Fine art
Gary Hume Yard
As Hume explains it, he started his career by accidently making paintings that writers, dealers, and curators could chat sophisticated chat about while referencing a bouquet of art gods who were much more fashionable and famous than young Gary himself: Brice Marden, Robert Rauschenberg (his early blacks and whites), Roberts Ryman, Latin American Neo-Plasticists, Josef Albers, Matt Mullican, the list goes on. Through this process Hume's paintings acquired status by contiguity. His door-paintings also filled out the hand of stylistic cards that Young British Artists were presenting to the world at that time. So when, in the natural course of things, Hume was selected to represent the United Kingdom in the 1999 Venice Biennial, he could see freedom in the distance. And yes, Venice closed the doors on the doors(excepting those on barns). The artist will tell you now, with a smile in his voice, that it was like being issued a "Get Out of Jail Free" card. Henceforth he could do as he wished: he could paint women, blobs, birds, bubbles, drips, clowns and flowers. Having perpetrated these indulgences, he might be seen to have failed, of course, but given the level of cultural investment in his work, he would be failing at a stratospheric level that he could never have imagined as an art student from Kent. He was up on the mountain, so why not hang glide down? If he were any good at all he could swoop indefinitely.
This makes Hume the only artist of my acquaintance who has made a sane accommodation to sudden fame in his work-he has made a casual effort not to notice. So Hume is gliding now, trying to stay aloft on a minimum of hot air. He tends his garden, shoos away the grackles, and paints paintings. He dose his yard work in the studio and out of it. As he steps from the garden to the studio, the red rose with green leaves becomes a "Blue Rose with Gray Leanes"(with an orange silhouette invading from lower right, resembling nothing so much as the coastline around Seattle), because a that's the way it works. The process is no big deal. Hume paints on aluminium with shiny enamel he imports from Canada, because OSHA regulations have screwed up American paint. He starts on the floor then tips the paintings up to finish them. The theory is paint painting: but if the painting works, really works, it's a very big deal, indeed, or it would be if we hadn't worn down our social relations with objects to the point that we don't even notice if it doesn't hurt.
This is why Hume's paintings matter today, in a border cultural sense. During the last two decades. for the first time since Abstract Expressionism drowned in its own tears, we have become connoisseurs of pain. We have been stroking our chins for a while now in front of Situationist detritus, third-generation confessional abjection, heartless photography, assaultive documentary crypto-expressionism, and disembodied political Conceptualism. We try our best to decide how much money we should pay for the titillating frisson of mandarin guilt such art delivers. This is a cultural epidemic that has less to do with art than with the redistribution of wealth. It is a moment of social madness arising from too much money paying too little recompense for the pain we cause and never suffer. It would be more efficacious and contribute more to the community, I think, if we just installed a box office at the door to the paediatric oncology ward.
I really like how he plays the colours. The colour is always not real colour for example blue rose, pink face.. The colour combination is very beautiful and I want to use his work as my reference.
David Hockney
basic to David Hockney's art from the first has been the need to communicate directly with the viewer. Hockney is not at all involved in the creation of beauty as an end in itself. It is exactly this didactic clearly, which is the basis of his phenomenal popularity. No other artist today has been the subject of so many books, most of them generated by the prodigious flow of his own art, work that he produces in abundance and with great care. As often as I have visited David over the years, I have never seen an empty studio: his cornucopia is always full to brimming.
Spend any amount of time with Hockey and you quickly realise that he's an intensely cerebral artist, extraordinarily well read and deeply involved in that reading and extraordinarily thoughtful in those terms about the winder implications of his artistic endeavour. He is endlessly struggling with issues of representation, perception, reality, worldview, the transcendence of constrictions. Curiously, however, most of those implications pass most of the fans of his art right by. What makes Hockey such an iconic presence in contemporary popular culture, it seems to me-all the Hockney posters on living room walls, the Hockney reproductions on the jackets of novels and he covers of records, and so forth-is the sunny benevolence of the subject matter and the unfailingly entering charm of its rendering. I asked Hockney whether he ever became bothered by the misreading- or anyway, the half-reading-of his work. "I suppose even in the experimental work I have to do it in that way, you see. When people say, Ah but it's much too charming." I don't really care because I know something else is going on as well."
