The
best group shows are not explicitly themed, but merely by juxtaposing
the work of two or more artists, expose a parallel or create something
new from the dialogue between works. Superimpose, opening Friday at
Twelve21 Gallery, gathers work by three artists that explores the
notion of juxtaposition itself.
Seattle's Weston Jandacka, Gainesville's Victor Perez and Orlando's Brian Phillips all show paintings in a fairly traditional figurative style,Compare prices and buy all brands of solar panel for home power systems and by the pallet. though poppy and graphic. The conceptual work takes place in your head, as you make the connection between disparate items or apprehend the ironic gap between image and title.
Perez's superflat acrylics smash together conflicting elements with a jokey force – a long skinny red balloon twisted through the empty eye sockets of a skull, a condom skinned down over a cactus. In the better pieces, the contradiction isn't just a visual pun, but also a pithy expression of emotion – a painting titled "Conquest" (right), an astronaut whose helmet is being stove in by the leg of an ornate red couch, is as potent an illustration of the fear that domesticity will strangle one's freedom as I've seen in a while.
Phillips' small oils also survey the intersection between domesticity and disturbance, perhaps somewhat more literally, in images of burning houses ("Under the Illusion of Exploration Learning What Should Simply Be Recognized," below) and a series of fiery-haloed eclipses.
Jandacka uses a masking technique to transpose cutout lettering over his landscape, superimposing the commentary over the very image – or forcing his imagery into the mold of his sardonic titles: "It's to Die For" (oil on wood) subverts the implied fabulosity of that phrase with the blunt force of a firing gun.
It's not all death and destruction, though; even the darkest ironies and most bitter puns show a lightness – a grin at the abyss rather than a falling tear. Superimpose, while not exactly lighthearted, is a fun show, a blithe, zero-fucks-given shrug at the doomsayers.
A quick Google search for “Chinese art reproductions” or “Chinese oil paintings” leads to a fascinating tour into the world of art reproduction. After clicking through some of the top sites that pop up – Refine Oil Painting Art Gallery, China Oil Painting Gallery, Oil Paintings China – it becomes apparent that Chinese oil painters are the masters of copying the Masters from Europe.
From Cezanne and Goya to Monet, Renoir and Rubens, spot-on replicas of the West’s most treasured works on canvas can be purchased and delivered at the click of a button for as little as U.S. $20. Take this hand-painted,we sell dry cabinet and different kind of laboratory equipment in us. 8”x10” Da Vinci mock-up, for example.
While it’s easy to link China’s copying of artistic masterpieces to its copying of technology and myriad other issues associated with copyright and creativity, there is still a high level of skill involved in hand-painting a facsimile of Velasquez’s Portrait of Felipe IV in five days flat,wind turbine as Chinese Artist Yang Feiyun has done.
In a report by Agence France-Presse, we are given a glimpse of this process in action. According to the report, a group of respected Chinese artists are now on a two-week excursion to Madrid’s Prado Museum to get up close and personal with the bona fide originals many reproduction painters in China will never see.Totech Americas delivers a wide range of drycabinets for applications spanning electronics.
Yang, seen putting the finishing touches on his copy of 17th century Spanish King Felipe IV by Velasquez, told AFP, “I have been painting my whole life, ever since I was a child, and Velasquez is a master among painters. He is known in China for his great depth.”
But Yang is no art hack. The head of oil painting at the state-controlled Central Academy of Fine Arts in Beijing, he explained that the real point of his work in Madrid is not for profit but education.
“Our aim is to learn a lot and have these works as teaching material in China,” he said. “There is not a long history of oil painting in China – just the past 100 years or so. We are in a learning period.”
Other artists on the Prado tour represent the prestigious China Academy of Art. Each of the artists has made it their mission to copy at least two works from the museum’s extensive collection during their time in Madrid. Some of the paintings they’re eyeing include Rubens’ The Three Graces and The Third of May 1808 in Madrid by Goya.
