Why does this work appeal to you? What is it about this work that appeals to you the most?

Result #1

Why does this work appeal to you? What is it about this work that appeals to you the most? Then, watch the glass curtain and think of how it will be different. In the end, if I really love my work, I may be going to live in a cave.In a way, the show is a kind of record of reactions to the quiet dominance of glass in everyday life and the way it has been used to withhold information from us. One should not forget, though, that this is an exhibition that will have its own reverberations—far beyond the arts. And they are strong.The show is structured along two parallel lines. Each area of the gallery is divided into two different rooms—all the smaller—and each section of the exhibition is divided into two different rooms, as well. The small section shows the first, large area, and includes work by professional glass-makers. The smaller, complete section contains only the work of lower-class artists. The central section displays the work of art by another artist, who has shown regularly here. It includes the work of artists from the 1920s and 30s who left China as well as the works of more recent artists. There is a collection of white-lacquered, irregularly shaped books, dating from 1931 to 1966. The books, found in China and Taiwan, are sold to the public. With the exception of these, this is the first show by an American artist that will offer a more authentic experience of the world. The work of Josef Albers, Kahlos Nauplatz, and Le Lettre Des Esseintes, who have all lived and worked in China and Taiwan, respectively, are the mainstays of the show. The heavy, low-tech craftsmanship of these pieces, where done in Taiwan, China and Taiwan, is remarkable. Albers and Kahlos Nauplatz are modern stele sculptures, after all. Le Lettre Des Esseintes paintings are amazing.

Result #2

Would that painting allow you to forget about the present and invest more time and mental energy into history? No, the matter doesnt have that priority, even if you were to take a certain, perhaps even not-unintentioned, interest in the paintings own history.These paintings are well made, yes, but that doesnt mean that they are; they are good, good paintings. Their pleasingly modest scale (and relatively small size) can be effective, although its always possible to overlook its charm. As proof, the paintings are reminiscent of the natural landscapes and architectural space of the 20s and 30s. A couple of the originals of these, for instance, are pretty compact, and some of them are pretty good too. And though a few were like rips of a painting—those that werent very fashionable in the past—some were like thin rivulets that drifted in the wind. Most of these images dont sound as if they were made from scratch, but these paintings have been done.Theyre not meant to be art. I dont mean that they lack a certain conceptual thrust, as far as the painterly parts go. What, in the end, is being sought is a further in the development of the medium. Isnt this an art that remains apolitical? I dont think so, but for the moment it makes the effort to be an art.

Result #3

That its all you can do for the high prices and artworks thats involved? Im asking here. Does it surprise you that his art can be effective for years, while he can only offer it for little or nothing at all? No. Its not only the art itself that appeals to me. Its the connotations and the idea that you get from the work as a viewer. Duchamp, Max Ernst, both here and there. Perhaps in Duchamps case thats not so bad, since he didnt end up offering much to his audience. Ernst was right in rejecting all action art as mere art. Theres nothing like Ernst to make us see. Theres no action. Thats what Ernst said. It can be missed. Duchamp gave us no action in his work. He just dropped it. There was nothing left to do as Ernst withdrew from the picture. His pictures were done. The kind of work Ernst can be is gone. This is not a regret. Its a great compliment.

Result #4

Read it and weep, weep and cry. Its a good thing to do when the work begins to show. Its been done. You can do it, because its been done. You can do it and it wont fail.

Result #5

Why does this work appeal to you? What is it about this work that appeals to you the most?The answer is that it is a difficult question. It is difficult not only because of the difficulty of finding one who is as well-versed in what is at stake as the artist but also because one wishes to be involved in the work itself, in its opening itself up to the world as a whole. I do this, but the fact is that it is a difficult thing to do. The work is something that is presented to the public, a context in which it is presented. In the normal realm of things a piece of art is something that is conspicuously presented. In this context it is not something that is at all valuable or interesting. The former is for a while made even more desirable by being an artwork and also by being an aesthetic value. If you can find a dealer who is willing to buy the work, and who will allow you to have access to the gallery, you can enjoy it as an art work, to a certain extent. Thats the nature of these things. But the work is also the situation in which a gallery is located and its work space. So, to an extent, the work is also the space of an art situation. In this sense the work exists as an art situation. It is an artistic value. It is not an art sign.It is important to note that the work is not intended as an aesthetic value but as a social and psychological value. Its nature as art is that it has a value—a status. To make a work like this an esthetic value, and then to present it as an art value, is to surrender its social and psychological nature. The work is not a social or psychological value. Its esthetic value, however, is that it is an art situation and to which it is tied, and at the same time, not an art value. The work is an esthetic value, an esthetic situation.

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