an imagined state or society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic

Result #1

.The artist has previously drawn attention to the degree to which her sculptures are composed of materials that are familiar to anyone who has ever used a saw. The pieces in her latest exhibition allude to the blocky, oversize saw, but they are less complex and thus more accessible, and the uneven parts seem less threatening. This material is reminiscent of the wood grain, which in its pure state is an unmistakable sign of being hand-cut, but which is simultaneously hard and light. The collective effect is that of a wooden ornament made out of the same materials as the sculpture, and the impression is that of the saw as both a tool and a weapon. In this sense, the sculptural part of the work is a key, if not indispensable, to the comprehension of the other two.In this respect, the works seem particularly vulnerable, and they do not feel as if they could be taken apart and opened. For this reason, they seem almost premeditated. This is a quality that the artist clearly shares with other sculptors who are interested in the material basis of culture. But unlike those other artists, she does not use materials that are intended to be used as utilitarian objects, such as plywood, as a building material or a floor surface. Instead, she uses materials that, although supposedly having a utilitarian function, have a great variety of uses, both for their own intrinsic beauty and as part of a building. In this respect, the works seem more tentative, as if she were struggling to find a balance between the possibility of creating work that would ultimately be both beautiful and functional, and of making it that could be seen and felt without the help of any special technical equipment.

Result #2

, and reflects an economic system that is almost always exploitative. In some works, the text is presented in the style of a graphic novel, while others incorporate photographs of a religious cult that would make for an intriguing film. In most of the works, the images and texts are in the form of a series of small, black-and-white photographs; in others, they are rendered as drawn-out lines of text or graffiti. The images and texts are clearly made up of only a handful of words, and the only suggestion of the image or texts is in the title, sometimes as a matter of punctuation, sometimes as a matter of style. However, sometimes these works also contain other images or texts, either small images or texts, sometimes both. In the end, however, the viewer is left with only an impression of some of the artists most interesting achievements. As an exercise in visual engagement, the work becomes a perfect illustration of the promises and failures of contemporary communication technology. For most of us, the attempt to communicate with the world on a mobile device has become a remote and almost alien activity, and the fact that it is still possible today is a credit to our technological ingenuity.

Result #3

an imagined state or society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic. The most striking of the many works in the show was One and All, 2004, a large picture of a gaping hole cut out of the wall. An immense, gaping, dark, and seemingly endless hole, it is filled with chipped fragments of brass and an insignificant amount of silver.

Result #4

. The erotic/violent contrasts between these two categories are only partially resolved by the fact that both fall short of being purely abstract. In her story of a college student who commits suicide by hanging himself at the Chicago Theater, Lamberts puppets are portrayed as an afterimage of the real thing, suggesting that, like the fictional college student, they are both fictional and real, because they are representations of what is actually happening. Her heroine, meanwhile, is a parody of the kind of voyeuristic/sensual imagery that has appeared in erotic manga and pornographic films, and the ultimate effect of which is to make the spectator into the subject.Lamberts puppets are simultaneously abstract and real, but their sexual archetypes are rooted in an antiquated but fascinatingly personal history. The artist has been collecting her fallen subjects for the past four years, which culminated with the staging of her first major performance, The Fallen Student, which took place in New York in April. The piece was performed at the New Museum of Contemporary Art, in a variety of environments, including the gallery. The artists intention was to re-create the experience of the actors and audience in a new and lively artistic form, to evoke the artistic and social status of the fallen student while simultaneously revealing the psychological aspects of the situation of the fallen. In this way, the piece, as Lambert has said, brought together a number of previously published works that were re-created here and that set a new and surprising stage for her career.

Result #5

an imagined state or society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic, a perversion of Good News, the title of which refers to a Mormon missionary who was murdered by a mob in Salt Lake City. The post-Modernist methodology and metaphor of this installation, however, left the viewer with the impression that the message was not addressed to the individual but to a group of millions. In fact, the message was addressed to the world—but only to the point of bypassing the human problem and its solution, to the point of leaving it to the politicians, to the truck drivers and truck drivers who make up the real victims.This is not to say that the message isnt complex and often misleading; it is the general implosion of human behavior that dominates the show. It is not the victims who suffer most from the horrific human conditions of poverty, poverty, and oppression but the world. The political system itself is nothing but a giant inferno of fear, rage, and greed. The message is, however, usually too subtle and to some extent too explicit for the target audience, who can easily forget that they are part of the machinery of oppression. The natural remedy, as the slogan of the show suggests, is for the masses to band together and for a political system to be instituted to combat this fear, which, in its destructiveness, is the most powerful weapon against it. In the end, however, it is the consumer society that is responsible. The message is not as disturbing as the mass destructions of a repressive regime. Yet the message still needs to be addressed, and in the sense that it is addressed to the consumer society.The installation was divided into two parts: two mock-up rooms for the public to use. In one, a video projector was placed on a pedestal, facing a television set. Two TV sets were placed on top of this pedestal: one showed footage of a movie, the other a map of the United States.