"Untitled" 2018 by Amy Sherald. Use the 5 analytical moves to describe this portrait

Result #1

"Untitled" 2018 by Amy Sherald. Use the 5 analytical moves to describe this portrait of a hipper young American woman. Amy Sherald, a thirty-six-year-old artist from Seattle, has had a long career that is marked by her participation in and use of the analytical movement. The paintings on view here, which date from the late 1990s to the present, all were made between 2009 and 2010, the years of the artists career, and they reflect her lifelong interest in the art of rationality. The images she chose for this show were taken by using her own house as a laboratory, in which she set up her own test cases for various tools—from a stick of dynamite to a piece of notebook paper—that she used to make the devices.The walls of the gallery space were covered with posters that showed the names and titles of the different tools. These devices range from simple tools that are simple, such as a fan or the accelerometer, to more complex ones that are more complex, such as the computer, which she has used in the past. In many of the works shown here, the devices are arranged in a grid, forming a kind of statistical database of sorts. The images are printed in different sizes and colors and are printed on pages that have been doubled so that the double is visible. Each of the doubles is numbered, and the artist has written the number and the title of the doubled image on the wall. The cards are in several sizes and shown on the wall, so that the number on the card has become an index of the number of times the doubling has occurred. The titles are numbers that start with the same number and repeat the same names, like a pyramid or an alphabet. The series of pictures on view here was titled Use the 5 analytical moves to describe this portrait of a hipper young American woman. Amy Sherald, a thirty-six-year-old artist from Seattle, has had a long career that is marked by her participation in the analytical movement.

Result #2

"Untitled" 2018 by Amy Sherald. Use the 5 analytical moves to describe this portrait of friendship in miniature. On a white sheet of paper, lay out the relationship between the two of you. Step into the picture and you will find your identity. And in this small room you can also see how you came to be. The pictures are titled after the works in this exhibition, which were made up of photographic fragments, chosen from all of the works in the exhibition. The individual works are like snapshots. They are like snapshots that turn into images, like pictures of the past. The relationship between the two of you is the same as that between the present and the past. The artist Amy Sherald has been using in her work since 2016, when she made photographs of her own body in her studio. She calls her pictures pictures ephemeral. They are not photographs at all, but rather ephemeral fragments that are never taken back again.The ephemeral quality of Sheralds works makes them all the more remarkable. In one of the ephemeral works, Untitled, 2018, she turns the photo inside out, flips it on its side, and reflows it. She then unfolds the ephemeral sheet. The colors are washed out and smeared in a way that suggest a ghostly ghostly image of the world outside. The smears are still, even after she has applied the paint and the shadowed image. The fragments that make up the ephemeral are like ghostly images that take on an appearance of reality.The ephemeral quality of the works makes them all the more remarkable. In one of the ephemeral works, Untitled, 2018, she rolls the ephemeral sheet around in a circle and makes a square. The result is a very large, monochromatic picture. In another ephemeral work, Untitled, 2018, she rolls her ephemeral sheet around in a circle again, this time with a different color scheme.

Result #3

"Untitled" 2018 by Amy Sherald. Use the 5 analytical moves to describe this portrait of a white-collar criminal. The art world—its practitioners and viewers—are its victims, and this exhibition shows us how we deal with them. The title was inspired by a tweet by the artist, in which she tweeted, I want to be one of the most useful people in the world. I want to be one of the most useful people in the world. I want to be one of the most useful people in the world. Alicia Steel, who also published a story on the subject in the Wall Street Journal, was the first woman to earn the artist a commission, and she published the artist's story with the article in its entirety in its first issue. (The full story was published later in the magazine.) An excerpt from the story is a hardcover edition, which gives the portrait an exhibitionistic dimension.This exhibition was organized in the same way as the other five, in that each of the works was a separate project in the artists hands, and the shows aesthetic was based on a series of conversations with the artist. For example, the catalogue text was written by Steel, and the story by Sherald. The exhibition was not about the painting but about the exhibition itself. This shows title, in particular, is a play on the word (ess) that appears in the stories and essays of this particular artist and many others, as well as in other works of her in the show. The English word essen (ess) is also the word for all the signs and symbols that make up a sign; in this context, the numbers 1 through 5, for example, are the sign for the 4 elements of a sign. The number 13 is also the number for the sign of the root (to be found in the letters A, C, G, and I), and the artist's title is alluding to the ancient Greek lettered script for the alphabet, which is based on a Roman script (commonly used for writing Latin script).

Result #4

"Untitled" 2018 by Amy Sherald. Use the 5 analytical moves to describe this portrait of a tall, balding, middle-class white male, who says, In a very literal way, I was scared to death. I was very, very scared. I didnt know what was going on. Theres a very frightened look to his face. My mother and I both knew, but didnt want to believe. She was afraid of me. She was afraid of herself. Theres a very frightened look to his face. My mother and I both knew, but didnt want to believe. She was afraid of me. She was afraid of herself. . . . It wasnt until I started to paint, she says, that she began to believe. Her mother said, It looks like youre doing it to me, youre doing it to yourself. But then I found myself and I was the one who was doing it to myself, she says. I began to believe, she says, and, with a nod, I went to the hospital. It was the same year I was diagnosed with cancer. I couldnt believe that I was dying, she says.My paintings are like images of that sort of feeling, which is the one that people have when theyre not sure whether they should or dont believe. In the early 70s, Sherald created a series of black-and-white abstractions in which she combined a single idea with dozens of others. The result was the famous black-and-white painting Scary, 1974, that she showed at the Whitney Museum in New York in 1974. The more or less in-depth story is told in a group of new paintings on display at New Yorks Museum of Contemporary Art. Each of the paintings consists of a single abstraction of a single subject—a chair, a clock, a wall, a fountain, or a human figure—that the artist has arranged in a grid. In each painting, the grid is sometimes an even number of squares and the results are the same.

Result #5

"Untitled" 2018 by Amy Sherald. Use the 5 analytical moves to describe this portrait, which she made with her husband, one of the artists best-known figures, by Amy Sherald, in the very first posthumous exhibition of her work. This work is an inquiry into the representation of memory. In the 1960s, Sherald faced the same problems as many of her contemporaries: namely, that of representing memory through photographic images. In her new works, she manipulates these images to build up the physical reality of memory. Her work represents, in part, a return to memory, a process of reassembly and a reexamination of the historical, cultural, and political contexts in which she lived. Sherald was born in 1940, and her photographic work, as well as her writing, have always dealt with the history of photography. Her autobiography is a series of drawings and collages on paper that chronicle her life, a process of memory, and a reenactment of the past. In the new works, she replaces the dead and the living with the spirit.The results of this reenactment can be seen in the paintings. On the two most striking are two works by the artists husband, photographer David. The first, Untitled (Black Piled), 2009, portrays a black-and-white image of a headless body lying on a white floor. In the background is a dark landscape of leaves, with the leaves also appearing in the background of another photograph by the same name. The two works share a common character: a black-and-white photograph of a body on a white surface is paired with a black-and-white print of the same image with the word Black Piled printed across the surface. A black-and-white photograph of a headless body lying on a white ground is paired with a black-and-white photograph of a black-and-white photograph of a headless body lying on a white ground.