“The Spirit of the West” merges photographic artificial intelligence with computer assisted drafting. And in technicolor!

Result #1

��The Spirit of the West” merges photographic artificial intelligence with computer assisted drafting. And in technicolor! But first, the Spirit of the West, for the self-professed secular, materialist, anti-intellectual Believer, really did merge with the spirit of the East. Believers in a new spirituality, embodied by a disembodied head—is this a sign of the same spirit?—remain deeply suspicious of the secular right, but they still follow the Father. In the spirit of Eastern mysticism, the Modernist self-consciousness over all remains suspicious.The Heart of the Western World—Unmasked, a magazine published between 1958 and 1959 by the Russian, Polish, and Czech subcontinent, which saw itself as the guardian of the new Soviet world—described in some detail what it felt like to be a part of the Communist World Order in a post-Communist period. The English translation—an odd sort of imperial-scholarly exercise in whose details, so far, the show has no legs—was published in its pages in 1963, a year after the Russian revolution.The spirit of the West is present in the articles and in the reviews of Soviet artist and writer Murat Vavilov. In these reviews, Vavilovs heart is open, his mind and soul unflappable, his contribution to the art world immaterial. Vavilovs art, he wrote, is not an object for the private eye, but an object of constant experience. . . . The attraction to his work is a real one, so that it cannot be understood in terms of an analytical or historical approach. It is also his heart, since the heart is like a wound or a bone—or an atom—which can only be healed with time. What we want is to heal them by producing them, he said.

Result #2

��The Spirit of the West” merges photographic artificial intelligence with computer assisted drafting. And in technicolor! Finis's dematerialized art looks a lot like anything you might find in a museum in the East Village. This same sensibility, explored in the work of artists as diverse as Robert Morris and Bruce Nauman, is repeated in the artists books and CD-ROMs in which photographs are reduced to pixels, punch cards, or black and white. The images of the Chinese capital, Shanghai, filmed on a long-range camera, tracing the skyline as it moves through the buildings from dawn to dusk, remain on the screen for a few seconds as the digitally processed images are reassembled into an image that is then blown up to gigantic proportions.Like other artists with strong ties to the East Village, Finis dislikes any sort of American/capitalist bias, from the hippies and the antiheroes to the small, homey, left-over kitsch. But he is still compelled to make what he calls his biggest work, the 16-mm photograph of the moon, written in Chinese on the bottom of a sleeve. It represents the zenith of rational thinking, the point at which knowledge is apprehended and both meaning and uncertainty are considered, and the existence of a just God. His intent here is to spark the interest of the spirit, or maybe just the spirit that goes into making things. He also makes a loop that adds a subtle reference to the moon as a metaphor for communication. The two red lines on the moon and the diagonal arrow in the middle of the globe are the sign for communication, a sign that any moment and any thing can be communicated. If these signs have become icons for an age that is all about communication, then the moon is as much a sign of communication as communication itself. For one final image, Finis layered into the dust a ceramic hat found in a grocery store on the street and placed in the middle of the gallery floor.

Result #3

��The Spirit of the West” merges photographic artificial intelligence with computer assisted drafting. And in technicolor! Her work lacks an explicit representation of the magical, magic, disembodied mind. Nevertheless, it reveals itself.Symbols of Natural Mother: Clean Machine, 2011, shows the tender and ethereal hands of a child with his back to the camera. The child is trapped in the traditional family unit and cannot participate in the modern society. The design implies an idealized, normalized image. The family unit functions in a more abstract way: It shows the generative, productive force of the natural. The drawings, textiles, and paintings in the show were created by machine-animated ink and oil transfer on canvas, creating detailed, compressed-detail illustrations of the familial relations.The artists longtime companion and teacher, the French painter François Caule, is represented by five works in this show: Red Star, 2011, a kaleidoscopic, linear abstract painting featuring a gang of seven figures in a red sky; The Sunbeams, 2011, an elaborate oil-on-canvas work featuring a spectacular sunburst and a multicolored cloudburst over an intricate, tropical landscape; Blazing Emotions, 2011, a freestanding canvas with stylized figures that recall Chinese traditional paintings. The paintings open up the picture plane, and Caule uses the same paper as the ink-jet print, which he has used for the past decade. But unlike ink-jet prints, which use a photographic material to form the surface, Caule uses the paper to form the image. Caule paints the paper, reproducing it in an exact duplicate, then passes it through a process that makes it look as if it has been printed directly on the canvas.Caule also incorporates images of plants in his works. Red Star and The Sunbeams are based on the Chinese tradition of wood carvings, which are commonly used to decorate rice or other dishes. The Red Stars are constructed from textiles from the Chinese market.

Result #4

��The Spirit of the West” merges photographic artificial intelligence with computer assisted drafting. And in technicolor! The selfie starts in the selfie, goes on to create a truly fragmented picture, and ends up being merely one of many. So far, so technobabble, but in a move that betrays a conviction that technology is a means to a ends greater than the technical: art should come in when it should be afraid of being art and art when it should be afraid of being afraid of you. In this case, images that are so vividly pixelated, we see technology, then we see technology, then we see technology, then we see technology, and so on. The technology is the technology, the image the image, the technology is the technology.<|endoftext|>My life was never boring—thank you, dear sister, for having offered me a glimpse of that life. Over the years, with her encouragement, I made this whole of my childhood into a series of intimate pictures, photos-as-memories. Two years ago I moved to New York City. I lost my mother in 1993. It was a very sad year. . . . This show was very real. This is not a date.This show, curated by Diana Stoll, might be called Photographs in Times Square. The show was organized by Vanessa Frassetto, a photographer whose work tells the story of the city—its architecture, streets, buildings, and streets—and its people. But despite the fact that she had won an international competition for the first ever New York Times Square subway map, her pictures were of little interest to me. It was the nature of her work that made it such a thrill: she took photographs of the architecture, of people, of streets, of New York, of Times Square, in her own pictures.What is astonishing about these photographs is not their authenticity but the sheer number of them. To describe the city is to create a record of it.

Result #5

��The Spirit of the West” merges photographic artificial intelligence with computer assisted drafting. And in technicolor! Hieronymous Hänsch (I Am Not Stupid), a digitally printed letter drafted for Hänsch by a trusted confidante, is a labor-intensive document that reveals a world of dreary technologies, cramped offices, and ever more restricted digital controls.Hierzos work also reflected on the rise of fascism in the 60s, a time of increased government surveillance and financial control. In these subjects, he explores the dualism of the modernist space, of its other parts: the modernist viewer, the modernist maker, and the modernist engineer. Hierzos canvases are made of photographic fragments, linked to text by images. The result is a visual evidence of its own mortality—or, better, of its contradictions and its current expressions of their raw power and disorder. There is a sense of a more or less new reality being created, one that is fraught with peril and feverish. Hierzos drawings are a kind of antiscientific, merely syntactical code, a game of hidden signs, a dance of the still and of the dead.<|endoftext|> <|startoftext|>Stefan Sloterdag, who is based in Sweden but still based in the US, is one of the most accomplished abstract painters in Germany. His recent series, Six Forks, 2014, consists of two monumental horizontal paintings and six nearly identical black-and-white self-portraits. The former depicts a straight-legged and headless figure with a single tongue protruding from its throat. Sloterdag creates an unsettling illusion of gravity, creating a kind of dizzying experience. This design on the face seems to evoke the black mask worn by zombies, the tattered cover of a corpse, and the Chinese characters for mass and force.