Power Of Making (V&A)

V&A _Power Of Making
6 Sep 2011 - 2 Jan 2012
"Making is the most powerful way that we solve problems, express ideas and shape our world."_ Daniel chary, Guest Curator

An artist is also a maker as someone who create objects.
In this exhibition, there was video which showed people's action to make objects such as cars, dolls and boats. It showed fascinating images about making something.
People make outcomes to show their thoughts also to use it. People create new things for them and others.

What the objects would be to makers who spend lots of time, their energy and affection.
Some people said that their works are their children. Some said that it represents me, myself.
The fact that they put large amount of efforts and time, it is not just a object. The object tell people what a maker wanted to say to them. It is one way express ideas, purpose and emotions as well.

Basically, with my works, I show my thoughts and feelings to people. I hope that I can communicate with people through my work.
Of course, sometimes, my works were my children, my work was me, my works was someone or something I love.

Hoever, I try to think my work as one good way that I can show myself, express my thoughts but not my children or myself. I realised that it could be very dangerous to put my works as myself or my children.

I am using art, making something to people see or feel it.

Tate modern_ Gerhard Richter :Panorama

Tate modern_ Gerhard Richter :Panorama
6 October 2011 - 8 January 2012

gerhard richter, self-portrait, 1996.

When we describe a process, or make out an invoice, or photograph a tree, we create models; without them we would know nothing of reality and would be animals. Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.

_Text for catalogue of documenta 7, Kassel, 1982
Gerhard Richter: Text. Writing, Interviews and Letters 1961-2007. Thames & Hudson, london, 2009, p. 121

EXHIBITION

From The Cloud Triptych not seen for decades: Gerhard Richter 'Cloud', (1970) 

courtesy National Gallery of Canada, Ottawa, Ontario © Gerhard Richter

Room 6 _ Exploring abstraction" Richter's Mirrors provoke questions about their relation to painting. Though their images are not fixed, they are 'like painting', according to Richter, because they 'show something that isn't there at all, at least not where we see it."

I am really surprised about his huge amount of works. Also He did various kinds of works including still-life, portrait, land scape and abstract.  He has no boundary. 


His abstract paintings' size was amazing. 'The Cloud' was one of my favorite painting in this exhibition. It seems like there is really big cloud just infront of me. The size of painting is vital to give shock to viewers. 


Through this exhibition, I could see how he had been worked to make his style of art. 

Betty (1988)

Meadowland (1985)

http://cinemawithoutborders.com/reviews/2835-gerhard-richter.html

Painting and Photography have a common thing which people can see past things. People can keep the images which is going to vanish.

  

The moment

The time

Artist put his or her idea into the painting; however, still, painting and picture represent human being's desire that wan to keep something which will be gone, and cannot have back. 

He does drawings combine with pictures. It was interesting to see it. It was like he put his thought into a moment(picture).

Saatchi gallery

Saatchi gallery


GESAMTKUNSTWERK: NEW ART FROM GERMANY

18 NOV 2011- 30 APR 2012

                                             Gert and Uwe Tobias 




In Gert and Uwe Tobias’s large-scale, carnivalesque panels we see an uncommon merging and subversion of techniques and traditions. The twin brothers, who have worked together since 2001, have created a world of their own out of reviving a diverse range of craft-based arts – wood-cuts, lace, embroidery and the national costume of their native Transylvania all find their way into their

http://www.saatchi-gallery.co.uk/artists/gert_tobias.htm

 Alexandra Bircken  

Loved colour which was on the tree.
I could see the spaces between objects and frame. It looks like that this artist divided space later then putting objects among the space.  Because i could see spaces as main theme.
the artist have fashion background. I guess that this background affects her work a lot for making shape and choosing colours.

This work was also very interesting how she put objects in the frame. Also the point colours were really captured my sight. She used lines between objects and objects to make connection each other. Because of this tin lines, people can see the main objects more clearly; people cans capture one big image.

Thomas Zipp _ World Kantzler Office 2004 Mixed media

This work was fit into this space very well.  It has a power to bring people to see the work. 

By the way, it was unpleasant that he used a map which has wrong name of sea between South Korea and Japan. it should be 'East Sea'. 

Back to the point, he had other works as well including small drawings. His drawing was quiet interesting. I cannot understand what it is without describing. However, the images that he made were really simple and powerful. 

