Not long ago, 101-year-old American Pop artist Wayne Tibo passed away. In the 1960s, Thibault, along with Lichtenstein and Andy Warhol, promoted the pop art movement, and he himself became famous for painting cakes.
Susie Hodge, a British art historian who has published several art books, recently launched Chinese edition of "The Source Code of Architecture", leading readers to read the architectural context at a speed in the era of looking at pictures. On the occasion of the New Year, 23 Southeast Asian artists held a group exhibition "Falling" in Beijing, presenting freedom and independence in a complex context, while painter Wang Huaiqing presented the creative process from the end of the 1970s to the present with a solo exhibition "Vertical and Horizontal". In Shanghai, eight contemporary Chinese painters interpret tradition and the present with ink "Eight Rhymes".
The Paper, Art Review, "Art Figures of the Week", reports and analyzes art topic figures and hot events at home and abroad.
United States | Pop artist Wayne Thibault
He died at the age of 101 and was good at painting cakes and promoting the pop art movement
Wayne Thibault
According to CNN and other foreign media reports, Wayne Thiebaud, an American pop artist who is good at painting cakes, ice cream and candy, died in the United States on December 25, 2021, at the age of 101.
In 2018, the National Gallery in Washington exhibited Wayne Thibault's 1963 work Cake. Graph source network.
Thibault refused to accept the pop artist label during his lifetime, although many did associate him with the movement. In 1962, Tebow, along with later Pop artists such as Roy Lichtenstein, Andy Warhol and Edward Rusha, participated in the exhibition "New Paintings of Everyday Objects" at the Pasadena Museum of Art (now the Norton Simon Museum), which played a crucial role in the formation of the Pop Art Movement.
Thibault was born in Arizona in 1920 to a baker mother and an inventor father. An aspiring cartoonist, he worked as a sketcher and signature painter for disney studios before enlisting, and worked as an artist in the U.S. Army's First Film and Television Unit from 1942 to 1945. Soon he became increasingly interested in the arts, earning an art degree from what is now California State University, Sacramento, and becoming a professor at the University of California, Davis, where he taught until 1991. During a trip to New York in the 1950s, Thibault was influenced by the abstract paintings of William de Kooning and the neo-Dadaism of Robert Rauschenberg and Jasper Johns, and began to combine his commercial training with the experimental expressionism of the New York School. He soon found his signature theme — the mouth-watering dessert behind the window — but it was difficult to get real recognition. His breakthrough came in 1962, when his longtime gallerist Alan Stone gave him his first solo exhibition.
At a time when Tebow's contemporaries satirized the American Dream by appropriating everyday objects and popular images, Tebow stood out by wrapping them in dreamy colors. He also distinguishes his work from traditional realist painting, achieving an almost conceptual quality through seductive compositions, striking colors, dramatic lighting and special textures.
Wayne Thibault, Three Ice Cream Balls, 1964. Graph source network.
Thibault's most famous image is a cake. In 2019, his painting Cake With a Sandwich (2010-2011) was auctioned for $8.4648 million by Sotheby's. His paintings are also widely collected, and he has held retrospective exhibitions at the San Francisco Museum of Art and the Morgan Library in New York.
From 1972, Thibault held a teaching position in California until the age of 80. He once said: "The greatest achievement and reward of painting is not in painting, but in new eyes, which teach you a new way of looking at things." (Finishing/Hatamachi)
China | British art historian Susie Hodge
"The Source Code of Architecture" was published, and the speed reading of architectural context in the era of the picture was seen
Recently, the Chinese edition of "The Source Code of Architecture" written by british author Susie Hodge was officially published. This is a "decoding book" about architecture, interpreting 40 architectural styles, 50 classic buildings, 26 architectural elements and 24 building materials, leading readers to start an "architectural journey".
