Interpretation of Life, the World and Existance

Result #1

Interpretation of Life, the World and Existance, and the present moment. The intention of the world is to achieve eternal peace and harmony in the material world, and for that we need the aid of men, women, and children—a vast array of which were here, but a few were not.Though the exhibition was well-researched, it seemed to have been executed with great care, although some members of the art establishment were quoted at a very brief notice. At the periphery of this display were colorful, but morbidly beautiful forms of death. The centerpiece, a table with black-and-white photographs from the 60s and 70s, showed a woman hunched over on a mat in what looked like her own home. Half nude, she sits with her knees and knees, elbows, wrists, and hands to her side, as if she were her parents, on a bed. In one of the pictures, the little girl that she is seated beside is kneeling in the middle of the room; her knees and elbows are spread to the sides, her head is facing the viewer, and her legs are spread apart. A small bell that rings while shes on the table rumbles, faintly mocking the tone of the room. The photographs imply that life is dead, and that death is eternal.For more than four decades, the artist has been one of the most prominent figures of the emerging generation of New York avant-garde. Many critics have compared him to the great artists of the 60s and 70s, and that he represents an important strand of avant-garde discourse. He may have been the most famous American avant-garde artist of the day, but he was also a key figure in the avant-garde avant-garde movement, and was at its very core an avant-garde, avant-individual.

Result #2

Interpretation of Life, the World and Existance, one with a strange, haunted tone. The installation is created in the same room as the video and it is also placed on the floor. Two vertical lighting units, and a small, flashlight-equipped slide projector, form the viewer, and appear in the same space. During the video, a framed, headless body appears in an empty room, accompanied by an enormous flushing-seats-clean-air generator, which gives off a foggy, amorphous coloration and a coagulated, clumplike mass in the background. The visitor appears and is overwhelmed by a diffuse glow that appears to swallow all the images.A circular motorized statue, a short, mute skeleton, and a closet containing an enormous display case filled with plastic figurines created out of similar materials—melted and stained. The skeletons and pieces of broken furniture are grouped in pairs, on a narrow, wooden shelf. The background is covered with sand; the walls are covered with wood grommets. The figurines are not present, but their surfaces are stained. Objects from the past appear to have disappeared, leaving only the skeleton, with its body, in a lost state. The only thing they have to sustain are their skeletons. The theme of "collapse" is played out in this mysterious, disorienting environment. Can you live with this or will you be swallowed up by it?—the title of the video, Evaporative Body and Diversion—is a philosophical question. A delicate, clear-cut suggestion of chaos pervades this natural-history-type setting.The three other works that were on view were Die Kussell (The World), 1984, Die Völker (The World), 1988, and Die Uauf (The Unexpected), 1989.

Result #3

Interpretation of Life, the World and Existance, all works 2016, a photographic series documenting the treatment and assembly of the artist, his body and objects in her studio.The series begins with the title Presentation: Space and Reality, 2014, a dark and forbidding, post-apocalyptic landscape of white, cracked, discolored concrete. A flickering, distorted image of a burning skyline looms over the horizon. Two versions of the same image are in place, one overlaid on another and juxtaposed, and the result is a visual collage, depicting an illusory situation of reality and imagination. Two rows of black-and-white photographs in this series, Taken in Mexico, feature heads that seem to be on fire and are more like characters from the imagination than people on the inside. Wispy black threads of earth and sky punctuate the seamy surfaces of these otherwise organic landscapes. The photographs are painted black so that the surfaces of the black paint are still and not scratched. Here, chaos and order, abstraction and figuration, coexist. In one image, for example, the subject of the painting is a human form in an abstract landscape, and the blurred contours of the background foreground that separates it from the foreground emphasize the fact that the background is not a single reality but an event that comes and goes in time.In the series of photographs titled Life (all works 2016), the agitations of multicolored, pink-and-white paint that forms the surfaces of the paintings in this exhibition recall the flickers and robs of a flickering screen, or the mementos of a destroyed world. This spatial layer in the works is meant to mark a place in the world beyond the surface, and in this way it serves as a kind of allegory for painting itself. In this light, pure formality is reduced to a matter of appearance—something that is at once anonymous and dynamic, an end in itself. This painting is a tombstone for painting.

Result #4

Interpretation of Life, the World and Existance, the Artworld, and a Close-Up of the Human Body: New York Times Art Critic Peter Jennings and New York Times Art Editor Paul McGough take a close look at the world, including a look at the artists world, and look at the artists personal history.Their work is antiart, anti-art; the implicit or the implicit is anti-art. The work of the New York Times critic and critic of the New York Times, who is an artist, critic, and collector, is anti-art. The art critic and art critic of the New York Times, who has had no personal experience with art, is anti-art. He is an art critic and art critic, who attempts to examine the world, to get into it, to translate it into art; to understand it. The art critic and art critic of the New York Times, who has no personal experience with art, is an art critic and art critic, who attempts to examine the world, to get into it, to translate it into art; to understand it. The art critic and art critic of the New York Times, who has had no personal experience with art, is an art critic and art critic, who attempts to examine the world, to get into it, to translate it into art; to understand it. The art critic and art critic of the New York Times, who has had no personal experience with art, is an art critic and art critic, who attempts to examine the world, to get into it, to translate it into art; to understand it. The art critic and art critic of the New York Times, who has had no personal experience with art, is an art critic and art critic, who attempts to examine the world, to get into it, to translate it into art; to understand it.

Result #5

Interpretation of Life, the World and Existance, the World of Things, March 2016, collages that make up the entire exhibition. On each of these works, as in the collage-style collages for which he is best known, the artist formed small strips of color; the results are as delicate and meditative as those of his more familiar pastiche-like works. To be sure, the paintings themselves retain a certain lightness, a soft but dense texture, a sensuous coloration, and a number of aberrations, including a sickly greenish yellow and some deep, fey, ocher hues that are perhaps an attempt at a neutral palette. But its possible that the artists artist is not attempting to portray every speck of black and white, but that he is using them as a means to investigate the same subjects in a more naturalistic manner.In one of the most evocative paintings in the show, a nondescript-looking tree trunk is installed on a light blue ground, a scene that recalls many of the works in which the artist works in this style. The light is largely obscured by a cloudy sky that seems to be composed of sky and clouds in an infinite cascade of color. The object that stands out most visually in the show, meanwhile, is a small, rectangular canvas. The work is surrounded by a thicket of dark green, yellow, blue, and red hues. It has a prominent feature: an inset of yellow in the middle that looks like a leaf, with some veins that could be flowers. The brushstrokes here are uneven, the paint used in this scene is unevenly applied and the hues used are uneven.