art in review - clear mylar tape
The New York Times reported.
On November, 2008 Worcester Street, near Soho Spring Street.
Pluralism is often described as aesthetic freedom. for-
In the late 1960 s or early 70 s, the linear development of modernism suddenly stopped.
The exhibition made other suggestions in a concise way.
European culture between the two world wars.
It turns out that almost everything
Every style, every emotion
Once you go beyond the master's narrative, it appears at all points in art history.
This show is one of the rare delicacies you don't know you missed.
It shows the cover of each issue of the Dutch art magazine, windingen, which was published irregularly in Amsterdam from 1918 to 1932.
Still, there are 116 questions, they are all here, and there are two for each one so that the front and back can be displayed.
Displayed on a simple wooden table, they form an amazing sight --
Feast on hold
Amsterdam after World War I was a hotbed of new ideas.
The modern geometry is replacing the new art.
Design is increasingly seen as a tool for public welfare;
The challenges of workers' housing, public buildings and urban planning have attracted young architects who have become united enough to be called the Amsterdam School.
One is a grandiose visionary named Hendricks Theodore Wold.
Under the sponsorship of the Association of Architects of the Amsterdam Art Association, Wijdeveld established windingen (
The Dutch who are turning or turbulent). Hand-
The magazine is bound to raffia and has amazing 13-inch-
A square format that still looks radical;
It was the predecessor of Artforum, just 2 inch larger than Artforum.
The cover is usually known for its bold woodcut design or velvet-like flat print use as well as innovative fonts that have changed in almost every issue.
The design of the ad cover is often irrelevant to the content of the issue.
This may explain the strange Redonesque villain, who has a magnificent striped cloak.
Jessurun de Mesquita did it for the cover of the roll. 1, No.
10. rural housing is involved.
The cover of the advertisement crosses the coast of style: from ordinary to fancy, from pornography to purity, from symbolism to vague fascist, among which there are neo-art, de Stig, expressionist
Many issues, including Joseph Hoffman, Irene Gray, Gustav Klimt and Erich Mendelssohn, are focused on individual artists, designers and architects.
Frank Lloyd Wright, the subject of seven consecutive questions, appropriately strict red-on-
Black cover for 1925.
There are also special discussions on Oriental art, wood carving, dance, posters, high
Public housing, reinforced concrete, shells and crystals.
While this suggests a wide range, windingen, like most art magazines, is also a bit of a close relative breeding, as evidenced by the frequency of the names of architect and designer Michelle de kllek appearingN.
As a cover designer and subject of questions, Roland holster and de Mesquita appear again on the list of shows.
The show is like an inviting, newly discovered site: the names are mostly new and you want to click on each one.
On November, Roberta Smith Olaf Braun Metro Pictures on Chelsea West 24 Street.
8 displayed on a undulating white ceramic base, one found-
Olaf Brining's object sculpture consists of a bucket of soft pink rubber breasts and a stack of old books.
If this article entitled "big challenge" makes you feel like an interesting and possibly profound meditation on the tension between the physical and abstract thinking, then
That's for you.
Mr. funny Travel Notes
Brining, romantic with exotic, non-ironic West
Western culture is one of the most popular works at this year's Whitney Biennale.
His current exhibitions include sculptures, large photographs and about 40 small cartoon paintings, and continue to link the absurdity and sublime in a variety of interesting and sometimes moving poetic ways.
His "$20 note" is a big picture of five black boys grinning, each of which is a note.
They seem to be on the edge of a dump, probably in Africa.
It captures the great extent of world poverty in a seemingly sincere image.
In another big picture, a group of birds photographed over the forest spelled out: "Why can't you be friendly to nature?
What's wrong with you?
A real urgent problem is the false innocence of stupidity. Mr.
Brining is a creative cartoonist.
"My opening ceremony" depicts the humanoid wine glasses talking in the gallery, revealing the Bacchic foundation of the favorite ceremony in the art world.
Ken Johnson Kirk Hayes is in L this Sunday. E. S.
