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Art Review Generator is a free online service that generates art reviews based on a set of words provided as a prompt. With 57 years of art reviews from Artforum as training data, it creates medium-length sentences. Accessible through the website, the service requires an email.

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Black words abound suggesting Persian stock Equal to a vehicle, and that includes the lock further ash isnt too far away, in fact. It is too far away to be safely and imperceptibly thin, and it is too far away to be immobile. It is too far away to be dead. It is too far to be a statue of the self. It is too far to be one of those, for all the graceful lissomeness, that have become the standard of anything in which the concept of the autonomy of subject and object is caught up. The best way to think about it is to consider the effect of a mirror on the map of the world, which is to say, of one great, terrifying, darkening, and painful, and it is this one that the museum is now going to have to live with.If, as its title suggests, an important aspect of the show is to recognize the death of modernism, and of modernism, then the fact that it will be there is already to the good. The museum has had a chance to do something about it.The museum, after all, is an institution that has for a long time been the most sensitive institution in the world. It is an institution that can speak with an archaic, elemental language about the dead, the world as it was. If the museum is to be restored to a position of dignity and power that it had in the nineteenth century, it will have to do so through the language of an institution that has in a great measure been taken down from the earth by a great deal of vulgarity. The museum is a hideous place. The muck of which it is capable is that of the world. It is too wide, too deep and too deep down, and it is dirty, too. One cannot use it to look at art. Theyre dirty. They are the results of many years of the waste of a good deal of talent, the whole of which is devoted to the study of the human condition.

Black words abound suggesting Persian stock Equal to a vehicle, and that includes the lock further ash that a person can be an artist, a writer, a film maker, or a singer, the exhibition also features a number of individuals who have appropriated the art of the past as a subject and who use it, now, as a vehicle. For example, Mona Hatoum, one of the most visible figures in Lebanon to have emerged in the wake of the Arab Spring, is a leading figure of the Lebanese avant-garde; in fact, she is the only woman artist in the country to be accorded a solo show in a major museum. The question of whether the Lebanese avant-garde is now a kind of Westernized modern art that is rapidly becoming a worldwide phenomenon has not been posed. Yet Hatoums paintings, which also include watercolors, drawings, and sculpture, are inspired by the past, and they convey a sense of longing for an ideal, perhaps of a simpler time. While Hatoum uses modernist means to articulate this longing, she also utilizes the historical, as she did in her earliest paintings, in order to trace a dream of the past, which is only partially realized.In her early works, Hatoum made abstraction a tool for expression and for imitation. In works such as Hommage to Marcel Duchamp, 1998, a black and white monochrome painting of a hand grasping a brush, she adopted a signature style from Duchamp. However, she did not so much imitate Duchamp as she appropriated his work and his signature style. In several works from this series, the artist used the image of a woman, with a stylized, voluptuous face and the written word omlautrato, which is written in French. Hatoums appropriation of Duchamps painting serves to evoke the contemporary desire for liberation from the temporality of the present and the more universal longing for a time that is eternal.

Black words abound suggesting Persian stock Equal to a vehicle, and that includes the lock further ash sequences, it evokes a history of being unequal. &lt;|startoftext|&gt;From a certain angle, the fireflies and the inscriptions on the walls of the gallery evoke the stylized motifs of the Ottoman world. This past spring, the artist Peter Plagens installed his own version of this motifs in New Yorks Times Square. The work was titled Freestyle, and the reference to the Persian Gulf War, the artists attempt to raise awareness of the disappearance of American troops during the Persian Gulf War, was a hook to the audience. Yet, the paintings themselves are carefully arranged and personal, and the scattered information—a handwritten list of phone numbers and postage stamps—is revealing. This piece of work connects directly to the historical context of the war, yet is meant to be accessible to an audience who may not understand it.The inscriptions are made from a single-use, stenciled, double-sided tape, and they are addressed to the artist, the gallerys phone-in-charge, and the gallerys phone-in-charge. Each message contains a sequence of three to five words, beginning with the title and ending with the artist's name. The first four are an expletive (a capital F), the last three are a list of names of friends who have died; the last two are a list of telephone numbers that can be reached. The inscriptions also include a text that reads, You cannot escape the sadness of these difficult times. They all appear to be verbal, and they convey the emotions that speak of the pain of loss. The messages are powerful and can be read in a variety of ways. They are not simply words; they are also images.The fireflies are, in fact, stenciled images of little children, or a sort of run-of-the-mill national flags.

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The surreal painting imparts meaning in philosophy, cure in science, perspective in nature, freedom in isolation and eternity in creativity. Over the centuries, this philosophy has inspired generations of artists, from Beardsley to Rodin. St. Stephen in the Desert is a polychromatic series of tinted watercolors, the colors of the desert. The artist sketches and draws pictures using his finger on a canvas and then casts the resulting works on canvas. The result is a sculpture of light and shadow. St. Stephen in the Desert (all works 1996) comprises two chunky geometric formations. The forms are reworked in paint and ink, but they never disappear; instead, the color is permanently fixed. Since the clouds of the sky hang in the sky above them, we cannot see the forms on the ground. If we jump on top of them, we are constantly pulled down, but also must wait, almost like a stage, for the clouds to rise. St. Stephen is an abstraction that is not seen, but is instead created by the act of seeing. What we see, we can see clearly, and yet we cannot see in the same way again, that is, we cannot focus on the forms on the ground, and they cannot be seen through. This is the ultimate limitation of vision, as the artist points out: to see is to grasp the unity of the universe. And St. Stephen is beyond form and of sight. But how to make visible the forms, which appear as a vision of the world? What to do? Theres no way to make this painting magical—to bring it to a world where it can be seen in reality. In this world of reality, reality is not a result of science, but a simple fact of the everyday world.St. Stephen is a polychromatic series of tinted watercolors, the colors of the desert. The artist sketches and draws pictures using his finger on a canvas and then casts the resulting works on canvas. The result is a sculpture of light and shadow.

