Car wash poster for class.

Result #1

Car wash poster for class.  The caption, perhaps the most convincing, reads, ILL BE HERE AT LEAST A WEEK BEFORE YOUR EXHIBITION STARTED. The artist, her hand raised, sits in her studio. On the wall behind her, a large photograph of the artists hand holding a piece of cardboard, the words ILL BE HERE AT LEAST A WEEK BEFORE YOUR EXHIBITION STARTED are written in red. The text, repeated at the bottom of each of the paintings, refers to the year of the artists birth. It is also the year of the artists death.The exhibition was organized around a series of works that were individually framed and mounted in a single group. Each work was divided into sections. In the first, the artist hung a photograph of her hand holding a piece of cardboard. The cardboard pieces were individually framed with white wax and hung from the ceiling. The wax was applied in thin sections to the waxed cardboard, then attached to the wall with a string of wood and wood glue. In each case, the wax was applied to the waxed cardboard in the same way as the wax was applied to the waxed cardboard. In the second group of works, the waxed cardboard was mounted on a wood shelf. The waxed cardboard was mounted on the wall in the same way as the waxed cardboard, but with the added feature that the waxed cardboard was mounted to the wall. The waxed cardboard was suspended from the ceiling in the same way as the waxed cardboard, but with the added feature that the waxed cardboard was suspended from the wall in the same way as the waxed cardboard. The waxed cardboard was hung from the wall in the same way as the waxed cardboard, but the waxed cardboard was hung from the ceiling. The waxed cardboard was suspended from the ceiling in the same way as the waxed cardboard, but the waxed cardboard was hung from the wall in the same way as the waxed cardboard.

Result #2

Car wash poster for class. The subject of this work is a photograph of a crosswalk in the center of a sunny street. The bottom of the photograph is covered with a thin sheet of clear plastic. The piece is titled After Photographs of a Crosswalk . . ., and is hung in the middle of the middle of the courtyard. The photograph was taken from the front of a car. The title refers to the place where the crosswalk is located. The plastic sheet, which also covers the plastic crosswalk, also covers the sidewalk. The background, a piece of paper, also covers the sidewalk.The composition of the piece is a circle, with one side made up of a black plastic sheet. The paper is painted black and the other a white one. The black plastic sheet is placed behind the white plastic sheet. The paper is stretched and glued to the wall, forming a kind of band. The plastic sheet also covers the windows of the car, making it difficult to see the other side of the car. The piece is titled After Photographs of a Crosswalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Result #3

Car wash poster for class.  When I saw the poster, I thought, this is the only way to make it.  It is an art form, a set of rules that govern how the world should be seen and appreciated.  It is a template for an art world that must be comprehended in order to be enjoyed.  It is an art of the margins, a marginality that allows the artist to find a place within art. A marginality that allows an artist to make art that is truly art.  And then, finally, it is an art of marginality, a marginality that allows an artist to be seen and understood, to be understood in a way that is not just art, but not just art.  This is the art of marginality, the art of marginality as art, and the art of marginality as art.  The marginal is not just an art form, but an art problem.  This is art of marginality as art, art as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.  This art is marginal, the art of marginality as art problem.

Result #4

—Javier Rodríguez-García

Result #5

Car wash poster for class. (Happily, the poster is a bright white, though the artist has used blue and green as well as white.) This piece is a beautiful example of how, in a world of color-blind art, an artist can turn out a work of brilliant color.The sculptures are not only beautiful, but also extremely complex. The four-part assemblage, for example, consists of a number of tiny pieces of wood that are assembled into a whole. The individual pieces are arranged in a neat grid. The wood is painted white, but the paint is applied in a kind of thick, opaque-clear, sepia-pink, and the result is a very complex, almost opaque, surface. In this way, the objects are neither natural nor artificial, but rather a kind of synthetic, organic, organic form. The sculptures are not only beautiful, but also very complex. The four-part assemblage, for example, consists of a number of tiny pieces of wood that are assembled into a whole. The individual pieces are arranged in a neat grid. The wood is painted white, but the paint is applied in a kind of thick, opaque-clear, sepia-pink, and the result is a very complex, almost opaque, surface. In this way, the objects are neither natural nor artificial, but rather a kind of synthetic, organic form. The sculptures are not only beautiful, but also very complex. The four-part assemblage, for example, consists of a number of tiny pieces of wood that are assembled into a whole. The individual pieces are arranged in a neat grid. The wood is painted white, but the paint is applied in a kind of thick, opaque-clear, sepia-pink, and the result is a very complex, almost opaque, surface. In this way, the objects are neither natural nor artificial, but rather a kind of synthetic, organic form.