Blue, orange, pumpkin, third grader, elementary school

Result #1

Blue, orange, pumpkin, third grader, elementary school, class of 1998, matching page and square with circle, 18-to-20-year-old, white, Muppet. The text on the back cover was posted: THE MOST LAUGHABLE QUERIES, YOU UNKNOWN BRAINWITTER? WHAT DID YOU SAY? WHAT SHOULD I SAY? ITS ALL RIGHT, JUST WAKE UP. Here in the building, a humming sound generator ran a music track (Sleeper Lady), opening the gallery door. It was all upside-down. One of the drawings was a map of the San Francisco area; the other presented a slide show of the building in the same size as the building, with an expanded view of its interior. The drawings and drawings-on-canvas (around a minute) of a particular image had been printed on wood panel. The images were formed like a mosaic and sandwiched into the back of Plexiglas. The pieces were arranged in a grid. The last element of the gallery was a group of mens shirts: black shirts and white shirts, all the same size, shown from different angles, with nothing in between. The mens shirts were in a row, each image roughly the same size, identical in color, and bound by a grid. The mens shirts were upside down.The artwork was in the process of being installed in its room. The sculptures were placed on shelves, placed in various areas, and stacked to form a single-level installation, Museum for a Pacific Century. The figures were posed, strung together, and the light was darkened by a projector screen, all suspended from ceiling to floor. The works were sequentially arranged, and displayed like a collection of stock-making products that could be purchased at any of several stores around the San Francisco Bay Area. In the lower-level space of the museum, the sculptures were clustered in four corners. Its an image-like arrangement, a touchingly familiar visual universe.

Result #2

Blue, orange, pumpkin, third grader, elementary school principal, teacher, observer, chemist, scientist, organizer, book, 18th century, 20th century, 1945, 2 × 4 1/2 × 4". From Spatialization: Pop art, 1965–1975. This recent show of forty-three works, all from the period 1945–1975, has the feel of a neatly curated department store display of artifacts, from a vintage catalog to a contemporary collection of American art. The show, curated by Claire Nixons and Mike Conner, began with the late 70s, with works by Robert Morris, Carl Andre, Haim Steinbach, Richard Serra, Joe Goode, Robert Motherwell, and Don Judd. A subsequent move through a number of neo-Conceptualists and neo-Expressionist artists produced a more open-ended period of exploration, highlighting the diverse voices in American culture. Nixons selections from the latter group are powerful, though it is hard to say what they mean.One of the more significant pieces in the show was the 16-mm film The Look of Paul McGowin, 1953–53, a small survey of the artists work that demonstrates a creative, critical, and intellectual engagement with the needs of a 21st-century society. Here, as in McGowins earlier work, the film is presented in a looped loop, containing a text of the same name: The similarity between the images of the objects we use most often in our daily lives and the appearance of a completely transparent and transparent surface is nothing more than a general suggestion, and this common idea is applied to the image-objects relationship to consciousness. The works title describes the frames, which, when rendered in different colors, appear to be a method of representing the transparency, to effect the illusion of depth.

Result #3

, 1980, at 101 Co-op Hall. The remaining four were hung in a group on the floor of the same location, where they showed the same vitality as his earlier works. In spite of the later work, the color and depth of the work remain vivid in memory; the only change is the pinks and blues. The effect of their impasto—which doesn't hurt, actually—is even more intense than the color, which remains the same.What helps the canvas stand out is its composition: the use of two transparent scrims (one red and one green) to control both depth and light in a painting. The blue-green monochrome scheme, using yellow in two adjacent areas, demonstrates that Faulkes photographic vision is not limited to black-and-white images of trees and grass. In fact, he uses this color for any number of colorful effects: a blurry field of yellow lines on the grass, or a line of light blue on a white background. An older picture from 1978, which features a deep blue sky with dark pink trees, uses the green and yellow for a sort of distraction—or, as Faulkes art historian David Horowitz once put it, a destabilizing force—to bring viewers out of their mundane, monotonous lives.

Result #4

Blue, orange, pumpkin, third grader, elementary school teacher, and nighttime matinee idol, reflected in the muted color of the panels, but in the abstract texture of most of the watercolor and in the somewhat artificial appearance of the brushstrokes. The books unfinished look recalls that of a lightweight table lamp: The isolated, immobile white bluish-green tones and the very pale greenish blues set off the deep emerald brown hues, suggesting rust, rust, rustle, or rusty.A similar resonance of both the white-primed, industrial-strength watercolor and the industrial-slick charcoal-and-plastic finishing of the gilt surfaces in the show derives from the two-color grading and painting, which evoke early-twentieth-century purists and create a sort of kitschy, age-old aesthetic. Clarity and compactness are restored in the highly refined finish of the two-color images, particularly in the more time-consuming, wet-on-wet process. This show also featured a selection of archival photographs, in which textless, generalized, abstract (though never rather abstract) lines, collaged to superimpose the two-color paintings, are mixed with stylized, similarly stylized brushstrokes, contrasting the solid finish of the panels with the softer, brittle surfaces. The photography are not originals but were copied from a variety of sources, including the Woodrow Wilson Aeroplane Museum, the A.M.C.E. Science Museum, and the venerable American Museum of Natural History. They were chosen by the artist and are shown with an air of greater permanence than the paintings.The centerpiece of the show was a drawing of a gigantic human form, its legs stretched out to half-length in an immaculate, almost wax-like, finish. The work depicts a giant human standing in a garden, its head down and a parasol tucked under its shoulder.

Result #5

Blue, orange, pumpkin, third grader, elementary school, T-shirt, as described in clause (1) (All references to and references to students in headgear and outfitted with capes and goggles, all printed in the last panel of the question), and so forth. In so doing, the artist extended a conceptual terrain that overflowed with the possibilities of the form. The surfaces of the watercolors become canvases, or supports, and the proportions of the artworks are such that the forms are more like props than expressive subjects.The show also featured a series of decorative pieces: one of the larger, fresher canvases was a gargantuan 1980s-inspired version of the expressive paint-by-numbers work. In one side, a flame-orange silhouette of the artist posing like a bandit sits on a table; in the other, a fashion-model set of traditional French trapezoid glasses looks a little goofy with its tufts of paint. A little smaller than a square foot, the painted-on-top-of-Aqua-Green canvas is the largest single canvas in the show. Facing the larger canvases, the artist repeated the same elements, but this time with a serious air. The support panel on which the artist had laid his canvas is then covered with black, and the images on the canvas are interlocked with each other by the most prominent link in the chain of association: the tulle that covers the canvas on top.The scale of these semi-abstract, sometimes disoriented forms, along with the tousled nudes that delineate their patterns, is reminiscent of the sculptures of the late 60s and 70s. The more emotionally charged paintings make the works an immediate and emotional experience. At the same time, the works are less formal than figurative, but they are rich in irony.