The surreal painting imparts meaning in philosophy, cure in science, perspective in nature, freedom in isolation and eternity in creativity. In the beginning of philosophy, the ideal was the sublime, at the end it was the barbarians, and no one has to fear any threats. The image of the sublime, however, can be sold to a captive audience in a vault at the Vatican. But will the images of the barbarians and the sublime be redeemed in the heat of popularity or in the age of commercialism? Do we need a theology that follows from philosophy, the art of which has in no way influenced or is influenced by philosophy? George Herge, a painter who writes in an exhibition catalogue, asserts, I would like to see philosophy return to the sublime. Philosophy, then, becomes one with modern painting—the painting of free thinkers—one with the freedom to dream. I would like to see philosophy return to the sublime. These are the words that fill the pages of a brilliant catalogue, the three-hundred-page self-contained volume of essays, written by Herge. The art of freedom and freedom from the supreme glory of the sublime, the art of freedom that is the liberation of the highest civilization, the art of freedom that is the liberation of life, these are the immortal words of Herge.Herge continues to articulate the need for freedom from abstract paintings, but the problem in the art world now is not abstractions strict limitation, but the contradiction between free and revolutionary ideals. Herge continues to explore and work out the contradictions between freedom and liberty, painting and literature, ideal and reality. His paintings are also about the intellectual power and ideas of freedom, and he develops them into a set of symbols and symbols for ideals. He is a master of the symbolism of the ideal—the unalienated spirit that does not believe in the ideals but builds up on them. His approach to abstraction gives the abstractions art its power, which is quite different from that of the religious art world, which is a prison of ideals.

Modernism from the double-edge standpoint was a reflection of the contradiction between ideal ideals of freedom and repression—one imagined freedom in a state of harmony, the other free of nature. The world of modernism is essentially a synthesis of the two, or the colliding of the two poles of being. A view of nature from the double-edge perspective of Giorgio de Chirico is nearly identical to a view of the earth from the double-edge viewpoint of Giacometti, and the two artists inhabit the same world, just as each is an entity in a world of their own. Likewise, Bertrand Russell, Freud, and Marx all seen from the double-edge viewpoint of abstraction were contemporary in their engagement with nature. Whereas all the philosophies of the time were concerned with the systematic destruction of nature, all of them saw the power of nature as a force of freedom. A view of nature from the double-edge perspective of Mondrian, a modernist in the sense that his work reflected the dualistic nature of his own conception of the world, is less concerned with the domination of nature than with the interpretation of it. As Mondrian wrote, he saw nature as a way of discovering the original world, the source of things, and the source of all understanding. The dual nature of nature is the world view of modernity as a whole. In this way, modernity as a whole is not an alternative to nature, but a revolutionary dialectical inversion of nature into nature.

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What could be more childish than that? Or more childish than a toddler? I imagine him as the twin to Leni Riefenstahls babies. I imagine him as a child having a bad temper, a baby in a baby suit, with a gun. I imagine him as a little boy who has just gotten a copy of The New York Times and the front page is full of cartoonish men and women and cats and bears and schoolchildren in a childrens dress. I imagine him as a child in the midst of a mugging, looking at a big portrait of himself, and saying to himself, I got it. The artist himself looks a lot like Riefenstahl, and it is a little unsettling to find oneself in the room with his work, but Im sure theres nothing wrong with that. It is as if the artist has stepped out of the realm of imagination and gotten himself a role as adult.I think that Riefenstahls show is at least partly about a call to the worlds consciousness, and its also about a little bit of childs play. (Although, as Riefenstahls work suggests, the way that he deals with his art is not a matter of just going against the grain, its a matter of going against the grain of the art world. He is a good guy. I hope he doesnt get himself into too much trouble.) Riefenstahls art seems to be about making a kind of image of the world, not about making an image of anything. Thats the art world thing, and thats all we could expect from him. He has a lot of talent. He could probably do a lot with a little more of it.

David Hockney paints like a toddler. There is a certain charm to his approach that I think can be traced to his fondness for the child-art worlds he appropriates and glamorizes. His drawings of drawings are often like pageants for an invisible soldier, with a scale of scale that is both monumental and fragile. The works, which are usually about two feet square, are made of paper that has been blown up, then folded and folded again, producing a soft paper that, although it might be reminiscent of the collages of Philip Pearlstein, is almost facilely painted, as if Hockney were picking up a rag from the floor and sanding it to a smooth texture. The drawings also include the textural flourishes of spray paint, the drippy lines of watercolor, and the more serious lines of graphite that mark the outline of the page. It is hard to say whether Hockneys pictures are humorous or serious, because they are both too small and too abstract to be both.Hockney seems to want to exploit the potential of the child-art world as a space where the artist can play with the fears and desires of others, and at the same time can reflect on his own. That world is perhaps best described as one in which one can play with ones own fears and desires, both of them drawn from childhood and both of them conditioned by the oppressive, authoritarian nature of the parental relationship. Hockneys drawings of drawings, and especially the drawings of drawings in a lot of shades of gray, suggest that the artist-child is not always both child and adult, and it is the child who is supposed to be the mature one. In Hockneys drawings, Hockney seems to be taking a position of complicity with the world of childish play as well as that of the adult world; he is involved with a pre-formal, pre-literate world, in which play is the most valid way to express feelings and feelings are expressed.