sitting on wooden chair, looking at horse, in horse keeper position. night vision in a fraction of the winter night. task given to me by them, and until next year my rest is here, like a keeper, breaking branches and facing the horse. demand that wolves, coyotes and a white horse only paint on the walls of hotel rooms and that, in the absence of the seal, whoever found them provided a different idea of ​​what they were doing. An idea that, if left to chance, can turn into a nightmare. No end, he hasn't. He's almost a very smart man.

Result #1

He's got a good mind. For, in his subconscious, theyre just what he chooses.

Result #2

How much chance is there in getting it? . . .

Result #3

sitting on wooden chair, looking at horse, in horse keeper position. night vision in a fraction of the winter night. task given to me by them, and until next year my rest is here, like a keeper, breaking branches and facing the horse. demand that wolves, coyotes and a white horse only paint on the walls of hotel rooms and that, in the absence of the seal, whoever found them provided a different idea of ​​what they were doing. An idea that, if left to chance, can turn into a nightmare. No end, he hasn't. He's almost a very smart man. . . . After the National Museum is on its last legs, I have to suggest the wolves and the coyotes in New York, Arizona and Texas. What I think is happening is, the wind blows through the junkyards and dodges and nets, even the stalks of wicks. I am getting a lot of Washington Post, but no real New York Times. And all this, its just good old Disney. . . . <|startoftext|>Its been awhile since New Yorkers saw KWIKs affectionately decorated room. Not much, actually, and New York–ers in general—though with this show it is possible to go back in time. No one can explain the fashionable abandon of Joanne Jee, O'Toole, and Robert Huelsenbeck, not to mention James Rosenquist, Alex Katz, and Marisa Merz, for having painted on the doors. From what I know the path of least resistance is the wanton candor of the outside, but what about the pink and red walls of the fancy in town? Not to mention the dealers of Arundel Kerner or Andrew Ginzel. Nothing would be more German than a blue door, because it denotes the undoubted pride of living in Germany. (In fact, given the work of the Jews, also living in Germany, the blue signifier is a more universal one.) In contrast, a Japanese door (Hanami) carries the charge of the state of being German, but it doesn't signify the ultimate triumph of German-ness over all the other races and languages. There can be no doubt about the status of the East as a sign of life and a trigger of activity that informs the whole of human existence. To point up one of the world's languages is a most disgraceful negation.The questioning of signs is an important aspect of KWIKs work, as it happens in every artist.

Result #4

The facts are: The house is vacant, the lights are on, the house will not be. The anchor is a half-dollar sign, and there are no cards. The locks are exactly the same, and he used the locks the night before to sign them. The American Family League has not been active since 1986, and a new challenge to it might have been possible only after the National Association of Reunions of Interests did its first explicit statement on the subject in its 1969 newsletter. By 2008, the topic of the NAIR convention was being taken up by its own jurist, the collective LAI (La Aire und Una Romeilida—a bit like a winning ticket, yes, but not if you are an artist). Meanwhile, well-known figures of various kind, like Eric Holder, the third-richest and most significant in American art, have taken up the mantle of the sad sack and, so the argument goes, shouldnt have. But let's be on record as stating that, like any other animal, the sad sack is a compassionate individual. On the other hand, as the late artist Paul Valery is fond of saying, sad sacks always seem to be reminding themselves. True, one may never know exactly when. As Valery suggests, theres no right time to go to the grave.

Result #5

I doubt that John Burroughs knew who Stoltz actually was. It's hard to tell, because all Stoltz did was take off the mask. One would assume the actual Stoltz would just had a do with Stoltz, and one could just imagine what it must have been like to see him in his mother's bedroom in the way she did, but here he was, some day, masked. Had to take his own joke. (And what was he to do? Make himself the Céline Segarne? Ha ha! Nonsense! If you want to be a corset, wear it! The same fettle as her daughter, though, who wore it all, or who simply couldnt stomach it, and so couldn't stand it—well, maybe her daughter would have been right, and the risk of being right, or at least a bit tired by the end. At any rate, Stoltz still might have been wrong about her daughter, and even more about her art. It's as if Stoltz, her daughter, and their son had simply stepped back in the world and found that the Céline Segarne had gotten away with murder. It would have been a very different world.Rebecca Solnit: Alice in Wonderland, W. G. Sebald, J. P. G. Yeats, The Library of Babel, The Silenus Enigmatic Discourse, The Butler's House, The London Utopia, ed. Edgardo de Lima. From the collection of the National Gallery of Art, London.