abstract painting minimalism contemporary process oriented performance conceptual concrete
abstract painting minimalism contemporary process oriented performance conceptual concretely. The show was divided into four parts: The first section, titled The Upside Down, consisted of a large number of mostly large, dark, and shadowy black and white paintings, mostly from the 70s and 80s. These were accompanied by various objects, such as a model of a small hole in a wall, and a video of a small screen in a low-ceilinged space. In this space, the artist took the opportunity to play with the idea of the negative space of the studio and the negative space of the studio as both a negative and positive space. The room was filled with sounds, and the images on the screen were generated by the combination of the sound of a drum, a guitar, and a voice. In the following section, The Locus, the same music was used as a backdrop for a video of a black-clad man and woman, now both in black-and-white. The two were posed against a black background, and the man was showing off his muscles and the woman was showing off her impressive breasts and buttocks. The two had been positioned as an odd pair, but the man was also standing in front of a black-and-white TV set. On the screen was a shot of a black-clad woman, her face obscured by a mask. The woman, then, was shown to be a masked female model, and the masked woman was also a masked woman. The two were on separate pedestals. The two were in front of a black-and-white television set, facing off against a black background. They were shown to be physically incompatible, and the masked woman was also shown to be a masked woman. The two were then shown to be mutually hostile, and the masked woman was also shown to be an aggressive, aggressive female. The two were placed side by side in the same position. The two were on separate pedestals, facing each other. The masked woman was also placed in the same position.
ly to the body, the body is reduced to a thin, concrete, and, at the same time, queer, surface. But her projects are informed by a historical understanding of sexuality as an inherent, and inextricable, component of all contemporary art. In the United States, queer theory has been criticized as a form of gay nationalism, and the media has been praised for its role in producing a discourse that promotes a new homoerotic identity. The work of both artists, however, is concerned with the body as a site of desire and violence. As if to underscore this, these installations are accompanied by a range of articles written by the artists, including one by Dario Argento, a key figure in the formation of the trans-avant-garde in Argentina in the 1960s. The trans-avant-garde has been dismissed as a homophilic movement, and the artists themselves have been described as a group of homophobes. Yet these labels hardly capture the complexity of Argentos work. Her art has always engaged the body, and in the process of making art, she is always implicated in the bodies she is creating.Translated from Portuguese by Clifford E. Landers.
abstract painting minimalism contemporary process oriented performance conceptual concrete poetry and relational aesthetics, the paintings that were included in the show were all painting, and most of them were paintings, too. All were executed in a very limited range of techniques: oil on canvas, pastel on paper, pencil on paper, and acrylic on canvas. The works were grouped by medium and subject. The most successful were those in which the painterly qualities of the medium were most fully revealed: the use of the brush, the use of a brush, the use of a brush, and the use of a brush. The most successful works were those in which the painterly qualities of the medium were most fully revealed: the use of the brush, the use of a brush, and the use of a brush.The paintings, all Untitled, were made using the most basic means, such as a brush, a palette knife, and a palette. They were hung on the wall with the exception of one painting on the wall. The works were made either on canvas, paper, or paperboard. In addition to the paintings, there were two drawings of the artist, one a drawing of a text (Untitled, 1989), the other a photo of the artist in the studio. The works were made either on canvas, paper, or paperboard. In addition to the paintings, there were two drawings of the artist, one a photo of the artist in the studio, the other a drawing of a text (Untitled, 1989). The works were made either on canvas, paper, or paperboard. In addition to the paintings, there were two drawings of the artist, one a photo of the artist in the studio, the other a drawing of a text (Untitled, 1989). The works were made either on canvas, paper, or paperboard. In addition to the paintings, there were two drawings of the artist, one a photo of the artist in the studio, the other a drawing of a text (Untitled, 1989).
abstract painting minimalism contemporary process oriented performance conceptual concrete art. The performance work, however, was essentially a series of videotapes. The videotapes were shown in the gallery with a view of the floor and a back view of the artist as he stood on a bench, with a tape recorder in his lap. He would play the tape and then change the song by the Rolling Stones, who were in the band at the time. The music was not on, but the songs were played and recorded by a drummer in the gallery. The performance was seen as a kind of mirror image of the artists own performance as a member of the band. The tapes were played on a large screen, with a continuous loop of a man walking across the gallery with the Rolling Stones in the background, but with the Stones not in the picture. The music, which was an old and obscure riff on the Rolling Stones, was made up of a loop of the Stones repeated and varying in tempo. The tape was interrupted by the Rolling Stones and a photograph of the artist in a wheelchair.The most interesting piece was a videotape of a young man, whose face was masked. He was wearing a mask, and his eyes were covered by a mask. He was a stand-up comedian. The mask came off when he hit the audience. He was playing with a video camera. The camera had a meter on it, which recorded the movements of the audience and the camera as it moved. The comedian hit the meter and the mask fell off. The audience was amazed. The mask was a surreal image, an image of the artist being chased down the street. The mask was a deadpan image.The videotape was accompanied by a poem by the artist. It was a simple text about how he wanted to create a mythic masculinity. He wanted to create a mask, a mask which would protect and give power to his masculinity. The mask is the symbol of self-protection, self-defense, a mask that can be worn with impunity.