a loud dense man in a becoming matriarchal society

Result #1

a loud dense man in a becoming matriarchal society <|startoftext|>A portrait of motherhood was at the heart of Rimsky Scott Hymanss latest show at the Basel Art Gallery. Heavily imbued with the energy of the schoolroom, Hyman is concerned with the importance of teachers, and to be a good teacher, you have to look beyond the individual to your society. Like all good educators, Hyman is a sensitive observer, capable of inquiring into every facet of our society. He is a science-fiction writer, a fantasist, and a social critic, a talker, an artist, an observer, and an artist in search of a new world.Hyman has returned to America in this show. His new paintings and sculptures are small and discreetly placed in bold typographic design that recalls the variety of the ancient Greek world. Hyman uses such images in the development of his most recent sculpture which is composed of small, point-illuminated paintings suspended on three large aluminum legs. He is using small, almost insignificant figures such as the ostrich, a human-sized, dead-of-earth character. The ostrich is perhaps Hyman's favorite subject. He is familiar with the traditional uses and even the modish decorations of ornamental design, yet he is returning to a common, even archaic, way of dealing with large forms and shapes. His sculpture shares the artist's fascination with the great museum collection and the rich craftsmanship of ancient Greek sculpture.Hyman makes a number of works on plywood. They are small, wicker-like canvases arranged on shelves and stacked like traditional statuary. He gives the impression that these works could have been made by a natural-history museum technician rather than by a modernist like Joseph Beuys.

Result #2

a loud dense man in a becoming matriarchal society <|startoftext|>The art of early Modernism that runs through the post-Modernist era was, in fact, a return of what was known as the Impressionist sensibility, namely, that of graphic- and sculptural-inspired abstraction. It is this sensibility that, for the past several years, has influenced many artists and intellectuals in the art world, and is represented by the work of many artists. The art of the past two decades has been explored in detail, as well as with a few surprises, among them Robert Morris, Joseph Kosuth, and even some of those who have followed contemporary abstraction for some time. All but one of the Abstract Expressionists are members of this group. The following is an overview of some of the key themes of this sensibility in painting and sculpture: an increasingly graphic sensibility, a demand for fresh ideas; an assertive-pictorial orientation; a strong aural quality.In the late 1960s, while it was still fashionable, abstraction was used to express social, social, or economic grievances. The artists who responded to that are following a similar path now; the politically charged sensibility is an expression of a nostalgic sentiment that paints the world in the dark. Many artists work in abstraction but refuse to limit themselves to it, and paint with an eye toward the whole world, in a very literal way. Here is an example of the current attitude: In the recent exhibition at the California Palace of the Legion of Honor, the California University of the Arts graduations, class photos and sketches by artists like George Condo, Louis Kahn, Bruce Conner, Charles Garnett, John Chamberlain, and Rainer Fetting (though a few paintings by other artists and designers such as Sol LeWitt and Robert Irwin were included) are all displayed. The show was a sad tribute to the potential of abstraction, and I would like to think that the show did not show how limited abstraction was.

Result #3

a loud dense man in a becoming matriarchal society <|startoftext|>Thesis, like the photographs, is not to be treasured, but exhibited. The show, curated by Rosemarie Trockel, includes seventeen previously untitled works—eight of which are from the series Enlivenments (Alpenburger), 1962–2011, which was first shown at the Whitney Museum last winter and is now on view at the European and American National Gallerys Museum of Modern Art, Washington, DC. The series is a collection of early color photographs of intricate geometric patterns and architectural designs, with subtle, sometimes almost overt, variations on color, shape, and style. These works were produced between 1962 and 1966. (One is reminded of the architectural design of A. G. Peacocks 's seminal 1954 article for the New York Times, in which he described his approach to photography as a game of reversal, not necessarily in the standard sense, but in an epistemological, stylistic, and architectural sense.) In these recent photographs, the patterns recede, forming almost an inverse progression, a reduction from the patterns at the center to the edges, as if the planar abstraction at the center were superseded by the integration of matter and form. This conclusion is not without irony. In some of the original Enlivenments photographs, for example, the colors seem particularly saturated and dominant. In a series of portraits, Trockel has combined color into a refined, black-and-white-colored structure in a way that enhances the geometric patterns, creating a unique visual sequence. The composition is a traditional one: a flat field of relatively small numbers and squares. But if the colors seem to shift in and out of existence, they stay. Color and form are not so much oppositions as simply oppositions in the same mode.

Result #4

a loud dense man in a becoming matriarchal society <|startoftext|>Little known is how many artists, from Robert Morris to Ed Ruscha, have attempted to make something of a positive cultural contribution to our culture. The popular media, the movies, and even the newspaper have shown their positive appeal. However, those artists who have the chance to see this cultural success are even more famous than those who can only afford to acknowledge it through noncommercial means. Michael Fried and Charles Ray make art for noncommercials, they make art for everyone. His 1998 video installation Popcorn, which shows a middle-aged man fiddling with a flashy new smartphone, that is, the only piece of publicity ever shown to these artists, appeared at the beginning of this decade. After that, as this retrospective of Frieds work at the Santa Monica Museum of Art shows, his career would be characteristically mismanaged for most of his years in New York.A decade later, in 1996, Fried spent two years in Spain on an exhibit with the artist Martin Barcelo, entitled La Facia des Theatrum (The Fountain of Time), which presents a nostalgic celebration of his life in New York. New York as the spiritual center of the metropolis has an almost mystical impact on the young Spanish artist. But while Fried has much to say about what makes New York the best place for art, he fails to articulate a clear relationship between art, life, and New York. His work has little to do with the apotheosis of New York life, which is in his work but above all in his own social relationships. The self-portrait of his mother, the characters in Frieds La Facia des Theatrum, are often described as having a sense of vulnerability. But they are not so much real people that we can trust them as the way people behave when they are in relationships, as with themselves. They are human beings in relationships with themselves, a relationship that does not emerge from the artists flesh.

Result #5

a loud dense man in a becoming matriarchal society <|startoftext|>Even at their most enigmatic and abstract, Jim Dines work is not without a trace of formal refinement. He utilizes various textures, colors, and a high degree of care in order to expand his discourses of content and style. Dine paints a globe-like format in which his main concerns are the terrestrial world and the human body. His project is a sort of cosmic study of the world of science—of our universe and of our material world. The surfaces of his canvases range from polished to rough and tattered, usually they are found on rough, woody, and occasionally wet cement surfaces. The black, white, and gray patina on these surfaces is reminiscent of the patina of late antique painting, in which the paint is applied in flat or flat strokes. Dine endeavors to make the surfaces of his canvases seem alive and the paint as though they were alive.He often uses a broad spectrum of common colors in his work. Many of his colors are represented in this show by works from 1972, for example. His original palette is a cloying palette of yellow and blue and an almost cartoonish earth tone. In this fashion, Dine has a highly personal, even anthropomorphic, sensibility. This are not the wild, genetically determined colors of the 60s and 70s.Dine is a painter of the most refined sensibility, but one who still shares in the work of Thomas Adorno and Max Beckmann. He clearly understands the role of pictorial form in our life, even as he never lets his imagery become too serious or too sentimental. He never flirts with the authority of popular culture. His work is a mixture of something real and impossible; it is more intense than ordinary, more effective than ordinary. Dines paintings are not far from the real—they are pure, life-like, but still mysterious.