boat sea water cable black

Result #1

boat sea water cable black ikebana, 6' tall (with another necklace of rocks, one of which sits in a container on the floor). Using the same technique, the artist encased each piece in metal box frame and then covered the box with a solid layer of sand. The box, we are told, holds the polyester resin. The glass that conceals the resin, which is bright orange and is part of the green-orange-painted metal composition, serves as the portal to the interior of the sculpture. As in Procopia, the spatial structures and the connotations of the figures are manipulable. They define the paintings contents and create their own playful rhetoric.The formal exercise of the works in the two-dimensional space was strongly linked to its theatrical setting; one of the sculptures was three large canvases arranged like a good stage. Layers of painting, with varying intensities of boldness and one between blending the colors, created the gridlike structures of the object. The inclusion of large-scale paint application in the rigid, circular forms and the two-dimensionality of the forms recalled the works of Hans Hofmann, Jannis Kounellis, and Peter Heller. Painting, which is usually seen as an essential component of the artists work, is here treated as an expression of his power. Yet in this case, it is used as an element that unites his work with the paintings, paintings that are found everywhere in the exhibition. In this sense, the show merged with the contemporary context of Kunsthaus Zürich, and it coincided with the exhibition Hommage au mouvement durant dans lema supérieur in Paris, held there in 2009. As noted by an accompanying text, the shows title, I wish to express my love and my shock, refers to an event last year in which the book was not read, but rather painted.

Result #2

boat sea water cable black ikon—like one of those that lead from the kitchen to the garden.The three large-scale sculptures—abstract spheres of wax that have been cut into spheres and placed on canvas—comprise a series of tandem presentations, and although each sculpture may be seen individually, their similarity to works by James Graham, Cindy Sherman, and other contemporary artists results in a kind of twisted duality. The spheres are in various states of dissolution, and often are encased in glass vials; they are painted black, and are engraved with clay heads and tattoos; some are set on canvas. Grahams You Are Here, 1990, and Bennett Woods Head, 1994, of a man and his teddy bear, attest to the significance of the surfaces Graham has chosen as the perfect complement to Grahams, but the structure of this sculpture, which is a jar, is almost as inartistic as that of his desk, that of that of so-called post-modernist sculpture.The artistic paradoxes of modernism are less evident in some of the latter-day sculptors' work, but the artists with whom Stewart is most associated—Paul Scheeritz, Thomas Bayrle, and Jay DeFeo—all follow a typically modernist aesthetic of ordered, repeated motifs and organized forms that are steeped in the spirit of the everyday. Indeed, it is to Bayrles and Scheeritzs work that we are now likely to turn for comparison. Both explore the fascination of the commonplace with the everyday, and both make a case for the current commercialized presence of the everyday in public space. Scheeritzs case is perhaps more compelling than that of Bayrle, but not in the way Bayrle himself may be. Scheeritzs sculpture is not part of an explosion of domestic and corporate possibilities that could simply produce the kind of gross disfigurement evident in the work of Bayrle, or even of Bayrle himself.

Result #3

iphallus. An incised-and-wound bracelet encircles a mottled-blue chalice, a nod to the pastoral hand of an apotheosized Christ. In contrast, the cube, a chamber-of-paradox metaphorically placed between the amorphous body and the sealed box in The Question (the sculptural equivalent of a sealed box), is a purely pictorial arrangement of a narrow, bright-red cup, on top of which lies a small pale-blue cup-bearer, and another box, the unwieldier counterpart to the vitrine in The Question. Such is the symbolic relation between three artworks in the show: Marc Selwyn and Yvonne Robertsons untitled collage, both oil on canvas, and Andrew Jensens studio wall. As the works in the show seem to mock the cozy, ekphallic, and highly institutional installation at LAs Museum of Contemporary Art, these artists seem less interested in sexuality than in making the public feel that theyre looking at art rather than something specific. I can imagine a member of the Whitney Museum of American Art to agree. Noting that the most recent of Selwens and Robertsons works shows a death mask of a young man looking at an angelic woman, I would say, Thats a good time to start making art.

Result #4

urchin, and a Duchampian diagram of each forms rectangle as a wound. The complexity of an unplanned combination becomes clear, not only in terms of style and material (Gorgey Sewing Machine, for example, is made of a gleaming feather pad), but also in terms of the nature of the connections between the people working on the pieces, as well as between the overall exhibition design and the manner in which the design acts as a channel through which the people see and interact with one another.

Result #5

iced tea cups cast in bronze, and while the latter pieces, resembling nothing so much as plastic cutouts, are so mesmerizing that they seem almost invisible, the most persuasive point of their construction is the false modesty of their scale and the almost manic assurance of the absence of reason behind their presence. If Brown had known how serious the problem of engineering is, why did he bring this up, or any of the other materials, and give the audience such a good idea of how to work with it? Its no fun to work with.As for works that do not involve a site, theres a dry ground, a steel bridge, and a large steel plate that completely dominates the sculpture. Its a definite stand-in for the sculpture itself, and in this respect it is the one piece that seems most affected by its site. It wasnt anything I saw in the show, nor has Brown ever been exactly right. The bridge is quite assured, but hardly definitive, and the flat steel plate stands as a serious idea; it doesnt seem to quite justify itself, and neither does the bridge. Brown is clearly not in a position to disavow experience as such, and he certainly doesnt want to be seen to be. The bridge isnt a gimmick, and the fact that it isnt a gimmick is not a liability, but a virtue. By finding a way to work with the condition of so much engineering in his work, he is much closer to what Jean-Luc Godard said: I feel I have been liberated. He seems to have found a way to slip back into the experience of the subject and the experience of the object, just as he is, to have found a way to take off his clothes.