art review : there's no showing off in 'setting the stage' - clear acrylic sheet
Art has been trying to be something other than what it is.
It added a sound track to itself during the week, and next it wanted to turn the sound into a building.
At the moment, in the County Museum of Art, painting becomes the decoration of the theater.
This exhibition, called "building a stage", involves four smaller ones --
Well-known artists and continue until February. 16.
This is the first time that the museum's new curator of contemporary art, Howard Fox, has organized his work.
The shyness, literature, and slightly homely qualities of the show suggest that a curator is leaning with a quiet alternative rather than an exaggerated roar.
In addition to proving that some of the previously rather traditional artists are trying to adapt to the new dimension of expression by paying close attention to the physical environment in which their work is located, no one has made great demands on this exercise, VPs and other deployments.
Although this proposal is modest, it still has to find its place between the courtesy drama of the most traditional exhibition installations and the real radical use of the gallery space that artists such as Robert Owen to Judy FAFU have built.
This background lays the foundation for realizing that the main purpose here is caution.
The subtext of creation is a small band of art graduate students who have the courage to do something a little different.
Tom Richardson seems to like cotton the same way --
Baroque candy Little Angel
The triviality of retro film comedians.
Of his three large wall installations, there was something from Harpo Marx.
Everyone is pursuing the old master cliché of magnificent paintings to pay tribute to the local prince, who, despite his chubby figure, is decorated with glory on Puti's airborne wreath.
Linson covers the wall with a cut
A cube or painting pieced together like a jigsaw puzzle.
Except his "ruler" is 6-
Under the tape measure and his background, his background is that contemporary artists are crazy.
His best work is called "anxiety about the impact of the new studio on the old work", which successfully became goony-
William Willey's philosophy without Willey's irony.
Lishen proposed an ancient miracle.
How can a great artist please a customer with a straight face so shameful?
When he glorified Klaus, the third voter of the bad Schlecter, did the iron ball smirk behind his brush?
Leeson suggested that he might have, but what really matters is that these silly themes give the artist the chance to do his thing, paint, and Leeson does this in a vibrant revenge
Cherubs is smeared in a bouquet of fat, gently stroked with celestial washing, decorated with small flowers, checked, crossed, framed with aluminum strips that match its complex contours.
This is a great show.
Exquisite skills beyond their own limitations.
San Diego artist Patricia Patterson is a familiar device manufacturer who lives in an Irish town called kilmuvi every summer.
In the museum, she showed a working habit.
For this space.
A group of alphabetical phrases, letters and lyrics, plus a lot of paintings of Irish horses, ladies drinking tea and chatting in the kitchen, a man working-rather oddly--
Divers trapped in the air are interspersed with a real stove and Mantel on the bright grid felt floor.
Overall style of the entire poster
Decoration for high school sports dance, bright, optimistic, tacky.
Patterson seems to be celebrating life in Ireland, even the simple life around.
But her text left without a doubt the tragic Foundation under the surface of the chattering, pedestrian, or a suffocating narrow-minded existence without decoration.
The work is like James Joyce's short story, which evokes all the terrible things in Dublin, but never speaks unpleasant words.
The result is clever and creepy.
Lawson and Patterson are certainly not going to deify as radical innovators, but their work is clear
Crafted and resonated with a certain level of maturity.
The case of Randy Hayes and Edward nepps is rather vague.
Knights living in Arlington, Virginia.
A hoist appeared on the theme of the exhibition.
He exhibited 10 large-scale expressive paintings with the theme of Good Friday.
It was argued that he painted very effectively with a Chaim Soutine painful accent, using large, anxious, choppy pen paintings to crack the image of the evil King, the savage guards, A distraught child and stained Christ hanging in the air.
The problem is that the pieces are crammed into a gallery that is not much larger than the rooms at the frolhouse hotel.
There is no doubt that this is done to improve the impact of the work, but the effect is claustrophobic and irritating.
You can't go back far enough to put the photos in the objective focus, so you feel like you're being forced to go nowhere by some burly fool roaring on your face.
The "different" installation of Knippers is the second and the selfdefeating.
Randy Hayes has a brighter future.
He presents life.
The size profile of the Prizefighters fighter is clear and hangs on the slateblack walls.
Starting with the clumsy cut-off of the boxing sleeve rope, everything in these works shows an art that has not yet discovered its identity.
Although these boxers look like paintings-
Probably in color.
Wayne Theibaud employs a broad range--
They are rendered in pastel colors.
Perhaps inspired by the subtleties of the medium, the whole material is then covered on a clear acrylic sheet and cut into shape.
The implication of this early sculpture reinforces the suggestion that these works want to fall off the wall and live in gallery space. Well, why not?
There are ways they can go from using Stand cuts to rendering three cuts
Hayes's work is a tough/sentimental realist who has yet to think about his aesthetic implications.