Saatchi gallery
GESAMTKUNSTWERK: NEW ART FROM GERMANY
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.
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.
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
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.
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