Stefan Kurten 

STEFAN KURTEN - REVIEWS - BRIEF ARTICLE 

By David Frankel, ArtForum, Sept 2002 Looking at Stefan Kurten's painting Long Time Now, 2002, I suddenly thought of an old children's-book illustration for a long-unremembered nursery rhyme: "Little Jack Homer sat in a corner, / Eating his Christmas pie"--that one. The artist had imagined a small boy sitting scrunched on the floor in a corner, gazing wonderingly at a pie he held on his lap. Though the child was brightly lit, the room's walls, towering above him, rose up in shadowy darkness--and they were covered with the wildest wallpaper, a universe of magical symbols and signs. Even now I love that picture: Surrounded by intimations of the enormous world, wide, various, and not completely safe, the boy is yet intent on immediate pleasures and nourishments, if a little awed by them as well. 
Long Time Now shows a familiar kind of interior, a modernist living room. In a style once radical and now commonplace in suburbia, the house has glass walls; we are looking into the junction of two of them, a corner comfortably furnished with armchairs, a rug, a designer lamp. The stretch of glass is framed on the right by a panel of crazy-paving masonry (part of a fireplace, maybe) and on the left by the dark leaves of a big philodendron--one of several potted plants lined up on a wide sill at floor level under the window. The plants rise up ... and up ... and utterly fill the glass with pattern and color. Actually, some of this must be outside, the greenery indoors fusing visually with the blossom and foliage in the garden; but in the painting's odd space (the spread of flowers is a flat wall, though there's a ninety-degree angle in there somewhere) the two are indistinguishable. As in the Little Jack Homer illustration, a deliriously wild nature watches over an island of comfort, revealing it as funny, fra gile, and dear. 

 

www.findarticles.com

Stefan Kurten's paintings have boundary with black lines.

Dan-O do 

Yoon Bok, Shin

18c

South Korea

Usually, East Asian paintings have this kinds of characteristic.
So when i first see his painting, it was familiar with me.

Chaek-ga do

Moreover, paintings are very flat. (this is because that he uses black outlines) I cannot find light and shadow's direction.

Maple Tree

c.1593

golden vertical rectangular panel (fusuma) : large sliding door where strong, bright, mineral pigments were applied over gold foil backgrounds

172.5×139.5cm (x 4 panels)

Daiho'in Temple, Chishaku'in, Japan

Also, using golden background, it is easy to find in asian painting especially in Japanese paintings.
It was amazing to see similar style of paintings which western man draw.

Yayoi Kusama_Dot

Yayoi Kusama

Born in Nagano Prefecture.
Avant-garde sculptor, painter and novelist

http://www.yayoi-kusama.jp/e/information/index.html

 

 

Started to paint using polka dots and nets as motifs at around age ten ,and created fantastic paintings in watercolors, pastels and oils.

Went to the United States in 1957. Showed large paintings, soft sculptures, and environmental sculptures using mirrors and electric lights. In the latter 1960s, staged many happenings such as body painting festivals, fashion shows and anti-war demonstrations. Launched media-related activities such as film production and newspaper publication. In 1968, the film “Kusama’s Self-Obliteration”which Kusama produced and starred in won a prize at the Fourth International Experimental Film Competition in Belgium and the Second Maryland Film Festival and the second prize at the Ann Arbor Film Festival. Held exhibitions and staged happenings also in various countries in Europe.

Returned to Japan in 1973. While continuing to produce and show art works, Kusama issued a number of novels and anthologies. In 1983, the novel “The Hustlers Grotto of Christopher Street” won the Tenth Literary Award for New Writers from the monthly magazine Yasei Jidai.

In 1986, held solo exhibitions at the Musee Municipal, Dole and the Musee des Beaux-Arts de Calais, France, in 1989, solo exhibitions at the Center for International Contemporary Arts, New York and the Museum of Modern Art, Oxford, England. In 1993, participated in the 45th Venice Biennale.

Began to create open-air sculptures in 1994. Produced open-air pieces for the Fukuoka Kenko Center, the Fukuoka Municipal Museum of Art, the Bunka-mura on Benesse Island of Naoshima, Kirishima Open-Air Museum and Matsumoto City Museum of Art, , in front of Matsudai Station, Niigata,TGV's Lille-Europe Station in France, Beverly Gardens Park, Beverly hills, Pyeonghwa Park, Anyang and a mural for the hallway at subway station in Lisbon.

Began to show works mainly at galleries in New York in 1996. A solo show held in New York in the same year won the Best Gallery Show in 1995/96 and the Best Gallery Show in 1996/97 from the International Association of Art Critics in 1996.

From1998 to 1999, a major retrospective of Kusama’s works which opened at the Los Angeles County Museum of Art traveled to the Museum of Modern Art, New York, the Walker Art Center and the Museum of Contemporary Art, Tokyo.

In 2000, Kusama won The Education Minister’s Art Encouragement Prize and Foreign-Minister’s Commendations. Her solo exhibition that started at Le Consortium in France in the same year traveled to Maison de la culture du Japon, Paris, KUNSTHALLEN BRANDTS ÆDEFABRIK, Denmark, Les Abattoirs, Toulouse, KUNSTHALLE Wien, Art Sonje Center, Seoul.

Received the Asahi Prize in 2001, the Medal with Dark Navy Blue Ribbon in 2002, the French Ordre des Arts et des Lettres (Officier), and the Nagano Governor Prize (for the contribution in encouragement of art and culture) in 2003

In 2004, Her solo exhibition “KUSAMATRIX” started at Mori Museum in Tokyo. This exhibition drew visitors totaling 520,000 people. In the same year,another solo exhibition started at The National Museum of Modern Art, Tokyo  In 2005, it traveled to The National Museum of Modern Art, Kyoto, Hiroshima City Museum of Contemporary Art, Contemporary Art Museum, Kumamoto, Matsumoto City Museum of Art.

Received the 2006 National Lifetime Achievement Awards, the Order of the Rising Sun, Gold Rays with Losette and The Praemium Imperiale -Painting- in 2006.

In 2008, Documentary film, (near equal) series, the fifth.