This is an old blue metal lawn chair that has had half of it covered with a layer of fake skin. The fake skin was painted to look like it was stitched up and covered with blood.

Result #1

The blood was sewn into a flowing silk fabric that doubled as a skullcap, with a fabric cowl and a hat. The head was filled with bones. And the hat—a headdress for a pagan warrior—was decorated with a wooden pelvis and held in place by a brass band. Inside the chair was a clock, showing its face in black tape. At the bottom of the chair was a book. Then, in a surreal fashion, two long-handled chairs were attached to the wall by nails so that they could be read from any angle.One could turn the chair around and read the book as if its face were on fire. But this fire-filled chair was not only a monument to decay but also an object of fascination. The black leather was thick enough to hold the book, which looked to be made from leather. The chair and book were not only mutilated but also a metaphor for the body, as the leather looked like a hideaway and a living space. The book also referred to a kind of obsessive compulsion, which was in evidence here as well: the leather leather was the leather of the chair.A similar fight against the body was also present in the memorial sculpture, one of six metal rods carved from animal hides. They were decorated with such an elaborate pattern as to look like hunting trophies, but were made by hand. The rods were turned on their ends and displayed on a pedestal like those used to display the remains of deer. The rods and bones in this work seemed to have been harvested from the same place, with the same dead animals.

Result #2

The real blood sat on the surface of the fake chair and took on a life of its own. These paintings can be interpreted as representations of the anti-real world. According to Bakst, if you look at one painting it will look like the other and vice versa, thus helping to categorize painting by appearance. For this reason, the presentation of such paintings as paintings is an important consideration for anyone trying to understand the world. It shows how closely Bakst has followed his own intellectual and practical guidance. But Bakst is not a magician or a parlor trickster. His work is calculated and scientific. In his work, even as in his installations, the artist avoids any attempted trickery. His paintings are simply there and work their way through their logic. That they appear and disappear is not something he forces but rather something that he chooses to be part of, for his work is about systems of logic.

Result #3

This is an old blue metal lawn chair that has had half of it covered with a layer of fake skin. The fake skin was painted to look like it was stitched up and covered with blood. The chair is a shrine of shame that was once a man.Stacey Jameskems work is almost a bit of caricature of himself. His figure, like his clothes, is over-painted, hard-edged, and polished. The soft-spoken words he uses are either his own or phrased to be sarcastic, yet he keeps a certain distance from any self-effacement. His uses of visual irony are at times ironic, but he never contradicts or justifies them. Jameskem has an acute sense of social logic, which is evident in his use of clothing as a metaphor for thought and thoughtfulness. The use of fake skin as an adornment for style, and as an allusion to female sexuality, is also evident in his collages and his particularly effective series of pornographic images. In these collages, Jameskem alternates between the direct and satirical use of popular media, using the same types of material as the artists with whom he does. The use of photographic evidence as a literal way to represent an image is also evident in the text in the back of the show. Here, Jameskem breaks down the images and their figures with a synthesized, almost obsessive analysis of sex, ethnicity, and race. The images are presented like so many observations of reality, each a vivid commentary on the way it is presented in popular culture.Jameskem used the power of fashion as a metaphor for thoughtfulness, because the cultural landscape is marked by a scarcity of thought. Jameskems collection of shoe and bed frames, or his personal illustrations of the things he wears are emblematic of a certain uncertainty of thought about what they mean. Jameskem frames the elements in his collages in like fashion. Jameskem makes his observations about the relationship of formalist and Minimalist ideas, about their relation to formalism and Minimalism, about their similarities, and about their difference.

Result #4

This is an old blue metal lawn chair that has had half of it covered with a layer of fake skin. The fake skin was painted to look like it was stitched up and covered with blood. Once upon a time, men could work in these types of jobs, but women today need to be careful about what they wear because the fake skin could be used against them.One of the few women in the show, Fujino made the fake chair for the Japanese pavilion at the 2010 Venice Biennale. The chair, like many of the others in the show, shares the dimensions of its source material: iron framed sheet metal. Fujino used the chairs front shape to make four segments of fake blood. The first of these is a surface that gives the chair a shabby look, like a cheap cardboard box with a low profile. The second segment is exposed in the form of a bloodred stain that looks like crushed blood. The third is a brown stain, a dull red that looks like dried blood or something like grime on a dead skin. The fourth segment is a pure blue stain, like the skin of a dying body. Fujino paints a small shape that resembles a C-print and adds a pangram-shaped mark on the underside of each segment to distinguish the segments. The chairs shape, which is like a twisted form, is reminiscent of a flayed body, a human victim.Fujino took the seats on the back of the aircraft carrier to create eight more splashes that have the look of blood. Fujino repeated this process in the final room, creating eight more big splashes. Fujino gives each splash a name, like a hand, a sort of animal name—cups, leafs, tails. In the works on display here, Fujino uses the word cups to refer to the cups of a Japanese tea, and teaballs to refer to the teardrops that make up a Japanese tea. In the works on paper, Fujino uses the cups to create many images that are like pictures, prints on paper.

Result #5

This is an old blue metal lawn chair that has had half of it covered with a layer of fake skin. The fake skin was painted to look like it was stitched up and covered with blood. When you put your hands on it you could see that this chair had been hacked off by a big dog. In this way, the chair had a direct relationship to the monstrous thing behind it. This are the kind of people that Todd McLaughlin, a friend of mine, sees on television.Ive spent most of my life in the art world, and if youve seen my paintings youll know that I use our culture to reflect my ideas. The show is about looking at ideas and painting them up. But, in a different way, the show is about looking at ideas and painting them up. In the middle of it all is this little chair, with its thin skin and rough edges. I used to paint my sculptures in chiaroscuro, and then I painted more sculptures. What Ive been doing with these objects is that they now look like paintings. This is the same way the real world works: if you paint something, you can have a sculpture.But it is not just sculpture that in this show Ive been using. The title of the show was the same as a cut-and-paste label on a typewriter, the title of the show was the title of a movie. But in both cases the title is to be taken as a metaphor for the mind. Everyones mind is made up of ideas. But if you paint something, you can come up with a sculpture. And if you paint something, you can come up with an idea. When I came up with an idea, I didnt try to make a sculpture; I just painted the object on canvas. What I did was made up of the same idea, but in different, different shapes. And it was not meant to be copied. It was meant to be confused with the idea of sculpture, so that you could get some idea of the differences between an idea and a sculpture.