237 erdridge Street, East, November.
Kirk Hayes found it. A self-
Professor painter, he served as ground administrator at Tarrant County College in Fort Worth, Texas. , Mr.
Hayes, 52, has created a witty and effective long-lasting work.
This is his first solo exhibition in New York. Mr. advertising
Hayes's work seems to be an easel.
Large and small collages torn from colored or painted paper, cardboard, masking tape and wood fragments.
They represent the original cartoon scene.
The little ones were tied to a parade balloon representing a giant mouse with a rope.
A pink and purple battleship with a brown barrel.
With the exception of a little orange hair and an oversized boot from a dead clown, a white sheet covers everything.
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These things look like collages.
They are worn, stained, scribbled with nail holes and pencils and crayons, like an art project for a messy primary school student.
However, looking closely, you will find that most of what you see is actually carefully drawn.
The tearing edge of the cardboard, translucent masking tape, and the granular area of the bare plywood do not seem to be the case.
To convince you, you may have to touch the surface with your fingers.
His title is "floating for cynical melancholy" and "rule of fear ".
Hayes's work is not just a masterpiece of ingenious craftsmanship.
The soft colors of their flat areas, different textures and straight line designs, they are handsome formalism ingredients.
While suggesting a bittersweet autobiography, they devious commented on modern art's true love for the original and the heavens.
Ken John Sonalini malainen works at the sandsalario Gallery at 521, 25 th Street, car West. Indian artist narini Malani has no manuscript or any
Her paintings on acrylic and her magic
Many drifting, loose characters, animals, monsters and human organs (
Especially the brain, spine and intestines).
Her sources seem to include European prints, medieval behemoths, Indian paintings, drawings, American comics.
The result is a multicultural mix of style, myth, and encounter that symbolizes all-too-
Chaos of human life
Both mentally and physically, especially in women --
In painting, this confusion is enriched by over-mature light
The colors of the fill almost glow from the inside as they are executed on a clear acrylic sheet. The magic-
The lantern device is more monochrome, but the numbers here are actually drifting.
They are painted on the large cylinder of the crystal clear Merah;
When hanging, rotating, and proper lighting, they cast a moving shadow on the wall. Ms.
Malani seems to be grateful to American artists like Nancy spoolo, Ada apbro, Leon Golub and Kiki Smith who have used it similarly
Whether this is true or not, her work goes above and beyond their work due to its luminous and transparent color;
Easy to execute;
Although sometimes the subject matter is harsh, these qualities make it an art that is basically celebrated and has, to a large extent, become better.
On November, 20 Franklin Pallasch Galery, 80 West 57 Street, Manhattan.
15Ken Price was known in early 1960 for brightly colored glazed ceramic sculptures similar to large eggs interrupted by one or two small holes;
From the prominent shape of the finger, penis, or worship.
Beautiful, sexy jokes, eggs are followed by several series of sculptures and some disrespectful cups, all of which add luster to Mr. Price’s name.
Then, about 1986, the eggs and their holes make a comeback in a series of larger, rock-like painted sculptures, rather than glazed, ceramics equal to the size and density of the French bulldog.
Their uneven, colorful surfaces are cut off in one place, leaving a smooth curved plane or three
The indentation on the side indicates a very small stage.
In any case, in the center of these electric colors, it's almost shocking hard-
The surface of the edge is a small and precise hole that is very black and looks like it is applied to it.
This wonderful exhibition brings together nine of them.
Sometimes the color changes are sudden, just like the rough lavender and smooth bright green in the bomb.
Sometimes they are coordinated;
The rough skin of "Snug" is yellow, red and light blue with a yellow cut.
Each one is so formal and visually so powerful that it takes a minute to see that they reproduce the familiar contrast --
A rough or smooth, cut or modeled, geometric, or organic entity or void.
Fuse them at a highly specific concentration.
From rough to smooth to dark, they contrast two kinds of existence and one kind of nothingness.
The Roberta Smith version of this review appears on the print on page C31 of The New York edition with the title: Art in the review.
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