Criticart text for Mihai Marin Carstea painture

Result #1

Criticart text for Mihai Marin Carstea painture (Mihai Marin Carvings) (All works 1995) is a series of carved figurative heads composed of embossed linoleum-grey inscriptions. The head is cut with a vast majority of the paintings soft but thickly applied color, and the pieces are wrapped in felt, some painted black, some in simulated black leather. The head is not stitched to any other part of the surface except for its crown, which hangs directly off to the side, and is sometimes sewn to the edge of the carving plane. The felt pieces are also presented as a single, simple installation that in itself has a lot to offer. In contrast to the rich, complex, and richly worked surfaces of the earlier works, the felt pieces here were much more plain, blank, and minimal. The felt pieces are generally rectangular, or sometimes rectangle-shaped, and usually cut into smaller sections, usually less than two-thirds of an inch wide, which adds to the complexity of their surface. This is a visually striking contrast to the more intense and difficult to describe, but not necessarily more complex, surface color and pattern.What is a work of art in itself? The answer here is a set of oppositions, with much the same everyday material as in all of the paintings. The oppositions are: (1) art for an art-object, and (2) the image for an image. The former is a kind of art object; the latter is a set of art. For the latter, art is a kind of set of objects that one must produce oneself. If a set of oppositions exists, it is the result of an active process of dialogue, and the results are not always what one expected.The paintings, all but one of which were at the Salon, are composed of felt pieces that have been "converted into paintings, so that the felt pieces are made from a single material.

Result #2

Criticart text for Mihai Marin Carstea painture is, by and large, an afterthought to the masses. But then again, art is no more or less interesting than life, or, more accurately, life is very boring. Well, maybe that is the most interesting thing about life, but it is also the most retarded thing about life. I would rather spend time in a garden with my friends in a kitchen than in a gallery with the people who make art.The art world itself is a terrible, stupid, stupid environment, its inhabitants are rich, beautiful, crazy, fascinating, horrible, wonderful, and boring. The best art is the most boring.Art as it is practiced now, as it is sold today, is boring because people get bored with it. Let us take an example from our own time. In my own lifetime, many people have lived through horrible-as-hell lives; and let us say the same for art. The proof is in the pudding: We know what our lives are like, as the works of Art in My Life collection exhibit, but for many people, Art in My Life is a very, very beautiful book, it is superbly attractive and to some extent must-have. If, on the other hand, we get bored with it, it is just another, not bad, art, to be a tourist.A second, more frightening, but equally equally tragic, experience occurred to me while looking at Art in My Life. It is a wonderful, but unfortunately very little known, collection of paintings and drawings by artist-scientists, each exhibit prepared for a major retrospective exhibition by the US Government.

Result #3

Criticart text for Mihai Marin Carstea painture 1878–1986 A.S. Anny, Georges Bois and Olafur Eliasson, 1748–1688 A.S. Panioniotes, ca. 1680–1680, wood on board, 48 × 57". From the series A.S. Panioniotes, 1987–96. From the series A.S. Panioniotes, 1987–96. More than any of the pioneering French sculptors who emerged in the twentieth century, Mihai Marin Carstellea worked with the potential of traditional and recherche methods, and he was especially interested in the representations of naked, unglazed figures. While his works included male and female nudes, the four-part series A.S. Panioniotes, 1987–96, included mainly nude men and women. The figurative elements of the series continue to make use of traditional pictorial strategies, especially the rectangular form and the square form. The shapes serve to give a feeling of physical presence, but they are also a visual equivalent for the abstract form, an almost Euclidean complement to the congruent shapes and lines of the classical figures. In the series A.S. Panioniotes, 1987–96, the outlines and accents of the bodies—both inside and outside the body—are key to the image. In these details, the shape of the body resonates with the figure of the head, as if the latter were a representation of the body of the head. The male body, with its narrow, spread-eagle brow and round, flat neck, could be compared with the shape of the head or the tail of the animal. While the figures are nude, they are not overtly sexualized. In contrast, in some of the female nudes, the curves of the bust and neck are emphasized. In many of these works, the bust is also the sole prominent feature, the neck the only prominent feature.

Result #4

(Mihai Marin carpentry) is a profusion of intricate motifs that refer both to the decorative qualities of the material and to its natural condition. In her most recent exhibition, the artist presented a large collection of these colorful objects from her now-defunct exhibition space. Each object was meticulously reconstructed with its original elements removed from the original walls of the gallery, then transformed into a new work, often in such a way that they would look like different materials, depending on their physical properties. The materials of the works themselves have been broken down, then reassembled, as if in a production line, and not as if the material had been used to construct a new object.Some of the pieces are made from wire, glued to wooden planks. Others are made from solidified animal skins, painted in monochromatic tones and hung in a frame. This construction, which adds to the simple shapes, allows the forms to be seen in various angles, from a normal perspective, and allows the viewer to observe the angles of the walls, as well as the planes of the floor. The pieces are framed, and the kind of decoration that is used to build the surface of the wood supports is not found in the works themselves but in the different colors used in the decoration. It is these colors that form the background of the panels, just as the wood supports contain the support for the planks, or as a decorative material in a figurative composition. The works also suggest how the material might have been used, which is what makes them so wonderful.

Result #5

Criticart text for Mihai Marin Carstea painture: 2 ettre de mettre (Painting: 2 Tabs of Two Painted Leaves), 2018, is on view through February 9.Sergej Nevels, who curated the show, created an environment for contemplation that opens with a wall text that describes the artworks: either they are composed of thousands of white, black, or gray, or they are large-scale, abstract paintings in large reliefs. The text opens the show, in a room-within-a-room, with a small, curt description of each work: a number of self-portraits from the artists personal history, for instance: the name of the first son of an agricultural collective that predated the first art movements of the past century; a number of paintings of Byzantine emperors (some of which predated the first painting movements of the past century); and a group of similar black and white, collagelike works, some of which were on display in the space. The works are stripped of their historical roots and memorialized in this way: The black-and-white paintings are no longer works of traditional painting, and the white ones have been taken off the wall by their makers. A similar impulse is evident in the white-on-black self-portrait Two Tabs of Metered Paint, 2020, in which, with a use-value of just two pieces of metered paint, the artist has painted black and white and red, and has left little trace of the original black material. The difference between these two pieces is profound: They are different products of the same works done by different hands, one of which is a vintage mosaic from the modern era.