tranquillity and peace building aesthetic landscape

Result #1

tranquillity and peace building aesthetic landscape is a subject of serious concern for the artist. The framing of the work in the gallery seemed to draw on the work of another artist, architect Norman Demetrius, who also participated in the group with sculptor Marlon Grammer. Grammer and Demetrius collaborated on the installation for the March 1966 show at the Museum of Contemporary Art, Los Angeles. The latter work incorporated a number of photographic images taken by Demetrius in a series of urban environments, each of which was preceded by a photograph taken by Grammer in a different place. The latter photo series was presented in the gallery as a series of nine small photomurals on paper, which resembled a photomural. On the reverse side of each photo, the artist had inscribed the phrase, I did not make this photograph—a quote taken from Demetrius, who said, I did not make these photographs.The photographs also included a number of images taken by Germond, which were shown in the gallery as two-dimensional collages. Here, Germonds work became a critique of the work of the two dominant figures of the 60s, both of whom employed photography to make images that, in the words of James Joyces poem The Fountain of Philosophy, evoke the sublime, the irrational, and the unknowable. The collages, which consisted of pictures taken by Germond from photographs taken by a few of the artists in a group of shows organized by the gallery, were accompanied by drawings and documents. The drawings included a reproduction of a letter from Germond to the artist Kim Novak, in which she discusses her own work and those of other artists, in a sort of manifesto. The drawings—all of the artists included—were accompanied by the photographs of the collages, which made up the bulk of the installation.Germonds work has always been both theoretical and playful, but her work has always had an interesting political side.

Result #2

vernacular. The artist seems to have realized that what is most interesting in the space of the photographed picture is the people, the facial features and the mannerisms of their facial expressions. In the same way, we may well be interested in the image of the chair, in the work of Art & Language, but not in the image of the chair itself. That is why we must keep in mind that the idea of the chair is not only a social construct (the possibility of its being used, for instance, by terrorists) but a painting construct (the image of the chair, of the chair being used, of the chair being used).Thus, the ability of a work to be an image of a chair and not a chair itself is one of the artistic principles of the work. In the process of creating this chair, the artist might have had the necessity of making a chair of a certain size (even a very small one), and then the necessity of the chair as an image of that chair. This is why the work of Art & Language may be seen to be a study of the nature of the image—the most important aspect of any artistic endeavor—as well as the nature of the chair as a form of representation, an image of an image. In the end, this study of the image of the chair is the basis of the study of the image of the chair itself.

Result #3

vernacular in the presence of the seemingly alienating impact of a library. There were a few exhibits, however, that seemed to go against the grain and succeeded in producing a situation of profound self-doubt: an unexpectedly compelling selection of literature, photographs, and videos (including those of Roberta Smith, Richard Hamilton, and Thich Kho Min). The ostentatiousness of this show, in which its own boundaries blur with the margins of the art world, made it a revelatory event. The museum is no longer a neutral space for art, but a critical one, in which artistic and cultural awareness has merged in a singular and unifying experience. The exhibition was a revolution, and the works that arose from it offered lessons on the history of avant-garde theory and practice.

Result #4

vernacular, and it is less about symbolism than about visual, physical, and material realities.

Result #5

vernacular—has a more specific place than, say, the organic landscape as found in the 1950s in Los Angeles, where she is now based, and in the painting of the late, great English sculptor and post-Minimalist Henry Moore (she studied with him). By the mid-90s, however, she had developed a practice that, despite being influenced by the Surrealists, felt more alive, and that in its fluidity and its abstractness, was more in tune with the rhythms of the contemporary world.