David Salle
Mingus in Mexico
1990, Acrylic and oil on canvas
244 x 312 cm
David Salle 选择了现代艺术的要领 － 模仿，使它成为自己作品的形式和内容。
Hybird
八十年代原創被質疑
多手法, 處理手法要好,
Julian Schnabel
Material
ugly painting 新具象
Susan Rothenberg
Attarck painting
含糊性
否定
double negative, tripo negative
positive and negative
Jean-Michael Basquiat
Keith Haring
Anselm Kiefer
soil, big work,
burn all sad history
梯 means exit, long history of use this object in work
the exit of spire
e.g. if i study the history of hk's stair, and put into my work, that's mine object, not copy from other artists
Gilbert and George
後現代弱勢社群
宗教色彩
their paints are answer
find our own self's sign/mark
e.g. cantonese
-Cancan, Photo
-Performance
Vs Francis Bacon
Mimmo Paladino
Rainer Fetting
野獸派影響
Jorg Immendorf
about 貪污
Ross bleckner
後極限主義
對光有興趣
Falling Birds oil on linen, 1994
Christian Boltanski
“we are all so complicated, and then we die. We are a subject one day, with our vanities, our loves, our worries, and then one day, abruptly, we become nothing but an object, an absolutely disgusting pile of shit. We pass very quickly from one stage to the next. It’s very bizarre. It will happen to all of us, and fairly soon too. We become an object you can handle like a stone, but a stone that was someone.”
boltanski was born in paris to a jewish ukrainian father and a corsican mother. he lives & works in malakoff currently. his artistic work is based off the problems of death, memory & loss, which ties into my current project perfectly. he often seeks to memorialize anonymous people and those who have disappeared.
In his preliminary years, Boltanski’s paintings were concerned primarily with themes of historical significance. However, by the 1970s, Boltanski removed himself from the painting arena and began his quest for remnants of his own past through selected artworks. These artworks led Boltanski to question the substance he had used when creating his own artworks. However, this introspectivism supplied him with the motive for other artworks in which non-truths and the realisation of fundamental truths converged. Boltanski reconstructed his own youth in this method. In doing so, Boltanski used a vast spectrum of media. For example, film, performance, photography and video. It is interesting to note that Boltanski maintained this vision and direction without focusing on the obvious contradiction of his self-understanding as a painter.
Moreover, the combination of varied media is a fundamental part of the spatial dimension which has been the focus of Boltanski’s work since the mid-1980s
Gerhard Richter
'the paint as photo is no emotion, no feeling'
Bracha Ettinger, Painting: Matrix - Family
Luc Tuymans 弱繪畫, neutralize, grey tone
comtenpoary paints:
most important is
statment
Chris Ofili
The Holy Virgin Mary, 1996
paper collage, oil paint, glitter, polyester resin, map pins, elephant dung on linen
Tracy Emin
life is art?
she collect one week's daliy objects beside and on the bed, as show as her art work
it's dirty and smell.
达米恩·希尔斯特
蔡國強
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.jpg "Ross Bleckner- Falling Birds, 1994")
