Dogs colour glitter food structures scale humour heartbreaking skull lollipop Bunny Hutch Paul Green gold orange soft fuzzy uncomfortable

Result #1

Dogs colour glitter food structures scale humour heartbreaking skull lollipop Bunny Hutch Paul Green gold orange soft fuzzy uncomfortable placebo, and a large white sculpture with a dead-orange dove on a beach towel, which might be the look of a long-lost bird of prey. (The Dove is a hokey, but understandable, choice, as it is the only creature with the wings to fly.) In a dark-blue room, a small hodgepodge of a table littered with a smorgasbord of props, including a toy canoe, a rubber-doll face, and a bottle of Ben and Jerrys. This was the best of the lot. A small but dense collection of junk—including a pile of rocks, a pile of paper airplanes, a stuffed animal, a couple of wigs, and a pile of toilet paper—also gave the room an almost manic energy.The oddest piece was a room that was as dark and mysterious as it was bright. It was filled with a dark, garish, and silvery-blue wallpaper that featured a couple of painted figures in black, white, and gold—a couple of little girls and a young man. Their faces were painted a sour, offensive shade of black, and their hair was done up in a cascading cascade of curls. The figures were so big and so detailed that they seemed to be floating in a space with no floor, walls, or ceiling. The figure, a black man with a beehive-hued mustache, was standing in a chair, staring at a wall of the kind that is used in restaurants. He was wearing sunglasses and a black-and-white baseball hat with a hat on his head. He was covered in a flowery knitted scarf. The mustache, which had a mustache on top, was spread out across the floor like a scalloped, combed-over beard. He looked like a gothic, grimacing figure, and the costume was a costume of the dead.

Result #2

Dogs colour glitter food structures scale humour heartbreaking skull lollipop Bunny Hutch Paul Green gold orange soft fuzzy uncomfortable button painting, and the rock band Skeezy—who were a huge influence on the artist—is on the cover of the catalogue. Theres even a sketch of a sketch of a sketchbook of a possible script for a film. A film and a sketch are both excellent, too, and in a gallery context, the combination of the two could be read as the artist doing the film, rather than the other way around.The best part of the show is that the artist has done it again. The best part is that the artist has done it again. And the best part is that the artist has done it again. The best part is that the artist has done it again. And the best part is that the artist has done it again. And the best part is that the artist has done it again. The best part is that the artist has done it again. And the best part is that the artist has done it again. And the best part is that the artist has done it again. The best part is that the artist has done it again. And the best part is that the artist has done it again. And the best part is that the artist has done it again. The best part is that the artist has done it again. And the best part is that the artist has done it again. The best part is that the artist has done it again. And the best part is that the artist has done it again. And the best part is that the artist has done it again. And the best part is that the artist has done it again. The best part is that the artist has done it again. And the best part is that the artist has done it again. And the best part is that the artist has done it again. The best part is that the artist has done it again. And the best part is that the artist has done it again. And the best part is that the artist has done it again.

Result #3

flop.

Result #4

hair that makes a point about being funny with a purple bunny head, and a green-green squat that is about as grotesque as a straw-hatted clown. His palette is a hodgepodge of colorful, almost neon-colored splotches: the palette of a generic neon sign, a cartoonish purple neon sign, a cartoonish, neon-popish red, a neon-popish blue, and a neon-popish pink. Its hard to tell what these paintings are about, beyond their being funny. They are not about the very high stakes of what the work of art is supposed to do—they are not, in the grand tradition of the neon sign, about the ability of an artist to make art. They are about the inability of a serious artist to make art. They are about the inability of serious art to make sense. They are about the inability of serious art to make a point about itself. They are about the inability of serious art to make any kind of difference.

Result #5

pink soft fur-covered room and a pinky-white chair. The color scheme is a perfect example of the color-systems-fuel-effect that a great deal of the work in the show is about. The most impressive piece, though, was a large, narrow, vertical piece of blue metal, with a round opening cut in the center, like a log-cabin window. A small, silver-painted, metallic sheet of Plexiglas sits atop this opening, like a giant blue pin. Its a neat, crisp, and elegant work that can be taken for a statement about the artists place in the present moment of minimalist sculpture.In the end, the art here was about nothing. Its simplicity is not often cited as a virtue. But its so simple that it has to be taken as a virtue. There is no question that its a problem that a lot of the best art in this town, that art that challenges the status quo, is not easy. Its not easy to make. And there is no question that this is a serious problem that needs to be addressed. Its a problem that calls for a more intelligent art that will be able to create an environment in which such challenges can take place and that will be able to provide a more meaningful experience for the viewers.

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