Irrecoverable state updates -- only proofs are left.
Irrecoverable state updates -- only proofs are left. <|startoftext|>The art world has long been a place where the borders between fine and not-fine art are fluid and the boundaries between art and the commercial realm are frequently blurred. If one of the most visible and important art scenes in the world is Los Angeles, it is no accident that several artists from that region are showing here. The citys deep and rich cultural roots are visible in the citys rich and diverse art scene, but the works of these artists are not only a reflection on its rich cultural history but also on the citys current political situation.In Los Angeles, where the art world is still largely a male-dominated landscape, it is difficult to identify a clear and present-day gender divide. As a result, it is important for the artists in the show to recognize that their works have a wide range of sexual and racial identities. This exhibition is an attempt to do just that, and it succeeds. The work is diverse and open-ended, and the show demonstrates that it is also an open-ended exhibition. The artist, the public, and the exhibition space are brought into dialogue, and art becomes a tool to reach a broader audience. The result is a dialogue that is both individual and collective, presenting the human condition as a complex spectrum of contradictions.The exhibition is divided into two parts, one centered on the individual artists and the other on the citys rich artistic and cultural past. The first section consists of a selection of recent works, including paintings, photographs, and objects. These pieces are grouped according to their subject matter: the artists self-portraits, images of themselves, and performances. The images and self-portraits are the most popular form of the artists self-portrait, and they are of a certain type, usually photographs of themselves. They are often made in a kind of self-reflexive way, with the artist as subject and the artist as the object.
Irrecoverable state updates -- only proofs are left. <|startoftext|>In the wake of the collapse of the Berlin Wall, the border between the former East Germany and the West has been blurred. The Berlin wall, like the Iron Curtain, is no longer a barrier to separation. But Berlin is no longer the capital of the West; it is now the capital of a country. The city is now the site of the refugee crisis and the subject of a cultural crisis. The artists from Berlin, now based in Berlin, have responded to this situation by making art that explores the relationship between interior and exterior space, which they examine through the use of materials. They have explored the potential of the wall as a barrier, as a glass box, as a threshold, and as a barrier to movement and communication. They have taken up the wall as an actual barrier and used it to question the very idea of border. They have used the wall as a material that is both physical and symbolic, that functions as a metaphor for the subject and for the subjectivity of the subject. The artists in Berlin, now based in Cologne, Germany, have also used the wall as a material that becomes a symbol of migration. They have used the wall as a material that divides and separates, as it were, a city and its inhabitants. In the past, they have used a wall as a material that divides and separates; now they use it as a material that makes migration possible. The artists in Berlin have used the wall as a material that establishes a line of contact between the East and the West. They have used the wall as a material that connects the two sides of the Berlin Wall; now they have used the wall as a material that makes this connection possible. The Berlin Wall, like the Iron Curtain, is no longer a barrier to separation. It has been transformed into a symbol of the division of the two and of the division of the world.
Irrecoverable state updates -- only proofs are left. <|startoftext|>In this show of recent work, Carol S. Harts is again exhibiting her usual assortment of pre-existing objects, including pieces of paper, found images, and photographs. The work is not new; the only thing is that it has been presented in a new light. It is also a new material, but one that is in a different material, and that is different from all the other materials that have been used before. The new work is also a new form of installation, and this is the most important thing about it.The work consists of a series of seven white paintings, each about six inches in height. The image of each is a small white square, but not a square that is 6 feet high. Each painting is composed of three smaller squares, one of which is two and one-half inches wide. In the first painting, there is a white square, which is repeated twice, so that it is a square, and in the second, a two-and-a-half-foot square is repeated. In the third painting, there is a single white square, which is repeated three times, so that it is a four-foot square. The work is simple, but it is not. There is a certain beauty to it, and a certain simplicity to it. The work is not uninteresting; it is not meant to be. It is not the only simple work, and it is not particularly beautiful, but it is not dull either. The work is, rather, very different from most of the other work that has been done.Harts has been asked to show works that she has never done. She has refused to do that, but that is not the same as saying that she has never made work. It is just that she has not made the work. The work is still there. It is not a new work.Harts has said that the work is not an object, and she has agreed.
Irrecoverable state updates -- only proofs are left. <|startoftext|>After a decade of work in the style of Peter Halley, Peter Saul, and others, the Portland-based artist Steven Parrino has turned to painting in an entirely different way. In his first solo show, Parrino displayed a series of paintings that seemed to spring from his memories of his grandfathers house in the Oregon coast. The work on view consisted of sixteen small-scale, high-contrast paintings on paper, all executed in acrylic on paper. The works are still life-size, but are now only slightly larger than the original paintings. The results are charming, as is the case with the delicate paintings with their soft, even color.Parrinos paintings are not exactly high-contrast; rather, they are reminiscent of the hard-edge work of, say, Helen Frankenthaler. The palette of browns and blues and the rich color of the greens and whites are the colors that recur in Parrinos paintings, but they are rarely the dominant tones. In the past, Parrino has used a range of colors that range from the muted grays to the vivid reds of his paintings. In these new works, he has turned to a more traditional palette, with a few bright colors added in. Parrinos paintings are filled with small, subtle details that are almost a delight. A few of the paintings have a certain beatnik aesthetic, but with Parrinos brushwork and technique he manages to convey a feeling of light and atmosphere that is very different from the kind of lighting used in television commercials. Parrino has managed to convey this sense of warmth and freshness with the most delicate of brushstrokes. The works are filled with details that are almost a delight.A few of the paintings are simple, like a faded newspaper ad. Others, such as the one with the photo of a woman in a bikini, have more complex, poetic overtones.
Irrecoverable state updates -- only proofs are left. <|startoftext|>The long-awaited debut of the new York University Art Gallery, which opened its current digs in January, was a welcome occasion. The space is not only large enough to house the finest works in the schools permanent collection—the largest in New York in recent memory—but also has ample space for the installation of the artists and the installation of the shows highlight, a solo show by Cynthia Carlsons.Carlsons recent show included seven pieces, all but three dating from 1995. In the context of the exhibitions title, the earliest piece, a colorful, wooden-like sculpture made of pine, resembled a large, sculptural version of the West Broadway theater, a fixture on the West Side piers of the Lower East Side. The piece was titled I Like to Be Scared, 1995, and was installed in a small room across from the main gallery. The first work to be seen from Carlsons recent series of charcoal drawings was also the most recent, a series of sketches for a sculpture made of wood that she completed in her studio. Carlsons charcoal drawings of the sculpture, which were shown in the back room of the gallery, were not on view in the main gallery, and the show was accordingly limited. The other drawings and sculpture were shown in the window of the building, and the show, which opened at the same time, was curated by Carlsons, who is also a member of the art department at NYU.The drawing in the main gallery consisted of a series of small-format charcoal drawings. The drawings were made using a brush that was meant to be used with a brush, and the works were not finished until the ink had dried. The process was repeated until the drawings were completed. The drawings are not the least bit abstract, but the medium is—and the drawings, with their brushy, light-filled, glossy surface, suggest an interest in the possibility of the medium to evoke an emotional state.