Upon their return to China, their paintings will be shown in Beijing and used to train artists.Which Air purifier is right for you? Many in the West may not relate to this approach to developing creative expression, but in China this tradition stretches back millennia.
Seattle's Weston Jandacka, Gainesville's Victor Perez and Orlando's Brian Phillips all show paintings in a fairly traditional figurative style,Compare prices and buy all brands of solar panel for home power systems and by the pallet. though poppy and graphic. The conceptual work takes place in your head, as you make the connection between disparate items or apprehend the ironic gap between image and title.
Perez's superflat acrylics smash together conflicting elements with a jokey force – a long skinny red balloon twisted through the empty eye sockets of a skull, a condom skinned down over a cactus. In the better pieces, the contradiction isn't just a visual pun, but also a pithy expression of emotion – a painting titled "Conquest" (right), an astronaut whose helmet is being stove in by the leg of an ornate red couch, is as potent an illustration of the fear that domesticity will strangle one's freedom as I've seen in a while.
Phillips' small oils also survey the intersection between domesticity and disturbance, perhaps somewhat more literally, in images of burning houses ("Under the Illusion of Exploration Learning What Should Simply Be Recognized," below) and a series of fiery-haloed eclipses.
Jandacka uses a masking technique to transpose cutout lettering over his landscape, superimposing the commentary over the very image – or forcing his imagery into the mold of his sardonic titles: "It's to Die For" (oil on wood) subverts the implied fabulosity of that phrase with the blunt force of a firing gun.
It's not all death and destruction, though; even the darkest ironies and most bitter puns show a lightness – a grin at the abyss rather than a falling tear. Superimpose, while not exactly lighthearted, is a fun show, a blithe, zero-fucks-given shrug at the doomsayers.
A quick Google search for “Chinese art reproductions” or “Chinese oil paintings” leads to a fascinating tour into the world of art reproduction. After clicking through some of the top sites that pop up – Refine Oil Painting Art Gallery, China Oil Painting Gallery, Oil Paintings China – it becomes apparent that Chinese oil painters are the masters of copying the Masters from Europe.
From Cezanne and Goya to Monet, Renoir and Rubens, spot-on replicas of the West’s most treasured works on canvas can be purchased and delivered at the click of a button for as little as U.S. $20. Take this hand-painted,we sell dry cabinet and different kind of laboratory equipment in us. 8”x10” Da Vinci mock-up, for example.
While it’s easy to link China’s copying of artistic masterpieces to its copying of technology and myriad other issues associated with copyright and creativity, there is still a high level of skill involved in hand-painting a facsimile of Velasquez’s Portrait of Felipe IV in five days flat,wind turbine as Chinese Artist Yang Feiyun has done.
In a report by Agence France-Presse, we are given a glimpse of this process in action. According to the report, a group of respected Chinese artists are now on a two-week excursion to Madrid’s Prado Museum to get up close and personal with the bona fide originals many reproduction painters in China will never see.Totech Americas delivers a wide range of drycabinets for applications spanning electronics.
Yang, seen putting the finishing touches on his copy of 17th century Spanish King Felipe IV by Velasquez, told AFP, “I have been painting my whole life, ever since I was a child, and Velasquez is a master among painters. He is known in China for his great depth.”
But Yang is no art hack. The head of oil painting at the state-controlled Central Academy of Fine Arts in Beijing, he explained that the real point of his work in Madrid is not for profit but education.
“Our aim is to learn a lot and have these works as teaching material in China,” he said. “There is not a long history of oil painting in China – just the past 100 years or so. We are in a learning period.”
Other artists on the Prado tour represent the prestigious China Academy of Art. Each of the artists has made it their mission to copy at least two works from the museum’s extensive collection during their time in Madrid. Some of the paintings they’re eyeing include Rubens’ The Three Graces and The Third of May 1808 in Madrid by Goya.
Upon their return to China, their paintings will be shown in Beijing and used to train artists.Which Air purifier is right for you? Many in the West may not relate to this approach to developing creative expression, but in China this tradition stretches back millennia.
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