World full of tragedy, hard work, and love in one country

Result #1

World full of tragedy, hard work, and love in one country <|startoftext|>In this show of eight paintings entitled From Sperone to Pompidou, a series of straight, uninflected, and uninflected canvases by Pompidou, each one described in its title, were shown, with few exceptions. In addition, the exhibition included a small selection of related works. The majority of these were painted during the last years of Pompidous life, and some are quite old. Pompidous paintings are most interesting because they are untitled. Most of them have only a single image; a few of them have a photograph. Pompidous works are arranged in an irregular grid; there is not much space between them. In these works, the image or photo-image is used as a means of marking the meaning of the composition. Pompidous use of space is fundamental to his work. He wrote of this dimension in his book, Légide Pompidous: Légide's writings on color and composition: I like to paint the image, to mark the image, but not to paint the image; I like to paint the image, not to paint the image. The picture is a device which creates the space between image and space; space is filled with images and made visible.This exhibition at the Berghain Palace Museum was organized in the second room of the Berghain. Here, Pompidous works on canvas were presented in the same manner as his drawings, with one exception: he painted on a drawing a monochrome painting. In this work, a ring of bright red and yellow lines is partially filled in, in sequence, with black dots, indicating the outline of a dark figure. It is this kind of drawing which Pompidous works on; Pompidous drawings are not colorless but were based on a grid.

Result #2

World full of tragedy, hard work, and love in one country <|startoftext|>From the first, Charlotte Posenqvist knew that her work would be a study in contrasts: between the homogeneous, mechanized, academically pure aspects of technical knowledge and the less total, more subjective, and less certain but more obsessive areas of subjectivity. As art historian Robyn Lippard recently wrote, Posenqvist identifies with the young so much he is so young that he reads into the past with an overwhelming degree of nostalgia. It is easy to see why—the bleakness of Posenqvists paintings is a direct outcome of a similar emotional revulsion that she carries with her to these abstract works. Yet for all the infighting about the relation of Posenqvists work to the postwar period—as we know—I think that Posenqvist might be the most important German artist of our time.Her paintings are usually small, textured, and airy, though there are more on view than at the gallery of any other, but still remarkably affordable, German contemporary art. What is surprising about Posenqvists work is the degree to which she doesnt get nostalgic. Posenqvist is actually a painters artist who is incapable of looking at an old painting in a new way. In fact, she is a painter who can only see what she sees; she doesnt paint, she doesnt paint, she doesnt paint.So, here is a rather old portrait by a woman who in the 60s, looking forward to the 70s, sees that she has failed as a painter and artist, a result of which she must be sorry. So she paints abstract paintings. Posenqvist is a very early modernist, the kind of modernist who has an almost incredible imagination. At least I dont know if Posenqvist could paint a beautiful abstract painting, but I dont think she has shown this imagination on canvas.

Result #3

World full of tragedy, hard work, and love in one country <|startoftext|>In July 1960, as photos of bombing and debris from the Vietnam War ran rampant in the pages of the New York Times, George Santarakis was among the many artists, writers, and artists students of the World Schools in New York—so called because of the disparity of national and international influence on their work. Santarakis was in Paris when World War II broke out in September, but his work here has, to my mind, an impossibly profound relation to that historical event. His work is a reconstruction of a place that has been completely and utterly destroyed: Etaples, the new Greek world city built in 1932 as a popular vacation spot for the rich and elite of the city; modernist buildings; and the arcades and casino of Casa del Fazio, a richly populated neighborhood on the Seine. The citys white marble facades are at once modernist and neo-classical in their classical history and heavily historical, recalling the imperial ruins that were the theater of the Revolution. In some of the buildings that were demolished, Santarakis has observed in his work, the stelae (architectural fragments) of the ancient temples and civic monuments have been left behind, and Santarakis has used these as a starting point for creating a reconstruction of the citys ancient architecture. Like a restorer of an original, Santaraki has completely reconstructed the city.He proposes that the tragedy in the present war is due to the inadequacy of the state and the state economy, to the collapse of the social and political order, to the everyday violence, which is the inevitable result of war. His art shows the state and the city in the same incisive and fragmented state, as one demolition site after another approaches. In this exhibition, he showed his reconstruction of the citys building blocks, a possible clue to his political analysis.

Result #4

World full of tragedy, hard work, and love in one country <|startoftext|>The exorbitant prices of this particular collection of paintings are just too absurd to be true, says the catalog for a show of Charles Pregens oeuvre that was to be held concurrently with the retrospective organized by the Museu de Arte de Mexico. The same catalogue provides a truly astonishing survey of the artists to which Pernice has committed himself, and with the aim of helping his art be understood in the context of the Mexican context. The exhibitions organizer, collector, and curator, Agnes Brown, a native of Mexico, obtained all of the works in the show from the Department of Fine Arts at the University of New Mexico.Browns catalogue essay, in which she responds to Pernice and his extended family, answers to the question of what goes on when the artist has to live with the pressures of moving and living in a different country. For example, the catalogue states that the families of Pernice and his parents, and also his brothers, attended, among other institutions, the New York Art Institute, where Charles Pernice worked on the collection of the Florestria di Pella (Fountain of Pernices), painted by Leonardo da Vinci around 1506. Pernices painting of this Pernice represents a simplified version of the Florestria di Pella, which was undoubtedly the most beautiful work of the Italian Renaissance at the time; but the Florestria di Pella was in fact destroyed in 1454, the year after Pernices birth. Pernice chose to paint the empty grounds of the Florestria di Pella as a kind of temporary garden, and Pernice felt that the grass was golden. Pernice was right, he says, because the grass was golden; but that is not the point. It is, however, the golden color of Pernices painting, which he felt was the color of the garden.

Result #5

World full of tragedy, hard work, and love in one country <|startoftext|>Garry Fomells recent show of gouache and collage works came as a surprise to many who knew the artists earlier works were perhaps too easy. Instead, one found paintings that seemed at first to be crude, clumsy, and overbearing—an affront to artistic taste and to the values and sensibilities of his time. Even the paintings in the show, while technically a step forward from the other paintings in the show, are still not as sophisticated as the art of the period. Theyre still rough and rough. Theyre still foolish and stupid. Theyre still looking foolish and stupid. Indeed, the artists method of forming his compositions is as a simple gesture that seems to come from the bottom of his heart. Many of the paintings in the show looked rather ridiculous—icons of all kinds of stupidity, as well as of a kind of sadistic naiveté. In the late 70s and early 80s, for example, Fomell made a painting called The Return of the Gay Negro (With the Gay Mask), in which he had himself made up his own painting, the rest of it the result of a competition between a client and his client. The Gay Negro was painted on large canvas panels, and the resulting work looked like a parade of pretty much the same kind of nonsense—an enormous oaf. For the majority of the time since the early 80s, Fomell has been painting about as well as he can in terms of the elementary brush techniques and the color values he uses in his compositions. He hasn't been developing them much either. But in the new paintings he has been taking on more than he can handle.They are grim, menacing, and evil. Look at them, children of hell—they look like caricatures of hell, they are especially evil. Don't be afraid of them, because theyre very beautiful. And you know it: some of these paintings are as beautiful as this.