Hybridity contemporary arts interpretation and description

Result #1

Hybridity contemporary arts interpretation and description of Japanese culture. What I am interested in is the aesthetic possibilities of drawing. I dont think drawing should be seen as a way of knowing what art is and what it is not. Drawing is a social practice that can be experienced as an intersubjective act. Drawing is a means of signaling feelings and of constructing perceptions. Drawing can also be a way for us to see our own feelings about certain aspects of life, as expressed through art. Drawing is a way to express ones feelings about art, and to get the point across.Drawings are the conceptual method. The drawings are made through the mediation of drawing. They are placed between the drawing and the other objects, between the drawing and the objects and between the drawing and drawing. Drawing is also an act of receiving and signaling. Drawing is a means of signaling that which is not commonly acknowledged. It is a way to communicate the feelings of a person to another. Drawing is also a way for us to make visible our own feelings.Drawing is a social practice that can be experienced as an intersubjective act. Drawing is a way for us to know our own feelings about certain aspects of life, as expressed through art. Drawing is a way for us to express our feelings about art, and to get the point across.Drawing is an act of signaling that which is not commonly acknowledged. It is a way for us to know our own feelings about certain aspects of life, as expressed through art. Drawing is a way for us to express our feelings about art, and to get the point across.Drawing is an act of signaling that which is not commonly acknowledged. It is a way for us to know our own feelings about certain aspects of life, as expressed through art. Drawing is a way for us to express our feelings about art, and to get the point across.Drawing is an act of signaling that which is not commonly acknowledged.

Result #2

Hybridity contemporary arts interpretation and description of the nature of art as a phenomenon is the usual, though less often met with success. As was true with her earlier, somewhat derivative, images of self-projectation, the current exhibition, in its contrast of conception and execution, is an unexpected and significant relief. Certainly it is a relief to see what was good in it, and perhaps the less such a show as this one as this one might have seemed, it is a relief that no one in the art world has actually been forced to ask, in what context, exactly.The show included a large number of works, including several pieces by Geraldine Fox and Richard Diebenkorn, both of which were more or less unmistakably self-portraits, and a number of paintings by Brian O'Conner, whose works and the others in the show were strong, but, of course, it would be unfair to characterize them as self-portraits. I will however say that the sense of context in which these paintings were made (a fact confirmed by the fact that they were painted at the same time that OConners paintings were on display at the New Museum in New York) was a pervasive one. OConners paintings have always been set within the boundaries of a kind of landscape, often so that the paintings edges, in spite of their magnificent sweep, are always just a few yards from the horizon. At least in part, this was a strategy which, although not entirely successful, kept the paintings as much within the tradition of American painting as it was outside it.The fact that the show included a large number of self-portraits, and a large number of paintings by Brian O'Conner, makes it clear that the question of the artist as self-portrait has been a particular focus of artistic thought in recent years, and it is certainly the present interest of the New Museum show.

Result #3

Hybridity contemporary arts interpretation and description of the Korean bathers—one that is at once provocative and impersonal. (Jung has made many such works, but none have been shown in the United States.) And yet Jung has, in fact, been part of the history of contemporary art in Korea. Her most recent large-scale show, at the Center for Contemporary Art in Seoul, featured a portrait of herself as a young woman. In her red-tinged, thickly scented, and shawl-encrusted dress, Jung stands out in a crowd of artists in designer and designer plaid shirts and accessories (including a handbag and a replica of her parents head). She looks as if she is both seduced and intimidated by her own power—a power that becomes apparent when Jung tries to seduce, not only by posing for her own image but also by sexually penetrating herself, as she does in a series of lustily seamy scenes, such as one in which she wears a strap on for a head.Her most recent paintings feature Jung in a more comically revealing role. The most recent, Aerated, was the most controversial, featuring Jung in a ragged, flower-patterned, madcap red dress and a pink satin frock, as if she were a devil-girl-turned-woman-in-panty-pants. The work, titled K-Dress, was hung on the walls like a cheap Halloween costume, on top of a folding table that leaned against a table. A large white stocking suspended from the neck, decorated with a fake gun, sat on the table, a weapon that Jung had used in a previous performance. If one looked closely, one could see that the stocking had holes in it, and a small hole through which Jung had inserted her finger. The whole thing looked like a hand grenade, with the artist herself as the victim, the perpetrator.

Result #4

Hybridity contemporary arts interpretation and description. So, as we enter the gallery, we are greeted by a mannequin, held up by a hand, whose contours are outlined in white plaster, with a pencil held between its fingers; a small bird of a cerulean terra-cotta, hanging from its neck and perched on the hand, perched on the other hand. The hand, also of a woman, looks out at us through a window, its tip pointing in a direction opposite to ours. The view is framed by a woman's head, again in plaster, who holds a pair of scissors between her legs. A second woman is seen to be standing behind a wooden chair, holding a cigarette, whose ashtray is visible on the floor. The scene is set. A series of black-and-white photographs, each one framed by a blank image of a door, shows a nude man in the act of undressing. The fact that he is seen from the side is merely incidental, but the fact that he is visible to us both from the front and from the back lends the act an added dimension, giving us a sense of an uncanny limbo. The photographs take on an almost-reality of the act, in which the figure is both seen and unseen.The exhibition opens with two photographs of a woman lying in bed. They are part of a series of photographs taken by Marlene Dumas from a bed in a Paris hotel room. In the photographs, the woman is nude, but her bed is strewn with clothes, and she appears to be the only one left undressed in the room. Another series of photographs, this one taken by Dumas in a hotel room, shows a man and a woman on the floor, both on their backs. The man clutches his crotch as though he were about to jump up, the woman reaches up to his chest and touches his ear.

Result #5

Hybridity contemporary arts interpretation and description of the natural is laid bare. Its no surprise that the works are all produced in the name of an official abstract art by a state-licensed natural-history museum. But what remains to be seen is whether the state-licensed museum is truly autonomous; and, by the way, what happens to the original information it relies on to offer its interpretation of natural phenomena.Perhaps what we should take as a sign of our times is that many of the artists are exhibiting under the banner of the ascendant notion of artificial intelligence. In this sense, the show is part of an emerging cross-genre of art-theory-about-art, in which artists are using artificial intelligence to redefine traditional art-historical narratives. In this sense, the exhibition is not a particularly new event. But in the age of the digital age, it is an important one. The artists involved are of two generations—the first imagined in the 1990s as a possible new low in art, and the second as a means of giving legitimacy to an aesthetic that has been in decline for years.The first group of artists to take up artificial intelligence were the people who made the first steps toward an individual, physical, and digital self-expression. The vastness of the result of this effort was a means of creating a world that could be experienced and experienced in a specific way. In the book and film part of this project, The Last Generation: The Electronic Image in Contemporary Art, 1990, the artists are described as posing as computers; in fact, many of their names are still to be seen.This exhibition is divided into two parts, which are shown together in a group of works that constitute an exhaustive and fascinating presentation. The first part is a catalogue, which includes essays by French and German authors; the project is titled The Future of Art: Artificial Intelligence and the Imagination.