Painting of a beach side with umbrellas

Result #1

Painting of a beach side with umbrellas below it, without any human intervention, is a crucial visual component in works such as Midnight, 1975, in which six black-and-white canvases are painted in a beach-weary palazzo-parnellade. Altogether, these works—their existence as dreamlike and surreal is demonstrated by the amazing juxtaposition of two seemingly opposites—seem to echo, or better, reinforce, the other paintings in the exhibition.A particular sort of fallacy is an all-too-familiar look—an urban, all-over expressionism—that appeals to the viewer on the basis of a standardized visual vocabulary. This is the experience of being caught up in the myths of contemporary Western culture, and the result is a strange effect: a perceived lack of explanatory power, a strange disorientation. As a result, the viewer, almost as a matter of expectation, is pulled into certain discrete parts of the exhibition, thereby confusing ones identification with that of others who might consider the same, the one having the final word. Fortunately, there is a way to stop this general strangeness—a mode of crossing over between senses that avoids distortion of intent. The difficulty comes, then, from not knowing what the intentions of the artists (or, more likely, the viewers) are. While we don't get lost in the maze of a fragmented experience, the pictures seem to be quite different from the works of the others in the show, in which the artist intends to clearly and distinctly contrast the pictorial qualities of his own work with those of the other artists. This is why they dont work exactly as they do, and why we tend to think that there is a right way to choose, rather than a clichéd way, to choose a particular piece. Of course, this sort of selection is not, as a rule, always successful, but the feeling is worth it—for the work still lives on and will continue to do so.

Result #2

and a jagged, white light behind a building bears a subtle resemblance to the ocean—or at least to the arc of the moon. The rest of the composition reflects the artists palette, but it is not to be confused with its color. A painting by Anne-Marie Apfelbaum, for example, features two blues in warm, muted, vivid colors against a crimson ground, a dozen white and grayish-purple and a muted, subdued, blue-gray-green gray; they are often painted across the surface, which was laid flat against the bottom of the canvas, but one featured several layers of paint. A second portrait of a young woman hung on the back wall of the gallery shows a rather sinister-looking black-and-white drawing of a woman draped in black, her upper body a dark, overpuffed black moldering mold, her lower parts a combination of white, brown, and brownish-gray. Stalder is an artist who can transform ordinary material into an extraordinary composition. He lets the uncanny play out, then rolls up and over the poles of it, revealing its patterns. An unexpected candor in his treatment of his subjects is apparent here, too, as in the drawing of a small, nude figure against a very dark gray background, but this is a small figure who looks to be in a hurry.

Result #3

Painting of a beach side with umbrellas, this beach scene, a nude man with a leash in the foreground, recur in many of the photos of Tiziana Gallucci and Claudia Tulli, whose pieces could also be seen at the Sperone Museum. The yellowed sky over the sparkling waters of a small town in Florence is a constant in this performance. The scene recurs in a number of photographs by the Italian artist Tracey Grey, who is known for her close-range abstractions of urban environments and urban environments as objects in scenes that echo real places. For example, in a series of photographs titled Et il tempo (Time Goes by), 2001, a bare-bones, bare-bones apartment in the centre of Florence is surrounded by a real-life sky. In one, an ordinary plastic container for water appears to float, enclosed in a plastic aquarium, an image reminiscent of the work of artists such as Ed Moses and Andrew Wyeth. In another, the painted line of a tree in the foreground appears as a series of outline lines, suggesting the outlines of a tree trunk, while in the third a simple, flat line appears to run diagonally across the sky. Here the viewer can see the roots of trees growing out of the ground, giving the scene an illusion of volume. The sky itself is covered with water, as in a painting by Tanguy Grey.The simulating of the real environment in the photograph Para manque (Para Man), 2001, is even more evident in the works on paper that came from T. Grey, who produces photographic experiments with light and light effects. The surface of the paper is painted yellow, as if the green light was reflected on the paper and reflected on the paper. The result is a transparent, nearly translucent surface, almost like photographic film. In a place like this, only the surface of the paper has been painted black.

Result #4

Painting of a beach side with umbrellas cascading down a railing, she looked up as a young girl stood transfixed by the spectacle and seemed to understand it by heart.A sea-facing group of young boys perched on an armchair, looking to be about to go surfing, knelt in the shade of a grassy hillside. The surfers wore sunshades and wore flip-flops, making it clear that this was not a public beach. Their bodies were made of jerry-built plastic, their heads were cast in brass, their bodies went through fierce physical training.The art center was a home for a youthful America, an environment in which all manner of people—notably Michael Jackson and Marilyn Monroe—were represented, from a playful way that saw todays troubled future through a sardonic innocence and a sense of humor. Here, Meckeys playfully reflected on the future through the remarkable, life-size head of a boy in a tank top, Tony Smiths peeling and decaying body, and a 1970s-porn-themed group of figures who were somehow still the same age as Meckey. Watching the heads, the viewer, like Meckey, was compelled to think through the subject matter and the way it could be used as an art object. Meckeys forms were broad and varied, not only in their use of cloth, resin, and china, but also in their use of materials. Their surfaces were colored, not rigidly straight, and their surfaces were matte. The artists mediums included textile, ceramics, and fabric, plus paint. They experimented with both visible and concealed methods of making their work, with typically lively color combinations.While Meckeys work consisted of found objects, Smiths was made from found fragments. The two-dimensional works were small canvases with wood and paint splattered on them. Their surfaces were made of colored adhesive and silver stained with enamel.

Result #5

over a vast expanse of sand, her clothes wrapped around her waist as if she were a piece of Roman sculpture, evoked the beauty of the Mediterranean, but also the terror of invasion. In the process, the re-presented object, a monumental Mediterranean goddess, was rendered over-dressed to look like a cast-off item. Whether dressed in a bra and panties, a turban, or a baggy skirt, the goddess looks like an overgrown child caught in the act of walking on sand. Following the interpretation of her attire, a lot of water would still flow through the plastic bag. This sense of wonder pervades these two paintings—both titled The Sculpture of the Nile, 2014—which are based on an ancient Egyptian painting, where a child plays with a toy carriage suspended from the ceiling, seeming to hop on the rippling surface of the water while taking in the scene. In these sculptures, the objects that compose the figure are exposed and newly cast, exposing the mechanism of the wooden casting. The painted remains of the ancient picture can be seen beneath its surface, just as the casted objects appear to remain hidden behind a plaster or wax coating. The cast-off objects are placed next to the figure in the background, standing in the same place but looking very different.In the context of her previous work, the artist clearly sees her engagement with this dynamic of representation and reproduction in relation to the problem of the Egyptian legacy, especially in Egypt of the 3rd millennium BC. But here, the artist shows us the same violence, but this time brought to the foreground, through a deliberate ambiguity that evokes an aspect of domesticity that the artist herself has had to work with. The sculptures that were on display here were some of the most fascinating objects in the show, but the importance of the building blocks of Egyptian culture cannot be underestimated.