The Source Code of Architecture by Susie Hodge by Song Yang translated by China Pictorial Publishing House
Susie Hodge is an art historian and an artist. She is loved by both the general public and television audiences for her ability to tell the history of art in a simple and interesting way. She is the author of several best-selling books in art history, and has published books such as "The Source Code of Art", "The Source Code of Modern Art", "50 Artistic Ideas", "Subtle Observation of Art", "What to "Save You", Modern Art, etc.
In The Source Code of Architecture, Susie Hodge uses four chapters to sort out the development of architecture from ancient times to the present day, from the Great Pyramid more than 2,000 years BC to the architectural works of Zaha Hadid in the 21st century. The 60-second "dry goods" reading volume designed for the fragmented reading era allows readers to absorb the richest architectural information in a short period of time. Practical search function, cross-referencing knowledge in different sub-fields, helps readers to achieve integration of architecture and other fields. The date of construction, major architects and other masterpieces, as well as key points, etc., are more convenient to provide direction for future in-depth research. In addition to this, the book adds an appendix that analyzes architectural jargon to remove reading barriers for readers.
Song Yang, the translator of the book, said: "As a popular professional reading, it is very detailed and comprehensive, and it can be comprehensively understood in accordance with the time context of architectural design, the style evolution of architectural history and art history, and the development context of building materials and crafts, to comprehensively understand the development of architectural styles and cultural inheritance in different countries, different regions and different ethnic backgrounds." The development of architecture requires strong comprehensive theoretical support, and this book undoubtedly shows the understanding and research of architecture, design and art as the development of architecture. (Finishing/Hatamachi)
Shanghai | Eight contemporary Chinese painters
Ink "Eight Rhymes" in the tradition and the present
Jiangnan is the birthplace of ink painting, and the "Jiangnan" in the history of painting is not only a regional term, but also a synonym for fashion and interest, which has been the case since ancient times. "My family's ancient screen came to Jiangnan, white painting ink stained smoke Lan", "Why should I exaggerate the ink, appreciate the Jiangnan workers alone", "Remember the past Jiangnan once looked, the giant famous painting is in the screen", the ancient poetry is in the ear. In ancient times, Jiangnan's fun was linked to the spirit of pen and ink, and today, after more than a century of collision and dialogue between China and the West, the baptism of ebb and flow, it carries the heritage of those painters who rely on the language of ink painting to face tradition and the present.
Curator and some of the participating painters
Recently, the "Eight Rhymes: 2021 Contemporary Chinese Painting Invitation Exhibition" is being held at Shanghai Anyi Art Space, exhibiting paintings by Bai Ying, Ding Beili, Gao Qian, He Xi, Hong Jian, Huang Peng, Li Tong and Zhang Jian. Among them, there are painters from the Shanghai Academy of Chinese Painting, professors from the Shanghai Academy of Fine Arts, and painters who work for the Jiangsu Provincial Academy of Chinese Painting and the China Academy of Art.
Works by He Xi
As a contemporary, curator Peng Lai empathized with the environment in which the eight painters grew up, saying in the article: "The life experience of urbanization, the influence of modern ideas, the torrent of rapidly changing times... The professional education they received not only valued profound traditions, but also had a positive acceptance of Western art, which largely determined that they had always been on a path of exploration that expanded innovation and transformation of Chinese painting language from the inside out, and was not the same as the experiment of various 'contemporary' ink as a medium material. More than ten years ago, I began to pay attention to the process of creation and growth of these Chinese painters- perceiving and groping between history and times, self and language, and transforming again and again. The works of Zhang Jian, Bai Ying and Li Tong explore the modeling or language factors from the tradition to transform the accumulation of western painting character sketching habits, so that the characters return to the traditional charm of the East, Huang Peng, Hong Jian, ding Beili are all painted with urban landscapes, but they have their own language methods; Gao Qian and He Xi have very different aesthetic personalities, but they all give flowers, birds, butterflies, grass and trees, which have been often painted and new themes since ancient times, with a very personal interpretation. ”
Bai Ying's "Yang No.28" is colored on paper
Exhibition posters
The exhibition will run until January 12 and will be held on the 1st floor, No. 4, Lane 90, Tongren Road, Jing'an District, Shanghai. (Finishing / Hatamachi)
Beijing | Painter Wang Huaiqing
The solo exhibition "Vertical and Horizontal" presents the creative process from the late 1970s to the present
Wang Huaiqing
From December 28, 2021, the Art Museum of Tsinghua University will present the annual closing exhibition - "Vertical horizontal - Wang Huaiqing Art Exhibition". A total of 76 works created by Wang Huaiqing in various stages from the late 1970s to the present day are exhibited.
