are not quite as big as the horizontals. These paintings are not quite as good as they seem.

Result #3

With regard to the issue of content, the iconicity of the facture spatially undermines the distinctive formal juxtapositions. This is not necessarily a negative result. The facture, the way it is made visible, is a sign of a universal artistic and social truth. And the facture is also a means of making visible the truth about the world. The facture is a means of transforming the world into a certain kind of pictorial space.The two most interesting works here were the monumental and the small. The monumental work, with its white pillars, is a monument to the power of architecture. The small works, made of wood and painted white, have a more pictorial and sculptural character. The monumental piece, on a scale of about a meter, is a large, long pillar made of wood, a red, white and blue pillar. The scale is also small. The monumentality of the work is overcome by the smallness of the pillars. The monumentality of the monument is further undermined by the fact that these pillars are made of wooden dowel rods. The red and white pillars, the yellow and green ones, are made of a similar material.The facture of the monument and of the small pieces is similar, but the monument and the small pieces are more in keeping with the picture plane. The monument, made of wood, has an intrinsic pictorial character, but the small pieces have no pictorial or sculptural character. They are more like the rough bits of wood which are used as frame and pedestal for the monument. The monument, made of wood, has no pictorial or sculptural character. The small pieces, made of wood and painted white, are more pictorial than the monumental piece. The facture of the small pieces, made of wood and painted white, is less pictorial than the monumental piece. The facture of the monument is further undermined by the facture of the small pieces. The facture of the small pieces is more pictorial than the monumental piece.

Result #4

With regard to the issue of content, the iconicity of the facture spatially undermines the distinctive formal juxtapositions. The obvious presence of a figure or two makes the figure seem less important than the generalized, abstracted surface. The more significant element is the figure as an idea. This is a very American thing to do. The depiction of the figure as a symbol or as a symbolizer is not quite as important as the fact of a figure being there. It seems less important, however, than the fact of a figure. The fact of the figure is not as important as the fact of its presence. In the work of the German artist Dieter Roth, the figure was the most important element. Roth concentrated on the figure as an idea, and he did so with great conviction. He was able to bring out the complex, sensual, erotic aspect of the figure, which Roth found to be a secondary concern. It was a secondary concern of a very American kind, and it is a very American idea, too. Roths work is a great example of the young American sensibility, which is beginning to be understood as a distinct sensibility. It is a sensibility that is moving in a direction that is totally American. It is a sensibility that is moving away from the forceful, physical, American modernism that was the dominant sensibility of the past. It is moving toward a sensibility that is somewhat intuitive, rather than a forceful, physical, American modernism. Roth is the most American of all the abstract painters. He is the one who is able to make a sensibility of abstractness come off as something that is at once sensual and sensuous. It is something that is rather subtle and articulate, rather than something that is as assertive and physical as it is vague and physical as it is indirect and intellectual. Roth is the most American of all the abstract painters because of this, and because it is so easy to understand. Roth is able to make a sensibility that is both sensual and sensuous without losing the sense of its own identity.

Result #5

With regard to the issue of content, the iconicity of the facture spatially undermines the distinctive formal juxtapositions. The facture is rendered with a clarity of the most extreme rigor, and is reduced to a minimum of detail. This is a direct contradiction to the idea of the image as an absolute pictorial truth. This is the case with the works in the show. The images of the artists paintings are framed by their own frames, and they are presented on the wall in such a way as to be seen through the frame of the painting. The paintings are then at once elements of a work of art and of a photograph. The artist becomes the figure of the work, and the painting becomes a representation of a figure. The works are also figures, but their facial features are blurred. The identity of the figure is thus erased, and the works become rather images of a sensibility. In this way, the works of art become images of the self. The artist becomes a passive subject, but one whose identity is altered by the works. This is also the case with the photographs, which show the artists face and are accompanied by a photograph of the artist. The figure of the artist is thus reduced to an image that is in the process of dissolving into a background. The works become merely images, and the self is no longer the object of identification. This is the case with the works of painting, too, which are reduced to their most basic, barest, and most basic kind of color. The color is the most obvious element in the works, but the paintings are nothing but color. The works of painting are reduced to the most basic colors, and the self is no longer the object of identification. This is the case with the photographs, which show the artists face and are accompanied by a photograph of the artist. The figure of the artist is thus reduced to an image that is in the process of dissolving into a background. The works of painting are reduced to the most basic colors, and the self is no longer the object of identification.