the work is a result of human and nonhuman collaborators.

Result #1

the work is a result of human and nonhuman collaborators. The sculptural context and two-dimensionality of the surface are overlaid by the figures more central surface and the paintings formal form. Each figure has been carved into the wood; the carving is about the size of the completed figure, but is less ornaments and is less conspicuous. The figures are also made of wood and lacquered with the imprimatur of a coop by a woman. The number of figures remains constant throughout, however, and the more the more. The figures are mostly close-up, in a space that is almost wide, but narrowed; the viewer is to a certain extent stuck in it, surveying a tense line of groupings of closely examined people, who seem intent on making connections. The drawings are not easily read; they require time to be understood, as if someone has stood over them and looked at them with a great wide-angle lens, and they are engrossing to the point of being incomprehensible. Most of the drawings are ninety-four inches long, and they are painstakingly and painstakingly repeated; their form is like a cluster of rocks, too small for the spectator to reach, but not small enough for the viewer to be sure of the size of the figure in relation to the wide-angle lens.In the end, the work, in a sense, completes the genre of painting in which some two decades old emerges and remains embedded. The artists role is to remind us of the import of the work of art, however, and to make us think of it as something apart from the almost asexual, but also sadistic, symbolism of much representation today. It is not as much the art of the past as the art of the present that is the object of suspicion here. Perhaps the picture is itself a representation of a particular group of people, and their attitudes toward art are the focus of the work, for the work is also the intention of the artist.

Result #2

They not only bring art to life, but also hold it in check, or otherwise restrict its range of activities (although freedom in Balams case is neither restricted nor limited by an esthetic project).

Result #3

the work is a result of human and nonhuman collaborators.The Montclair Museum of Art in New Jersey, when I visited it recently, showed a presentation of twenty-three works by the New York artist. Citing the important role that sculpture, with its naturalistic detail and formal precision, has played in the development of modern art since prehistoric times, the museum allowed Latman to reconstruct the history of his own sculptural evolution, beginning with his Cubist and Constructivist predecessors and ending with the more recent objects and photographs in his collection, from which he has translated this exhibition. As Latman explains in the catalogue, the original installation consisted of six rooms divided into six overlapping rectangular groups, each containing a group of single sculpture that had been brought to life. Each room would be covered with a single sculpture so that the space itself became an active part of the installation. The idea was to allow the spectator to move through the sequence as if he were in a sculpture garden, interrupted only by an abrupt, almost ridiculous, departure.But there was no real confusion, and the visitor was exposed to a range of detail that extended the position and movement of the group of sculptures. Close-up shots of the hand of each sculpture could be seen, from the front and side, but not far away, and it was also possible to look from a distance and to encounter more of the living, moving sculptures. In a few instances the hand has been cropped off, the red walls and blue walls replacing it, but other close-ups of the hand and head of the bronze sculptures were shown and presented as close-up photographs—staring and glimpsed at the same time.The experience was particularly riveting in light of Latmans upcoming retrospective of contemporary sculpture at the Los Angeles County Museum of Art in 1994, which was not only the first comprehensive exhibition of Latman in the United States but also one of the first in the world.

Result #4

The most famous piece, an animated slide show, for example, was commissioned by the Architectural League of New York in 1988. Its not a documentary video, but one of those elements that is never straight but is always logical and organized. The idea was to show the architectonic visions of the past, in this case the story of a city built in the post-Renaissance era, and the stories of the architects of the New York School.In contrast, Il plo della pensieri (The Last Song), 1988, is a performance that developed out of the experiences of one designer. His intention was to present a representative selection of items from the designers collection, from which he selected thirteen of the most valuable in the collection. The primary purpose of the piece was to evoke in the viewer a feeling of value, of interest, and of value being attached to the item. This series of three key slides is a study of what happened to an architect as he was sold by his father and then transferred to his brothers. The rest of the set was represented by a video of another designer discussing his collection. The piece shows the architects not as shepherds of his work but rather as the owners of the very collection they inherited, and who never noticed, and who ultimately decided to sell the work. It also provides a perspective on the relationship between history and art. This show has reached an important and international audience.

Result #5

We cannot, for example, use the platforms in a public place to display our own music. The current problem of using platforms is likely to be the last.Katarina was one of the artists working on the Sei gesutto. (The word is a strong word, especially if it involves a black woman), 2004, which consists of real ivory scales, inverted image reproduction of ivory scales, and a sign that reads-SEI GESUTTO, A DEFEREE TO USUALIZATION, IN GENERAL, WHO ARE REDUCED BY TWO EYES. If the viewer of this piece is not familiar with her work, this probably will not be a problem. The work is impressive for its sensuality, which contrasts with the slightly numb dullness of the ivory pieces. Only in a few rare instances is the sensitivity of the white powder necessary to produce the shift from one scale to the other so as to make it possible to identify it.In general, Katarina has moved away from the seductive and even theatrical and canny substance of her earlier pieces, the signs of which make them seem like dangerous devices. Rather than the artistic forcefulness of her previous work, as in the earlier painting of scales, so to speak, she now uses opaque powder. She is less a pioneer than she used to be and has taken on board the notions of the danger inherent in the powder, as well as in the female body. These are hardly new ideas, but they are also increasingly familiar in contemporary art. The fact that they are expressed in a new, more complex manner—one that also shows an awareness of the social dimension of the body as a body subject to the consequences of esthetic pleasure, as well as to the questions raised by body and spectacle as always before the viewer.