Travel for me isn't a topic as much as rather a strategy to acquire pictorial subject matter.

Result #1

As the artists who make them often do, they tend to focus on the ultimate subject, which is the image itself, which is rendered in a variety of ways. In a sense, the artists are taking a step back, but not so much so as to be completely displaced by the pictures themselves. The range of subject matter is very wide, but it is narrowed to the point where the artist, or the viewer, can move with relative ease from one image to the next.I should mention that the subjects and techniques of the images are often quite different from those that are usually found in the hands of the major artists of our time. The technical limitations of the cameras and the mediums limitations are what make these pictures inaccessible to most viewers, who either see the work as mere manipulation of the image or as a mere reiteration of the old cliché of the amateur as a voyeur. In fact, many of the images are so idiosyncratic, so original, that it is almost impossible to find an artist who could give such a straightforward and unproblematic presentation. But this is precisely what makes the work so captivating. It is precisely this that makes the work so difficult to evaluate. There is no way of getting the picture to tell us something without some interpretation. The image, however, is not simply a substitute for an explanation, but it is also an object of speculation.

Result #2

His photographic installations, which he began in the late '70s, are full of figurative and abstract elements. The works include his own self-portraits, photographs of himself in intimate situations, and portraits of his friends and acquaintances. The inclusion of these photographs in the exhibitions title, The Other Side of the Door, is misleading, however, since it fails to account for the way in which the images are inscribed on the wall and how the subjects of those pictures interact with one another. The artists photographs are not simply a means of conveying his personal story; they are also a means to express his desire to remain anonymous. It is this very paradox that gives this show its value. It is an artistic practice that engages the viewers identity in a way that is both noncommercial and noncommercial. The show is also a result of a long-standing interest in photography as a medium that can be used to investigate, through an open, noncommercial way, the possibilities for pictorial expression. Hefting the importance of the self-portrait in the exhibition, the artists have been more successful in their investigations of the relationship between self and other than the other side of the door.

Result #3

Travel for me isn't a topic as much as rather a strategy to acquire pictorial subject matter. After all, he is an artist of a certain style, and this is the same artist whose work was featured in the Whitechapels recent exhibition of paintings and works on paper. So its a bit of a stretch to talk about an exhibition that featured works by artists who are obviously self-consciously engaged with their own tradition. For instance, the self-consciousness is apparent in the fact that each of the works on paper is a photocopy of one of the artists previous ones, which in turn are all numbered, which makes for an odd kind of indexing. But thats not to say that the works arent beautiful. In fact, they are. The heavy, smudgy sheen of the originals seems to have been smoothed over into a thin, delicately brushed surface that is surprisingly sensual. It is as if the surface of the paper had been folded into a soft, delicate, feathery crinkled up top, where the ink of the previous layers remain visible. The works are all entitled Untitled (all works untitled), and all are painted in black and white. The works are painted on the wall, with a palette knife, and are accompanied by small, framed, sheet-metal collages. They are all untitled, and the collages are also untitled. The collages are small, and one finds them hanging on the wall, their tiny, contrasting surfaces forming a sort of meta-collage of the surface of the paper. In the collages, collage, collage, collage, collage, collage—and the collages are all quite small—the collages are all in black and white. They are all in black and white. The collages are small, and one finds them hanging on the wall, their tiny, contrasting surfaces forming a sort of meta-collage of the surface of the paper.

Result #4

Travel for me isn't a topic as much as rather a strategy to acquire pictorial subject matter. For these reasons, I would say that the exhibition is about the discovery of the pictorial subject and about the discovery of the subject as a whole. This is not a matter of making paintings, but of identifying the subject.In the end, the paintings seem to me to be about the discovery of the pictorial subject, the discovery of the subject as a whole. The paintings seem to me to be about the discovery of the pictorial subject as a whole. But the paintings are not about the subject, the discovery of the subject as a whole. The paintings are about the subject as a whole, and this is where they become about the discovery of the subject. The paintings, then, are about the subject as a whole, and not about it as an isolated painting. And this is where the paintings are about the subject as a whole.In the end, the paintings seem to me to be about the discovery of the subject as a whole. The paintings are not about the subject as an isolated painting. And this is where the paintings are about the subject as a whole.In the end, the paintings seem to me to be about the discovery of the subject as a whole. The paintings are not about the subject as an isolated painting. And this is where the paintings are about the subject as a whole.In the end, the paintings seem to me to be about the discovery of the subject as a whole. The paintings are not about the subject as an isolated painting. And this is where the paintings are about the subject as a whole.In the end, the paintings seem to me to be about the discovery of the subject as a whole. The paintings are not about the subject as an isolated painting. And this is where the paintings are about the subject as a whole.In the end, the paintings seem to me to be about the discovery of the subject as a whole. The paintings are not about the subject as an isolated painting.

Result #5

Travel for me isn't a topic as much as rather a strategy to acquire pictorial subject matter. If I am right, I will be the first to admit that I have had a couple of bad days in this show, but I am also not sure whether I have done enough. I know that in this instance the artist has taken a risk, that the work has become a metaphor for the failure of the work of art, and that risks are part of the price of artistic success. I am not sure that I am being unfairly critical of the work, but I am trying to understand why this risk is taken, and I am asking the artist to explain why. The risk is a risk to the work, to the gallery as well as the art. The risk is a risk of being a fool and to take, but it is also a risk that the work must take.The risk is a risk that the work must take, and that is what I am saying. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take.The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take.The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take. The risk is a risk that the work must take.The risk is a risk that the work must take.