I asked hime about the roots of that charm. "I think ultimately what it is that I am not a person who despairs. I think that ultimately we do have goodness, really, in us. For instance, with the Ravel opera, I totally responded to that story and the music particularly. And what was it saying? That kindness is our only hope. I think that was in every note of that music. Stunning. And I loved it. I did what I could to make it alive in the theatre because basically I believe that. And if I do believe that, that's what I should express. That's where my duty lies. I mean, I am not naive. I have moments-I don't think happiness is...We just get glimpses, tiny moments, that's all. But the moment I get to work, the loneliness vanishes. I love it in here, on my own, painting. You know all that stuff about angst in art: I always think van Gogh's pictures are full of happiness. They are. And yet you know he wasn't happy. Although he must have had moments to be able to paint like that. The idea that he was a miserable wretch and mad is not true. When he was mad, he couldn't paint, actually. "I guess basically I am an optimistic person", he continued. "I ultimately think we will move on to a higher awareness, that part of that road is our perceptions of the world as they change, and I see art as having an important role in that change."
Gerda Marie Fredrikke Gottlieb
Born in Hammelev, Denmark in 1886, Gerda grew up in Hobro and moved to Copenhagen as a teenager to pursue her artistic interests at the Royal Danish Academy of Fine Arts. She worked as a successful fashion illustrator for magazines such as Vogue and also painted erotic imagery of women. She married fellow artist Einar Wegener, who became Lili Elbe, one of the first-ever documented recipients of sex reassignment surgery.
link from here
Paul Nash
When I went to the Tate Britain and saw his paintings, I become fan of his painting. Again the way of using the colour is like Gary Hume Yard which is unrealism. for example the photo on the bottom. and lots of his paintings are suing 3 to 4 colour which make it clear but not minimal way. and made them consistant.
References
David Hockney 759.2 HOC
David Hockey Nur Natur Just Nature 759.2 HUM
Gary Hume Yardwork 759.2 HUM
Sonia Delaunay 759.4 DEL
Robert Delaunay 759.4 DEL
El Pintor del Malestar moderno 759.4 DER
Gustav Klimt painter of women 759.36 KLI
Viviane Sassen Pikin Slee
Viviane Sassen Umbra
Viviane Sassen In and out of Fashion
Paul Nash exhibition at Tate Britain
Architecture
Antoni Gaudi
- Fairytale Castles in the Heart of the City -
The son of a coppersmith, Gaudi began his architectural career on a not exactly promising note: he left university with the lowest possible grade, a "pass". However, private clients above all had confidence in his skill-to such an extent that this unconventional architect was soon inundated with commissions. His sources of inspiration were unusual; he was passionate about both medieval Gothic and Moorish architecture, to which he alluded when building the Casa Vicens. This home of a bricked owner fascinates above all by its wealth of contrasts: little turrets on the roof are reminiscent of the minarets of mosques, and patterns of colourfully glazed tiles cover the entire facade.
The young architect soon found his most important client in the industrialist Eusebi Guell, for whom he first built a palatial residence, adorning its roof with a whole forest of fantastic chimneys. But Guell had greater things in mind: he dreamt of a garden city, whose houses on a steep cliff were to offer a view of the Mediterranean. While Guell's plan did not find widespread acceptance and only two residential buildings were finally executed, Gaudi tackled his part of the work and transformed a zo-hectare area in the north of Barcelona into a walk-in sculpture. Between pine and palm trees, mosaics of glass and ceramics sparkle on the steps, benches, and houses pf Park Guell.
- At Home on the Building Site -
"The straight line is the line of Man, the curve is the line of God" - this was Gaudy's fundamental belief. His masterwork, a church known as the Sagrada Familia, was designed entirely according to this principle. When the 31 year old took over the construction of this church, a crypt was already being built. Gaudi only briefly followed the existing Gothic forms, however. Soon he had found his model for the basic framework: nature itself. With their "branches", the pillars and supports look like trees. The Sagrada Familia, as a church of atonement, was to be built exclusively from donated funds, which the master builder frequently supplied in person.
