I am very sorry to disappoint you.

Result #1

I am very sorry to disappoint you. . . . I am afraid I have had to leave the studio. I have had a stroke. I am sorry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Result #2

I am very sorry to disappoint you. The entire issue of the first series, the one that makes us more or less conscious of the work in the show, is about the same: the actual construction of the object. In the second series, the subject is the work itself. The object is the work itself. The subject is the work itself. The object is the work itself. The object is the work itself. The subject is the work itself. The work is the work itself. The work is the work itself. The subject is the work itself. The work is the work itself. The object is the work itself. The subject is the work itself. The work is the work itself. The object is the work itself. The work is the work itself. The subject is the work itself. The work is the work itself. The object is the work itself. The work is the work itself. The subject is the work itself. The work is the work itself. The object is the work itself. The work is the work itself. The subject is the work itself. The work is the work itself. The subject is the work itself. The work is the work itself. The object is the work itself. The subject is the work itself. The work is the work itself. The subject is the work itself. The object is the work itself. The subject is the work itself. The work is the work itself. The work is the work itself. The subject is the work itself. The work is the work itself. The subject is the work itself. The work is the work itself. The object is the work itself. The subject is the work itself. The work is the work itself. The work is the work itself. The subject is the work itself. The work is the work itself. The object is the work itself. The subject is the work itself. The work is the work itself. The object is the work itself. The subject is the work itself. The work is the work itself.

Result #3

I am very sorry to disappoint you. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Result #4

I am very sorry to disappoint you. . . . The implication is that the artist is a bad person and that he is not to be trusted with his art. If you dont believe in bad people, dont bother to think about bad art. You have to be an artist to know what bad people are, and if you dont, you dont need to be told how bad they are.Its a shame because there are a lot of very good paintings in the show. I cant say anything about them. I hope they have no bad days in the city. Ive been to many.The problems with the show are several: the very large number of paintings, all of which are in the high hundreds of small, almost monochrome canvases; the fact that the paintings are all very much the same size; that they are all painted on aluminum and then framed and mounted on aluminum; that they are all done in a very material, very hard, very time consuming, very labor intensive manner; that they are all done in a very well-made, very modern, very graphic manner, a style that is close to that of any modernist painting, and yet very different from all the other paintings; that the paintings are not in a conventional sense, but rather in a very modernized way, with the frames, the framing edges, the frame corners, the stretchers and stretchers; that the frames are painted and painted in a very uniform, very elementary manner, with only a few brushstrokes and occasional texture changes, a few lines of paint in the color. The paintings are done in a very mannered, hard-to-handle manner, and are very much the focus of attention. The paintings are not paintings, but rather set of paintings. The frames are painted in a manner that is, in one sense, familiar, and yet is so unfamiliar as to be almost impossible to identify. The paintings are thus not paintings, but paintings set.

Result #5

I am very sorry to disappoint you. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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