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This discussion is in response to:
A Dialogue across Time between Zhang Xiaogang and René Magritte

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"Soul mate"

Posted on 22 Dec

I enjoyed reading Zhang Xiaogang's essay about his development as an artist. It was interesting to learn that the "humorous" Magritte stuck in his head, and to think about art experienced in reproduction vs. art experienced in the original. I found his description of the gap between art writing and art works, and between words and experience insightful, and was especially struck by his description, in 1992, of his first encounter with a Magritte painting "in the flesh." His surprise at how Magritte "reduced colors, shapes . . . [and] painting techniques to the least possible," thereby "surpassing traditional art," was revealing. It is nice to think that Zhang Xiaogang found a "soul mate" in Magritte, across time, cultures, and continents. I hope Magritte too would have smiled at the idea!

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I enjoyed reading Zhang Xiaogang's essay about his development as an artist. It was interesting to learn that the "humorous" Magritte stuck in his head, and to think about art experienced in reproduction vs. art experienced in the original. I...

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Yuchieh li

Posted on 22 Dec

You observed an important phenomenon of the transmission of ideas on European Modern art in China in the 1980s-- These ideas were in effect detached from their original context (and meaning) as they were “translated” badly, through Chinese texts and the poor quality reproduction of images. Also, looking at the paintings of both Zhang and Magritte, the difference is so striking, yet the works also interact with each other. I think the cultural distance towards both Chinese and Western traditions did become a productive energy for many artists in China.

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You observed an important phenomenon of the transmission of ideas on European Modern art in China in the 1980s-- These ideas were in effect detached from their original context (and meaning) as they were “translated” badly, through Chinese texts...

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创造的语法

Posted on 31 Dec

我对超现实主义的印象是”心理层面的新鲜感“。 在看到一幅该类画作的时候,去感受新鲜的冲击,去思考”为什么?“,是个很享受的过程。

对于张晓刚先生所言之“绘画的语言学”,我想东方的很多前卫画家应该都会深有同感。虽然超现实主义在中国的蓬勃晚于日韩,但是当代已经可以看见许多中国画家对运用超现实主义的转化语法解释自身的深层思想进行了成功的尝试。

张晓刚先生的作品”Train Window-Red Plum”令我联想到了日本画家船田玉樹(1912-1991)的作品「花の夕」(1938年)。从后者中我们看到的是日本画中自由、大胆的前卫元素,而以中国画中的红梅作为主题的前者似乎也依稀透露出画家对中国文化,环境的情结。

在不经意之间,发现已经有很多艺术史学家开始关注和研究“艺术语法”与“艺术表现”之间的关系。这真的是一个很有意思的问题。

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我对超现实主义的印象是”心理层面的新鲜感“。 在看到一幅该类画作的时候,去感受新鲜的冲击,去思考”为什么?“,是个很享受的过程。

对于张晓刚先生所言之“绘画的语言学”,我想东方的很多前卫画家应该都会深有同感。虽然超现实主义在中国的蓬勃晚于日韩,但是当代已经可以看见许多中国画家对运用超现实主义的转化语法解释自身的深层思想进行了成功的尝试。

张晓刚先生的作品”Train Window-Red Plum”令我联想到了日本画家船田玉樹(1912-1991)的作品「花の夕」(1938年)。...

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Please excuse my barging in on discussion but just purchased for 75 at an antique dealer in Burbank, Ca. He said he had just bought it from a private home, and it had only been on his wall for a week. It's about four feet tall by 3 feet. Shows signs of brushing on silscreening little mesh like it atterns although I no expert. Need help appraising, evaluating, what to do next Help !!!

Philip Kaufman. 573-825-1450

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Please excuse my barging in on discussion but just purchased for 75 at an antique dealer in Burbank, Ca. He said he had just bought it from a private home, and it had only been on his wall for a week. It's about four feet tall by 3 feet. Shows...

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