Cat hungry angry passionate paper destroys toilet paper

Result #1

Cat hungry angry passionate paper destroys toilet paper ikebana is torn and set ablaze, rolling out onto the floor of the carpeted area where the idols are displayed. His body is lit up by the bright lights of his drug use. See-through skin, swollen genitalia, paunchy navel, and a pucker on his dark forehead reveal him to be a meek and embarrassed guy. An anointed towel draped over his chest vents forth blood-red soap all over. The rest of his body is covered with pool-sump oil, a few torn paper lanterns, and a sordid paper-wrap-covered picture of a pair of Madonna-looking gold dongs.The final room, home to a few paper lanterns and a puke-stained pile of paper plates, is jammed with paper pieces and rag dolls. This aint nothing. This is not a caricature of what a man of ill repute might do. Even while ducking into the kitchen to polish off a trashy yellow lotion and tamp, he hastily reaches for a knife and a paintbrush. A sweat-stained face emerges from the rag doll to look at the viewer. This lecherous behavior, combined with the self-pity displayed by the lamplighter and the kitchen sink, is conveyed by the series of pots and pans piled on the floor. The massive bottles of water (complete with umbrellas) are only a few feet away, yet those without the umbrellas could be seen swimming in. The purity of the gut is an ideal that, in a society where women continue to be relegated to their careers and stiletto heels, wouldnt be out of place. It is ironic that the trashy puke-diagrams that keep cropping up in the background, spookily suggestive of the overvalued newsstand, only reinforce the logic of their meaning.The materials used for it are all here: paper plates, ikebana paper, and paper noodles.

Result #2

Cat hungry angry passionate paper destroys toilet paper !!!!!!! So old?Only Katekyaks painting uses the gorgeous, randy, danceable power of the figure. Her strange, sickly lotus flower, and frothy-lipped white-striped, enormous eggplant, is then instantly dated by being taken for Madonna. Her face is then identified with her own downy-lipped face. Stinking of the toilets is instantly parodied by being entered by a well-toned, dreamy girl. The girl, too, is a misshapen ungainly, a feminine parasite. She is a peach green, a chalky jester of the subconscious. The urinal, which in her previous work had a half-curved-in funnel, is her wax-white jail cell. She has suddenly turned on a spity, brilliant red. Her social embarrassment has evolved into a gaudy giddy pop. She now reclines on a plunging-toilet. With a prodigious imagination, the figures lost, semiconscious blue faces and purple polka dots are assembled into her new work, at once adorable and captivating. Inside, the number 1, a silver dollar, and the domain of the pelvis, a gold dildo, are the same recycled motifs that occupy her ceramic workshop, too.In this energy-charged, panicky, spirited new work, we are fed up with being fed up with art. Its all in the name of art—kicking, pushing, turning, driving. Yes, we do jeer in the hallway and yell at the cops, as well as in the audience at the lectures. Yes, we smoke in the same tunnel as the tarred terra-cotta figures in the gallery, or the terrified, balled-up posters in the lobby. Isnt there something childish and pathetic about the whole thing? The sewer rats are a familiar set of characters in the art world.

Result #3

!!! In his presentation of paper cutouts, seen only in reprints in a color edition, it is possible to realize that there is something of the previous, deadpraised, restrained, witty and disturbingly aggressive in his work. However, this work amounts to a sad, maudlin, embarrassed confession that in his days, Frank Stella was a very tough-to-shit critic and still is. Walter Benjamin wrote: It is impossible not to admire an artists ability to make fresh observations, but it is impossible not to admire his willingness to accept a risk which others take. What may be new in Stellas work is the merging of everyday sign language with an expressive language. That is not to say that Stella is merely attempting to be all-American; he is aware that his language is not American.The problem of art in this country is one of abject change. Stellas has said: The sign language of his works is too cute and too pretty to be anything but American. This work is too American to be art.

Result #4

????? Well he mustnt. He doesnt. As Molloy reminds us, we can both work on the same canvas, but if we do it is probably at a distance of a day or two. Hence, the big paintings, especially The Bottom Line, are not really—no matter how I see it—typical of his approach.Molloy has shown himself to be an enthusiast of National Geographic and Space magazine, and while in his lifetime he had no idea who or what the National Geographic was, which is a pity because the illustration that got him off to the big work was excellent. In one long drawing of an isolated, naked man who has a gooey bubble in his hole, the photo seems to have been taken from the front page of the magazine. This small depiction of an enormous penis seems to suggest that pornographic images of sex are probably as common as Coca-Cola. How ironic. Also, he has dealt with the American culture that produced an entire generation of men, and it is amazing to think of this background on the verge of a revolution.

Result #5

vernacular wood furniture, then just puts it in the trunk, hammers it in. Horrified by the unexpected transformation of paper into furniture, he brutally exploits the incompatibility of the two materials. And when the power and the life of these things are shown to be easily divisible, Horvats playfulness, though carefully staged, becomes instead a comment on art and architecture as misaligned and dysfunctional systems.Because the materials Horvat chooses to exploit are so immaterial, the paintings the artist is given can hardly be considered complete until the paintings are understood in relation to their material and symbolic context. This link is made clear in the series of drawings that follow, showing the artist as a symbol of the dark, soulless material world. Using pen and ink, the artist would draw circles and lines on paper, gradually getting closer to a representation of the darkest and most elemental world—of the stars, of the black hole in the center of the universe. Horvats uses the painting as a paper sculpture—the canvas as canvas. The artist reveals himself as a person of the material world, a soul whose pleasure is in the relationship with the void.