Review | En esa epoca exist...

Generated on 2023-11-29 07:14:22

Result #1

En esa epoca existia una buena cantidad de relatos basados en investigaciones cientificas. Imaginaban como funcionarian los inventos y los descubrimientos en la realidad, en un futuro mas o menos cercano y, algunas veces, en espacios fuera de la Tierra. En realidad, el escritor frances Julio Verne ya habia escrito hacia fines del siglo XIX sobre el funcionamiento del submarino en su novela Veinte mil leguas de viaje submarino, y sobre el cohete espacial en De la Tierra a la Luna, basandose en incipientes investigaciones y en suposiciones de los cientificos de su epoca. The Geometries series, curated by Susana Caron, inaugurates this movement as a revival, one with a new color, a new construction, and an aesthetic that has become our most fluid, articulating both abstract and concrete forms. It is a real beauty of the heart—what the artist calls the pentimenti of all geometry.Aligned on three main walls of the gallery were sketches for the three-dimensional forms of the series: the pentimenti of the pentagon, the pentagonite pentagon, and the pentagonite pentagon. Caron, who is an avid fan of geometric abstraction, begins with the base of the pentagon and then explores the base and the mathematical equations associated with it. She then submits a number of drawings, developing various geometric and geometric-image complexes in successive levels of abstraction, until she comes up with the form that she is describing—and that is, the pentagon. There is no question that these forms are beautiful. Caron applies a palette knife to the paint and sews the surfaces of her objects. The resulting compositions, which have a metallic quality, are of great quality, as are the impasto marks on them. The composition is not only symbolic but also lyrical, not unlike the colors Caron has chosen for the pentimenti. In a striking aspect of this show, the drawings are executed on white paper and laid on a single layer of colored acrylic.Caron also creates geometric forms for painted objects. These are made by applying a layer of color to the surface of a block, and then applying another layer of color to cover it. This method is a very simplified one, but Carons forms, as complex as they are, are in no way fixed in color or geometry. They are formed by the direct application of paint—not by grid or patterning, but by direct contact with the paint itself.

Result #2

En esa epoca existia una buena cantidad de relatos basados en investigaciones cientificas. Imaginaban como funcionarian los inventos y los descubrimientos en la realidad, en un futuro mas o menos cercano y, algunas veces, en espacios fuera de la Tierra. En realidad, el escritor frances Julio Verne ya habia escrito hacia fines del siglo XIX sobre el funcionamiento del submarino en su novela Veinte mil leguas de viaje submarino, y sobre el cohete espacial en De la Tierra a la Luna, basandose en incipientes investigaciones y en suposiciones de los cientificos de su epoca. <|startoftext|>SÃOFTON (Portrait of a wealthy), a portrait of the most prolific French, British, and American artist in the modern period, was hung behind another portrait of a wealthy French artist, that of Claude École de Paris, at the Gallerys Washington, DC, offices. École de Paris was the illustrator of many of the first Montpellier abstractions. He was a known success of his time, especially because of his emphasis on portraiture and didactic painting, which, as there was no precedent for formalist abstraction in the first decades of the century, he understood as the essential starting point of the modern period. This painting is of course an excerpt from his extensive collection, a collection of writings that École de Paris has kept for some forty years.This exhibition of École de Paris collection has been divided into two groups of exhibition: portraits and master prints. In the portraits, as there were no portraits, École de Paris shares the status of the author and inventor of many of the paintings. In a few cases, however, the paintings show he has worked in the process of creating the portrait, as if in no hurry. In contrast, some of the master prints show the artist to be in a hurry, more as a maker than a maker.The master prints are of special interest, because they reveal the painstaking effort of the artist in the creation of the master portrait. Many of the master prints from École de Paris are exquisite, delicate, and delicate. These are large, delicate, delicately rendered, delicately drawn and seemingly to be done in a low-key manner. École de Paris keeps a photograph close to the surface in a delicate, blue-gray range, which is in turn muted and complementary. In other portraits, École de Paris makes a very clear statement.

Result #3

En esa epoca existia una buena cantidad de relatos basados en investigaciones cientificas. Imaginaban como funcionarian los inventos y los descubrimientos en la realidad, en un futuro mas o menos cercano y, algunas veces, en espacios fuera de la Tierra. En realidad, el escritor frances Julio Verne ya habia escrito hacia fines del siglo XIX sobre el funcionamiento del submarino en su novela Veinte mil leguas de viaje submarino, y sobre el cohete espacial en De la Tierra a la Luna, basandose en incipientes investigaciones y en suposiciones de los cientificos de su epoca. <|startoftext|>The title of this show, Elettra códigoso para cinco dibujo diferencias para otra mí (How to make a warm body from a box), was in fact the title of a series of works on paper that the artist presented as either sculptural or photogrammatic objects. In this way, in order to represent the body as a concept, an object, or a tangible, the artist begins to find his way of dealing with it. The works, mostly from 1986, are mainly rectangular pieces made of plexiglas, which is a strong and durable material that holds the capacity to resist physical damage, however brittle it may be. Its all the more surprising then that the two-dimensional works are found so readily on the internet.The latter are found in the form of the internet itself. The reality of the internet, with its endless possibilities of internet communication, as well as the movement of information, has a profound effect on the work that was on view here. The works share an orientation and a diversity of content, which are manifestations of the artists own thoughts and feelings, so that what is found on the internet may also be found in his sculpture and photograph. The artist has thought about it before, and recently in the catalogue of this show, he says, If we bring all things to the internet, they will appear in all the images. He references his own work from the 70s. If we bring all things to the internet, they will appear in all the photographs. This idea is well expressed in the show itself: The key is to look at the pattern of the light, which does not originate in the dark, but in the light and in the light, making it apparent in the darkness. The light, in turn, appears in the dark. The shadow shows up in the darkness.

Result #4

Result #5

En esa epoca existia una buena cantidad de relatos basados en investigaciones cientificas. Imaginaban como funcionarian los inventos y los descubrimientos en la realidad, en un futuro mas o menos cercano y, algunas veces, en espacios fuera de la Tierra. En realidad, el escritor frances Julio Verne ya habia escrito hacia fines del siglo XIX sobre el funcionamiento del submarino en su novela Veinte mil leguas de viaje submarino, y sobre el cohete espacial en De la Tierra a la Luna, basandose en incipientes investigaciones y en suposiciones de los cientificos de su epoca. <|startoftext|>Detrato descrada da livro de tapações aprendere (Detrato Descends a Light Years Away from a Walls Base), a large piece of ceramics that's been installed in the museum (and since its completion), was on view for the first time since its inception in 1984. Tapié (Topiary), 2014, is a suite of brass-colored ceramic bowls made from Tintoretto-type vases (as illustrated in the eight ceramic jars, all 2014) and assembled with iron, wood, and caixa stones. Two of the bowls are topped by vases made of olivine (a natural polymer), and the third features a layered system of reflective colored beads. The piece has a rich, pastel-colored hermeneatic patina that, on closer inspection, seems to have been bathed in liquid gold. The glass jars, which are also modeled after porcelain vases, are filled with raffia or sand crystals that, while displaying a strong physical presence, are opaque. The ceramic bowls themselves are reminiscent of the candied-up windows of old-fashioned porcelain vessels. But the vases have been polished so that their surfaces are virtually translucent, leaving the metal surface and glassware to the side. As if to acknowledge the overwhelming presence of solid gold, the shiny ceramic is painted in a rich, richly layered color. The vases are no longer nearly transparent—they remain locked into their original condition. The vases themselves, which were presented in a series of two-part presentations, are now finished in varnished wood, or in varnished bronze.