Finally he realised that this task allowed him no time for further projects, and in 1914 he decided to devote himself exclusively to the church. The builders'hut became his new home. But when the architect died in 1926 after a tram accident, this "sermon in stone" was still far from completion. Of the three facades, only the eastern one had been begun, not to speak of the bell towers, the tallest of which was to grow to 170 meters. Even today,Gaudi's masterpiece primarily presents itself as a building site-although this hardly detracts from its overwhelming impact.
I really like the way of using the colour in his work and everything perfect balance between colour and sunlight. Today, these colours is becoming the symbol of Barcelona. The colour express the country and culture. The colour reminds us what kinds of city is. what kinds of people who live in. I will use reference of it. The colour express my home country and where I come from. I decided to take photoshoot when I back to Tokyo during the Christmas holiday.
Visual art
Hélio Oiticica
He was one of the most innovative Brazilian artists of his generation and has come to be acknowledged as a significant figure in the development of contemporary art. Among his achievements was the original and uncompromising use of colour that was central to his practice, and this is the first large-scale exhibition focusing on this key element in his work. Featuring more than 150 works, the exhibition includes several key series from 1955 onwards, some of which have not been seen publicly for more than thirty years.
link from here
I really like how he plays the colours in a lots of different way such as cloth, fabric, colour board... Maybe I can try experiments lots of different way at the first and consider which one is the best using his work as reference.
Film
Wes Anderson
link from here
Film
Cutie and the Boxer
Cutie and the Boxer is a candid New York love story about life and art that explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his wife and artist Noriko.
link from here
This is one of my favourite film. I really like they combine the boxing and art together even though It seems like completely different thing. I like the concept and idea like how I can play the colour.
Sonia Delaunay
I like the way she blocked colour in her work. Colour blocking emphasise the colour more and make it strong impact. Maybe I can make some colour board which make emphasise and strong impact. also colour blacking reminds me digital graphic design. Even its photography or painting, if it seems like graphic design, might be able to have strong impact?
Fine art
Gustav Klimt
Reform Movement Fashion; Expression of a Lifestyle
It was natural for the Art Nouveau artists, with their penchant for the total work of art, to have had an ine=terest in fashion, and Klimt and Emilie had a unique opportunity to stimulate one another. The idea of dress reform, which was vigorously promoted in America, Britain, and Germany in the second half of the nineteenth century following stated medical reservations about the dangers of wearing tight-fitting corsets and incipient moves towards women's liberation, also entered the Viennese fashion world. It is known that the artist and designer Koloman Moser designed a number of dresses for his wife. The Wiener Werk staten opened its own fashion department in 1911, in which the Viennese style of Reform Movement dress was preferred.
As early as 1906 ten designers were published in Deutsche Kunst and Decoration that are always described as Klimt's alone.) Emilie had the dresses produced in her fashion-house, and Klimt photographed her in them. The photos were taken for a portfolio that was to be laid out for customers to look through at the fashion-house, presenting them with a collection of exclusive designs. Alongside the innovation of modelling the garments in a landscape setting, a synthesis between reform and fashionable elegance can be seen in the dresses; many have flounces, frills, and high collars.
Klimt;s interest in fashion is documented in the dresses he designed together with Emilie, as well as in his depictions of materials, especially during the final period of his work. Emile is also supposed to have worked for a time on the designs for the Stoclet Frieze. Klimt, the painter of ornamentation, found inspiration in Emile for his artistic work. As that time he always went about in loose-fitting smocks, and there are also personal photographs of Emile not in elegant dresses but in drooping, sack-like garments that only betray their expensive organs by the patterned material.
