3 ladies wearing a head tie

Result #1

3 ladies wearing a head tie; the three chairs in the center of the room also feature this portrait of a dashing and sexy-beautiful-looking character.At first, the whole installation seemed to run parallel to a single family portrait: of the mother of New Yorks Hester Prynne Street and of her children. But the scenes were not nested but were merely juxtaposed with each other. A pink satin ceiling and a polished wooden table, from the 60s and 70s, interlinked the two families. In one photograph, the mother is cropped so that her chest is uncovered and her head is obscured by her hair; in the other, she sits nude with her back turned to the viewer. The photograph was titled In Place of the House of the Lady, 1998, but the words simply refer to the gender of the photographer, who here wore a pink garment. (Prynne lived in the 1920s, and her photographs capture the ladies interior.) Here, the photographs were framed in wood, and the overall effect was reminiscent of a traditional portrait. At the end of the gallery, a metal plate attached to the wall framed the largest photograph, and held the second photograph. In Place of the Lady, 1998, also displayed, included a second photograph from the 60s, and each page from the collection had a separate title. The photographs were later exhibited in a similar manner in the New York Public Library, as well as in a wide array of other collections across the country, as well as in private homes and venues across the country.Visitors who entered the exhibition from outside the exhibition were surprised to discover a huge stack of rephotographs from the artists husband, sculptor Kevin Schoule. The show also included a group of recently printed photographs from the artists collection from 1977–81. This cast was comprised primarily of photographs of women: some are dressed in pink or yellow and some in floral arrangements.

Result #2

, a leopard-print dress, and a pair of chunky sunglasses. The women are serious, intimate, and emotionally charged, all of whom are striving for something more than their parents; they are struggling, as they all have, to find a sense of belonging. Hanging from the ceiling, Dr. Ishiuchi Yoshizawa, who is an esthetician, is the kind of person who, when he is not working on other people's art, does something interesting with his own. There are beautiful pictures in this show, but what is truly exciting about them is the effort expended in getting them made.

Result #3

and a tiara. A three-part, jewel-box-looking set of four crepe-stocked wrappers in multiple colors is reminiscent of an array of finger-prints. The larger and even more elaborate conch hung from a thin chain suspended from the ceiling and half-hidden in the wall.The central work in the show was the largest, Untitled, 1998, a statue of a right-handed baton-wielding whiz-kid artist. Its complex and extravagant, with conchlike wings and a colorful mass of white filament. The whole beast is covered in a cascading yellow, brown, and blue light-brown color, with red and white teeth and a curved beak. A hollow eye, exposed in two spots, erupts from its inside. As if searching for an outer frame, it delivers a squint and offers the viewer the chance to take in the show. The lithe creature in motion, its tail swaying, looks like a specimen at the zoo. It is as though the artist, bat-wielding, were on an expedition. In its mazes of overlapping, fluorescent-colored, complexly layered formations, it becomes a vertiginous glimpse into the realms of man. It is an exotic, gleeful creature that is at once almost extinct and almost exotic—a paragon, perhaps, for a museum that must keep alive the memory of it.

Result #4

. The rest of the bunch is a group of girls who, no matter how they dress, are not doing it for the ladies but for their dads. These are all victims, or at least they tried to be victims, and their fathers attempt to save them; and when they do try to save them, they tend to be men.

Result #5

3 ladies wearing a head tie, a flower in her hair, and the words I LOVE YOU, and her beautiful, curlicued hair. The installation does not exist as an installation but as a place of meditation, with most of the viewers having put themselves on stage—usually in bed, on a couch, or with a mirror.Hanging from the ceiling, a little girl dressed in a pink shirt sits on a pillow, reading the words I LOVE YOU with an eager expression on her face. They are printed on a soft, mottled gray fabric; the words are scrawled across her body in an even more casual fashion. The objectification of the body and its sexual expression has a raunchy aspect, as if the meaning of the text had been rearranged so that it could be read in one more accessible form.The text on the ceiling evokes a typical street chant, a greeting like, If you live here, Im gonnna give you something to be proud of. The scene recalls the materiality of graphic design; the clothes look like they could be from other kinds of stores. In some places, the work is suspended between disturbing and compelling. A space on the floor is a standing object, a metal ladder that can be used to climb or reach the ceiling. The two walls are painted a dark green, while the three are green. A series of dark, almost overcast days—falling on a very rainy September—the bright, natural-looking sky was designed to keep out the sun. A rickety wooden deck, made of a cast of wood, was set up on the floor. The edges of this deck, its bark and wood, were painted a bright green.One of the most interesting things about the show was the way in which the viewer was controlled by his or her ability to fit in. The images in the show had an uncanny quality.