Born in Beijing in 1944, Wang Huaiqing is a national first-class artist at the Beijing Academy of Painting and a researcher at the National Academy of Painting of China. He tried to use pure painting language and material language to explain the unique sense of history and culture of China under the condition of fully understanding Western art.
Works by Wang Huaiqing
Wang Huaiqing's solo exhibition scene
In more than 40 years of artistic creation, Wang Huaiqing's works have undergone several transformations, before the mid-1980s as a "figurative period", from the mid-1980s onwards, artists have gained inspiration and inspiration from traditional wooden buildings and wooden furniture, and found the basic way to establish their own art. In the 1990s, Wang Huaiqing's creation was a "flat period", and since the new century, it has been a "period of return to space". Wang Huaiqing explores the traditional Chinese context through the artistic practice of figuration, imagery, abstraction and then "object image".
The curator Sultan said of the exhibition: "The art exhibition is actually like a different kind of drama, it is narrated in a given space, this is the process of interspersing and composing the two outcomes, serious but interesting. The exhibition "Vertical and Horizontal" is an exhibition about the artistic journey of individuals, which also reflects Chinese modern and contemporary art. Wang Huaiqing believes that the language of the work is ultimately spatial, and it is based on this concept that we have had a very long cooperation and discussion. (Text/Gao Dan)
Beijing | Southeast Asian artist group
Exhibition "Falling": Freedom and Independence in a Complex Context
Recently, a major group exhibition of Southeast Asian art, "Falling", was held at the China Contemporary Art Center in Beijing, curated by Michaela Senna, and exhibited about 50 works. 23 participating artists from different countries in Southeast Asia present a snapshot of Southeast Asian art with their own distinctive works.
The curators talk about the fact that today's Southeast Asian art scene goes hand in hand with the art realities of the rest of the world, which clearly benefits from the smoothness and incredible ease of communication of the new ways of connecting that we have experienced on a global scale in recent years. But the revolution in the global communication system also deepened the character of "nihilism", and the value of freedom was reduced to the category of the individual, becoming a self-determined principle that transcended ideology and morality. We are immersed in a fleeting reality and fail to propose a new value system.
Exhibition site
Today's Southeast Asian artists, like any otherwhere, are in a changing context that shows the rupture between modernity and tradition, localism and neighborliness, center and edge. As modern rebels, the artists in this exhibition express freedom and independence in the process of creating art.
Panapan Eumani, The Magical Cycle of Life, Mixed Materials on Canvas, Composite Materials, Fiberglass, Concrete, 2021
Participating artist Panapan Yumani often painted on the walls of the temple as a child, and the memory of the material has always accompanied her later work on many architectural relics. Pannapan Eumanni's works are mostly based on natural substances such as rocks and minerals, and use Buddhist and architectural elements to convey his consideration of the intersection of ancient Buddhist cosmology and modern society. Thai artist Gong Kan uses flat graphic brushstrokes to depict human figures, either interacting or posing as lonely. Indonesian artist Echo's background in street art and community art is typical of his expanded work, where his embroidered paintings, sculptures, community collaborations and performances, etc. all examine Indonesia's socio-political climate while using humor and bright colors. (Text/Gao Dan)