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As We Can See, Jorge Marin S Sculpture Is A Compendium of the Vital Instalses of The Human Being and His Body, Which He Understands As The Landscape of His Own Existence. Dr. Agustin Arteaga Miami, October 14, 2003 121

The body as a landscape The sculpture of Jorge Marín The human figure is perhaps the great constant in the equation of the history of art; Sometimes, it appears as only as a factor, others are repeated and their sum reveals the result; Nowadays, it seems that it is rather the unknown that we have to decipher. No matter how, but throughout the history of humanity, its specific or symbolic representation has always been present. Surely this may seem a banality, but when the trends established by the Mainstream tend to defigure the individual in favor of the idea that represents it, reaching the point of confusing the limits of sociology and art, it may be opportune to remember that the body It is the continent of the social entity. The positions to approach the human figure are very diverse and frequently immoral, which implies that the spectator, as a subject, take an own position making use of free will and, demonstrates, his human condition as human. Based on the establishment of abstract expressionism of New York School, after the end of World War II, we have witnessed the battlest battle for the annihilation of representative narrative languages, reaching the point of believing that art could reach The sublimation and completely disappear the recognizable form, whatever it was. However, the gesture prevailed and, although even, the reference to the creator and the corporeal materiality of him remained. For fortune of all, the new history of art has managed to free himself from these linear modernist concerns, of evolutionary sense, who intended to achieve an ultimate goal as an end, giving way to simultaneous vision that more than disqualifying, seeks to exempt from periodation 123

Classical movement and styles, in search of alternatives that link even opposites, finding lineages or genealogies but respecting differences and proposals. With the advent of this attitude, we find the surgimity of narrative and figurative languages ​​that relocate to man as a center in history. In Mexico, postmodernism generated new reflections, not only on the human being but on the condition of it and more like a series of clichés in which social affairs, in collectively; and gender, on the individual were a reason for criticism and comment. From a usually ironic posture, the Neomexican Javier de la Garza, Hinojosa Oliver, Sweet María Núñez, for quoting some, commented on institutionalized nationalism and its symbols El Macho, the Virgin of Guadalupe or the National Shield as Others, such as Roberto Cortado, dew Maldonado, Javier Marín and Carla Rippey, played with absolute freedom the condition of the urban contemporary being or the classicist tradition thus checking, the expansion of the creative spectrum.