A woman sculptor carved Lascaux cave paintings from a block of limestone.

Result #1

A woman sculptor carved Lascaux cave paintings from a block of limestone. In this work, a naked figure emerges from a cave. In the third work, the body of a man stands before the view from a balcony in a house of decorated glass. The man holds a bowl with a bowl on top of it, and is surrounded by a wall of glass walls. The artist draped his torso over the floor of the house, creating an impression of movement, a visual echo to the movement of the vase.The images are presented in an atmosphere that evokes the ancient myth of the three men at the entrance to the cave. While he is still in the cave, he sees the cave ceiling and the floor. The vases are placed above the ceiling and the white walls below. The mirrors have been opened, exposing the cave ceiling and the floor of the house. The shadows are created by the three men who surround the house, as well as by the house itself. In the third work, the three men are not part of the scene, but are illuminated by natural light, like a natural scene. They appear to float in the sky and have wings, which seem to hang out of the ceiling like mountains. The shadows from these wings are made up of tiny rays of light that reflect off the roof. The head of a man in his prime, the sky, and the skyless sky are reflected in a small, windowlike structure. The room is decorated with color and splashes of light and raindrops.The cave paintings are hidden by a smooth layer of sand that covers the walls of the house. The floor of the house is also covered by a layer of sand. The paint and plaster that covered the floor, plaster and oil, and the plaster covers the glass in the house, forming a building wall. The second layer of sand is a sedimentary layer that forms a fissure in the floor and is covered by the plaster in the cave.

Result #2

A woman sculptor carved Lascaux cave paintings from a block of limestone. And still another, a young man, made of handmade canvases, covered in a quiltlike canvas. A third work, with a glass-rimmed display case, contemplated the psychological life of both man and beast. A young man stood on a stool in a closet, smoking a cigarette and staring out at the viewer. A man with a neatly trimmed goatee sat on a bed, waiting for a visitor. There was a drawing on a desk, a drawing of a spider, and another of a man leaning against a window. A black and white drawing was on a wall; a man with a red mustache walked toward a bookcase, holding a glass of wine in his hand. A goldfish, similar to a figurine, sat on a bed; the picture, a dust jacket, held a folder with a copy of an animal-rights report.One thing this exhibition brought to mind was the complexity of human relationships, not only with animals but with men. In the catalogue, Leonardti states, While at the beginning, men were like beasts, through the beginning of the year, they followed women, and after that, they followed men. In many ways, this brings us to the next question, Why? Why are men so surprised by women? In the present day, the male gaze appears more strikingly male, more aggressive. (Lascaux considered the gaze of the beast to be an attempt to learn and pass judgment.) In an exhibition devoted to gender, in which several artists create a narrative or ritual around male presence, one finds a similar form of male aggressiveness, accompanied by a delirious posturing of male supremacy.In contrast to the display case with the black-and-white drawing, which hung in the main exhibition space, the drawing—which created an intense physical encounter—was juxtaposed with a different kind of artifice.

Result #3

The round marble body of this work is full of expressive marks; and the cross-hatching that defined the topmost face of the works could be seen beneath the walls edge. But the eye was by no means focused on this exterior detail. Above it, a pair of diamond-shaped marks appeared to protrude from a darkened doorway. Sometimes, when painting, Lefs transferred his marks to the surface of his brushstrokes, thus adding an extra layer of paint on the top. In this way, the deep mark worked to highlight the simple forms of composition, rather than to give them depth or weight.This work is a kind of homily on the human condition. A clear articulation of the universal facts of the universe. We see the world around us and know what we are, he said. But without the laws of physics, which limit us to the fundamentals of our reality, we cant understand the universe or understand our life. These words are particularly poignant in the context of the recent explosion of religious imagery in contemporary culture. For a vast mass of people, the simple facts of their daily lives are images of salvation. The world may have lost some of its brightness, but it has regained a certain richness. Lefs suggests that life remains precious, and while our moment of vision may be limited, it is still possible to attain a sense of the divine presence.

Result #4

A woman sculptor carved Lascaux cave paintings from a block of limestone. On the wall behind each work was a single object: a shell; a pair of wrist watches; an inflatable doll, a puppet, a peace sign, and, in one of his most iconic pieces, a multi-colored sculpture, a glazed-glass image of a gift, all rendered in a carefully fabricated synthetic polymer. Speaking of authenticity, one object in the show, from which we might assume the most direct relation to our own existence, was a curiously pale-gray piece of mineral cement and several wooden blocks, all of different heights, affixed to the wall. A work in oil, glued-on resin, or resin-oil on wood, this object was as unpretentious as anything on view.One of the few pieces on view in glass, the enigmatic Cleopatra, 2000, comprised a two-part structure of human bones photographed from the front, back, and side. These were the only pieces in the show that did not feature the backs and sides of the central parts of their bodies; they are comprised of slightly grayed plaster casts that clearly indicate that the surfaces were treated with resin and sprayed onto. Still, in his process of fabrication, Kunishsky uses the molding of the plaster as a medium, and he simply pulls the browned plaster mold away from the bone. A painstakingly crafted realist sculpture, the stone piece highlights the differences between the soft and hard areas in the plaster-as-abstraction. But the glazed-glass work in the gallery featured a young Italian artist who brings to his work the ideal of a serious artist: He uses the same industrial process to make his sculptures, and in doing so builds on the sculptural origins of his work. He describes his sculptures as representations of the brain; the skull, as a reference for an understanding of the universe; and the body, as a representation of both the human and the machine.

Result #5

Another artist, Edwin Loomis, treated the way in which he found and formed his studio wall with chalk, then painted the same area with an opaque paint. And yet another, George Bove, augmented the floor of his studio with a canvas of wood, resin, and glass and made it a marvel of a piece of furniture, instead of a valuable object, like a rock. Of course, all of these works were done with a kind of arrogance of means, as if they were only going to be missed by someone who knows nothing about the history of things. I will go further than I did in saying that they are all shockingly surreal.