Wearing such clothes corresponded to a new style of life style that found its most consistent expression at Monte Verita near Ascona, in the Swiss canton of Ticino, but met with a response in certain intellectual, literary, and artistic circles in most major cities. The reformers propagated a life free from social constraints, similar to the ideas later revived in the hippie movement and the founding of communes in the wake of student protests around 1968. In neither case was this type of reformed life successful, but even at the turn of the century marriage as a bourgeois institution was being called into question. In Vienna, "in the very seedbed of the erotic movement", alternative ideas of a "free life" were quite virulent. Hermann Bahr, a good friend of Klimt, promoted them and lived them out-and he, too, had a predilection for wearing smocks similar to Klimt's. The idea of the psychoanalyst Otto Gross, who lived in the Austrian city of Graz, were also influential in Vienna. Gross stood for a liberated, unconstrained form of love, freed from the "shackles of marriage", and free, too, from all jealousy. For Gross marriage without fidelity was the order of the day. A woman should have the right to conceive children with anyone she wanted, even if she was married. A married man himself, Gross lived with his wife in accordance with these notions. He had many supporters, particularly in the Schwabing sidtrict of Munich, and had children by several women, and openly admitted their paternity. The style of the Vienna Secession was a revelation to Otto Gross. He praised its exhibition building, designed by Josef Maria Olbrich, in the highest tones, since he saw it as a realisation of the goal of every form of art in a high culture-achieving harmony through simplicity. Klimt, too, admitted the paternity of his numerous children and gave them financial support. The ideas and new lifestyles involving free love had many links with the artistic style of the Vienna Secession. Alongside the traditional norms that have constantly triumphed, ideas of a "partnership without a marriage certificate" could be put into practice under certain conditions in the metropolises of Berlin, Munich, and Vienna shortly after the turn of the century. The artists Vassily Kandinsky and Gabriele Munter, who lived together in Munich and in Murnau without being married, are an example. To this extent it is conceivable that Emili Floge, financially independent of Klimt as she was, preferred a partnership of this type as much as the painter obviously did, particularly since she would probably have had to give up her work if she had become his wife."
John McLean
John McLean was born in Liverpool to Scottish parents. He studied at St Andrews University from 1957 to 1962 and at the Courtauld Institute of Art in London from 1963 to 1966. McLean taught at various art schools in London from 1966 and had his first solo exhibition in 1975. He lived in New York in the late 1980s.
Colour is at the root of all McLean's paintings. He works on a large scale, painting spontaneously onto the canvas using fluid paints to make abstract and rhythmic compositions. McLean has often cited Matisse and Miró exhibitions in the early 1990s as having had a profound effect upon his work, where he discovered ‘a much more sophisticated way of using shape.’ The artist's shapes became more formal, introducing a minor degree of narrative, meaning any shape could be open to interpretation as a sign or metaphor. McLean regards the abstract elements in his work as being informed by external experience and having an emotional dimension.
link from here
Photography
Thy Tran
Closing the list is none other than the intriguing Vietnamese photographer Thy Tran, whose work captures often bizzare and faceless figures in banal moments. All shot on film, the work of Thy leans towards the abstract and surreal realms of human relationship with the surroundings, and this essence is vividly shown especially in her photographs featuring female muses.
link from here
I really like her photography because she doesn't set up anything. Using natural colour such as sunlight and skin colour, plant, fruit... But if she put all together in a photography, somehow it's match together perfectly in a beautiful way. Since I decided I don't want to put colour board or something which make emphasise the colour, I am thinking how I can play the natural colour in photo. I will use her works as my reference how she use sunlight and make more beautiful colour. Also her work is always the posing of the model is interesting. It is because cannot see whole face or looking which make me more mysterious and curious. and I always feel like I want to know more. When I think about posing and attitude, I will go back here ands as my reference.
Wolfgang Tillmans
Rafat Milach
Milach was born in Gliwice, a city in the south of Poland, in 1978. He graduated from the Academy of Fine Arts in Katowice in 2003 and the Institute of Creative Photography (ITF) in Opava, Czech Republic. Hee was invited by the photo agency VII in Paris to take part in the Altemus training program for Eastern and Central European photojournalists in 2004. As a photographer, Milach strives to capture realities of everyday life in Russia and other former Soviet republics as authentically as possible. His first-person narration style is straightforward, without significant interference into the subject or setting.
link from here
His photography remind me Vivian Sassen. Because of the way of using the colour. Also using flash light and having for resolution such as Juergen Teller make the colour more bright and dry atmosphere. I am considering the use this technique for this project. But it depends on what I want to express. If there is a thing I want to tell to the viewers and if it's colour is too bright, feel less strong impact. But also depends on the landscape and others colour though.