five more reasons to skip the latest trends

Result #1

. Its a shame that the artist will have to start over from scratch. Its certainly a shame that the audience will have to start over from scratch, but we are already there.

Result #2

five more reasons to skip the latest trends in art—from the glitzy, minimalism of a single, large-scale painting to the minimalism of the very essence. The issue, however, is one of form: what is it to do with the forms of the first half of the century, and what is to be done with the latter? In this, the exhibition is all too easy, with a few exceptions, including an odd sculpture in the form of a yurt, situated on the floor and overlooking the courtyard. The work is a sort of non-objectivity, an attempt to project oneself on the spot, to feel one's way through the spaces without entering any others. It is also a non-objective but not the least bit formalist. The forms are made of wood, and the wood is light. The result is not only formal, but also, on the contrary, a very delicate, almost fragile, material. The most interesting thing about it is that it is made by the artist, who is obviously not the same as the model. The yurt is a sign of the first century, not of the Renaissance, but of the Middle Ages. It is also a romantic image, in which the idealized female body is submerged in a space of darkness. But this is not a romantic image, it is a romantic image that can be taken as the ultimate object of desire. The figure that is presented here is not a reflection of an ideal, but of the desire for the ideal. And this desire is not made by the artist but by himself, who is the embodiment of it. The yurt is a symbolic and erotic image of the body, and of desire. It is not the ideal body, but rather the body that desire reproduces. It is not the ideal body that art can become, but rather the ideal body that art can make itself.

Result #3

five more reasons to skip the latest trends in art. It is a shame that this show, curated by the curator of contemporary art at the Galerie Paul Maenz, didnt have a few more surprises, but it would have been more interesting to include some of the more well-knowns. A more detailed catalogue would have provided even more information on the subjects discussed in the show, and it would have clarified the significance of the work on view. In the end, the exhibition took on a slightly perplexing tone. The curators could have had a better sense of what was at stake in the show, and they could have asked the artists who have been performing in the art world for so many years what exactly was at stake in the work they were doing today. That they did not is, I think, a good thing for art. It is the most difficult aspect of this exhibition, and one that can be experienced in a different way.The exhibition opened with a group of recent works by the Dutch artist Carsten Halle, which showed that his paintings, with their attention to detail, are becoming increasingly complex. The paintings are now also more abstract and represent a more direct approach to painting. The works in this show are also more personal, and they are all much more intense. Halle uses acrylic paint in a way that seems to be completely free of any obvious reference to materials or other esthetic considerations. In fact, it is the very density of his marks that gives them an intensity that is almost painterly. It is as though Halle were using acrylic paint to represent a kind of infinite space, a space that is both natural and artificial. This space is also highly suggestive. Halle has said that his paintings are more like dreams, in which all the things that are possible are combined in a dreamlike way. And so they are also more like images, in which the artist is also the dreamer.The artist Valéry has also been featured in the exhibition.

Result #4

five more reasons to skip the latest trends in the city. The paintings are rather bland and instead of any pretense of seriousness, they are simply formal exercises, and the most interesting aspect of them is their formal qualities. When I think of the style of an Abstract Expressionist, I think of the way the brushy, gestural brushstrokes are rendered; but the paint is so loosely applied that there is a chance that the brushstroke may be just a little too straight, or that the paint may be too dry, or that the brushstroke may have been too much like a drawn line, or too much like a photograph. There is a certain wackiness to these paintings, but it is a wackiness that is not quite enough to outweigh the aesthetic quality of the style. If it is merely a matter of the presentation of abstract painting as a formal exercise, it is a wackiness that is as much an illusion as the pictures themselves. The wackiness of these paintings is not as great as the abstract painting, but it is not a wackiness at all. The paintings are merely a kind of formal exercise, and their formal qualities are so amateurish as to be almost pathetic. They are not really paintings at all.The paintings are of two types: one consists of a single color on a white ground, the other is a pair of adjacent colors in a different color, and a third is a single color on a color in which one or both of the two adjacent colors have been painted over, and they are all the same size. The paintings are thus quite clearly defined by their own qualities, and they have been painted in such a way that the colors have been made to look as if they were part of the ground. In the two pairs of pairs of colors, the contrast between the two is almost exactly the same. The same contrasts of light and dark and of hue and saturation, and of course of hue and value.

Result #5

five more reasons to skip the latest trends in art and simply look for the patterns of the old masters.The exhibition is divided into three parts, and each section is accompanied by an essay by an expert in the field, which, in the case of the artists and designers in question, is one of the most successful essays. In the first section, there are descriptions of the techniques of the artist, as well as a few examples of his work. The artists are described as following a well-known set of ideas, the most important of which is that art is the creation of a new human being. To this end, the work of the artist is shown to be the result of an investigation into the very nature of art and its relation to life. It is a study in the way the art of art can reach out toward the other. The artist uses his own body as a model, and this model is transformed into the image of the artist. The body becomes an object, a symbol, a concept. The body becomes the most extreme expression of the idea of the other, of the other being, and the other is transformed into the body of the artist. The body becomes a tool, a means of communicating, of communicating, of communicating.The second section is devoted to the designers intentions, to his method of creating new human beings, to the ways in which his art has been used, and to his failure to achieve the desired result. This section is devoted to the failure of the designers to realize the artist, to realize their vision. The failure is the failure of the artist as an artist, of the art as an object. The failure is expressed by the lack of the art object in the human world. The failure is expressed by the failure of the body to communicate the ideas it has learned. The failure is expressed by the failure of the body to make itself understood, to make itself understood as a body.