A torn flier for a porn magazine

Result #1

, the flier reads: MARTIN MESSENGER is an artist of great potential. He will never be afraid of his art, he will never be afraid to put it into circulation. I want him to know this. He wants to see the art in the hands of those who see it. And he wants to have his cake and eat it too. It is time for him to leave the museum and go live in New York. After all, New York is the capital of the arts world.Messelberg is a master of both the art and the mass media, a master of the visual language that is often used to define and express artistic, technological, or scientific developments. In this exhibition, Messelberg is presented as an artist, an artist who has transformed the world in an almost obsessive, ritualistic manner. He shows himself to be a master of a world of images, a master of a world of materials. His art is constructed from the smallest things, from the smallest objects, and he creates worlds that appear to be made of them. Messelberg is not just another scientist or engineer but an artist who uses the power of science to create a universe that is truly his own. His art is a universe in which all things are made of the same substance, that is, of a single material.Messelberg uses a number of methods to create these worlds—the same means that he uses to build and maintain a city. The world he creates is a real place that can be observed from any point of view. He creates a world in which the artist is the sole agent, the subject, and the object of the world, the only person capable of controlling the world. Messelberg places himself in the role of the creator, the inventor, the inventor of a new world, a world in which every action is an expression of his or her faith in the world, which will never be destroyed.

Result #2

ad from the 70s hung behind the gallery door, and the front page was filled with the words of the title, which read, In the late 80s, I was a stripper. Today, I am a writer. Thats the story of this exhibition. This was not a collection of works, but a collection of experiences.<|endoftext|> <|startoftext|>It seems odd that Robert Pincus-Witten has been hailed a master for over a decade. This is partly because he has been associated with a range of forms of abstraction, from the geometric to the abstract, but more importantly because he has been so much more concerned with the social than with the formal. In his recent show, two of his most recent paintings, the most serious in the show, he showed a series of abstract canvases. Each of these works is a kind of miniature cityscape, the kind of landscape that has become the stuff of contemporary abstraction. He has created a kind of city for his own island.The four paintings shown here were all made between 1997 and 1998, and are based on his own observations of nature. The pictures are large, flat, and square, but in each case the surface is divided by a central, horizontal rectangle. The paintings are done with an anamorphic approach, in the sense that the surface is painted in black, then painted in a more or less regular color scheme, usually green, yellow, or blue. It is like a landscape with a sky, an ocean, and a few mountains. The colors are applied in a variety of hues, from deep blues, reds, and blues, to light browns and ochers. In some cases the colors are applied in layers. The surface is usually smooth and even, and sometimes it has a subtle grain. In others the surface has been cut into small squares, each of which can be read as an individual painting within a larger painting.

Result #3

hung from the ceiling, an unlicensed sex shop at the entrance to the gallery. In another room, a photo-and-text wall projected the text of a letter written by the artist in response to an anonymous tip about the sale of his art. With these works, he also presented an assemblage of other kinds of information: a handwritten list of the names of individuals he contacted in order to obtain his art; his own personal, somewhat obscure, history; and the names of many different cultural organizations, including the Anti-Fascist League, the Communist Party, and the United States Communist Party. This work was a kind of visual version of the art worlds many forms of protest, both in the art market and in the art world itself. The artist was not merely the poster boy for his artworks but the chief actor in the art world as well. In the gallery lobby, he displayed four other works: a photograph of an empty-nesters apartment in New York, a print of a single line of text on a letter envelope (from the artist), and a photograph of his own body. The artist also included a copy of an essay in which he discusses the history of the art market, arguing that if the market is a place for art, then the art market is a place for art.The exhibition itself was not entirely a straightforward presentation of the artists works. The artists works in the show—which were all printed on canvas, with images, text, and graphics added—could not be shown as drawings, since the printed artworks are not finished. The works were shown at a slightly elevated viewing level, which made them seem to move freely as if the viewer were looking at them from a platform. On the opposite wall hung a large, framed wall drawing of a room in a house on the Upper West Side. On a small table rested a copy of the artists works.