life crest continuum green line struggle space
life crest continuum green line struggle space and the more generalized space of the two-dimensional form. The more general space is a space of our own making; the more general is the mark of the artist, of the viewer. The space of the two-dimensional form is a piece of the art world; the space of the two-dimensional form is the space of the artists, the space of the gallery, the space of art.The work of the late Martin Kippenberger is typical of the way he has approached the very different world of painting, where painting is only just beginning to come into its own as an art form. His work is not a reflection on the past or on the future; it is not a reflection on the past or on the future. Rather, his work is a reflection on the past and on the future, and is the reflection of a vision of a world in which painting is just beginning to come into its own as an art form. The history of art is not a reflection on the past or on the future; it is not a reflection on the past or on the future. Kippenberger is not concerned with the past or on the future. He is not interested in the past or on the future. He has not created a history of painting, but has used painting to look at the past and on the future. His work is not a reflection on the past or on the future. It is a reflection on the past and on the future.Kippenberger has always had a certain affinity with the work of Gerhard Richter. In the late 60s and early 70s, he was involved with a group of painters who were both in the midst of and engaged in a search for a new way of painting. They were searching for a way of painting that was not just a function of the body, and they were searching for a way of painting that was not just a function of time.
life crest continuum green line struggle space. The work suggests a fleeting moment of sustained enthusiasm, the moment of a moment of social action—as the artist says in the show's press release—but it also suggests the moment of a moment of serious, self-referential thought. In a statement accompanying the exhibition, the artist has said, In a very real sense, I am a piece of work, and I am a work of art, and I am a work of art. Its a paradox, but one that is the heart of the matter. He also puts forward a more direct interpretation of time: As a matter of fact, the work is a sequence of the actual time of an artist and his art. In the same sense, I am a work of art that is not an act of time. The work is a sequence of events, a sequence of moments, and therefore, a sequence of the real. The sequence of events is not an act of time, but rather a sequence of moments. In other words, the work is an event, a non-act, and thus a non-event. In the context of a city such as Cologne, one might say that it is also a spatial event, but one that is not temporally contingent.The exhibition ends with a series of photographs, taken in the 1930s, that show the work of the artist as a kind of chronometer, measuring the passage of time, and thus the artist as an artist—an artist who is not merely a measure of the passage of time but also a measure of the passage of time. A small but important detail: the street itself is not the street. It is the gallery. And the gallery is a perfectly ordinary one, a white-walled, white-tiled gallery. Here, the work is a study of the interaction of the space, of the space of art and the space of the gallery. In this way, the exhibition becomes a kind of political statement.
the first-person artist poses in the artists photo-essay The Painted Sphere (all works 2000). Its an image of a sphere, but one of a more refined, almost abstract, kind, and, as the title suggests, with a surface of variously colored parts arranged in a sort of fractal, three-dimensional space. One can see here the way in which the artist has become more involved with the surface than with the whole. The geometry, the texture, the color, the shape—all of this has been supplemented by a large, black, light-sensitive substance that seems to penetrate the walls and the floor, and is visible on the outside of the building. The last work in the show, the single large, black-white work, was an object that, like the sphere, is seen in a lighted space. Here, the material is an earthen pot. The space, however, is a dark room with a lighted window; the pot is a black, white, and gray-green black sphere with a white, yellow, and pink-green border. The result is a highly theatrical, if at times somehow ironic, sign that, in its own way, seems to represent a return of the art of the gesture toward the everyday, the simple and natural.
life crest continuum green line struggle space (with the works on view here clearly delineating the boundaries between the two sides of the line) and the works in a smaller gallery (with the same dimensions as the gallery, but with a smaller one-story house). The result was an idea of a room with a window, but one that was impossible to enter. The viewer was left to wander around and around the piece, and the space seemed to have a character that was in conflict with the figure on the gallery walls.This tension between the figure and the space was also present in the installation, which consisted of a number of walls and a wooden panel that covered the back wall of the gallery. The wooden panel was mounted on the wall, and it looked like a sign that had been placed here to mark the walls and the space. It was also painted a glossy red and had a hole cut in it, like a window. The red panel was also placed on the floor, with a tacked-up, rusted, metal-pipe-like pipe sticking out of it. The two parts of the piece were connected by a long, flat wooden rod that ran down the middle of the gallery and rested on the floor. The rod, which was part of the installation, was part of the installation as well; it was a temporary, temporary support that provided a place to rest and break off. It was a sign of the space that was simply a part of it, and it was the same as the piece on the gallery wall. The rod was also a piece of metal, which was made of wood and was partly covered by a metal frame. It was a construct that was both part of and independent of the space that it was in, and it was an element that was made visible by the presence of the painted sign. The rod was also a sign, and it was placed in the same way as the other elements of the installation.
between the two bodies of work, as in the two-panel work, in which the two panels are joined to form a double-wedge. The same-sex desire/sexual identity politics in these pieces is also evident in the photographs, which have been selected from a library of images that also includes one of a womans face. In the second panel of the work, the face is covered by a thick layer of white paint, like a mask, while a second panel of the same color covers the womans face, this time obscuring the other one. The layered layer of paint is also visible in the three-panel work, in which the two panels are joined at their right angles, but where the last panel of the work is visible, it is a weak and comic caricature of the other two.The audience is left to wonder how much of a difference there is between these two groups of works, between the people who participate in them and the artists. And yet, as the art world seems to be moving toward the idea that art must be as critical as social criticism, it is difficult to say whether or not this is a difference of opinion or of two people who go to the same gallery.