Michael Luchs

American, 1938

Untitled

Rabbit

nguon : dia.org

Sam Francis

American, 1923-1994

Untitled (Colorful Face)

Lyre Eight


nguon: .masterworksfineart.com

Gordon Newton

American, born 1948

Head

1989

nguon : dia.org

Jeff Koons

American, 1955





Mountain




Niagara


nguon : guggenheim.org

Ken Fandell

Days and Nights

nguon:mcachicago.org

Eva Struble

Born 1980 in Elsmere, KY

Lives and works in Brooklyn, New York

Mountain Architecture 2005 Oil and acrylic on canvas 84.5 x 95.5"

Eva Struble’s monumental paintings draw from the traditions of landscape,architecture, and abstraction. Taking inspiration from sources as diverse as antique Arabic miniatures and contemporary Asian construction, Struble’s motifs balance the odyssey of nature with the carefully ordered precision of design. Rendered with acidic hues and an exaggerated consideration of space and placement, Stuble’s landscapes resolve as affected dioramas, envisioning otherworldly tableaux through their compositional pastiche. Struble approaches the act of painting itself as a physical manifestation, allowing the eclectic application of her materials to create a disorientating illusion of space: an erased void of a mountain conveys an aberrant weight, the perspective of architecture gives way to its flattened decorative patterning, skies are rendered with day-glo pop sheen, and earth swills as layers of mellifluous splotches. The physical impossibilities implied through Struble’s painterly manipulation are made believable through her inclusion of intricate detail, as blades of grass, grains of sand, and weathered dabs of rock are set within her scenes with a theatrical preciousness.

Roof Gardens 2005 oil and acrylic on canvas 67 x 116"

To The End 2005 Oil and acrylic on canvas 71 x 129"

Acid Mine Drainage 1 2006 Oil and acrylic on canvas 241.3 x 411.5 cm
Struble’s most recent works, To The End and Acid Mine Drainage I, are part of her Superfund series; a collection of paintings inspired by toxic waste sites. Using this subject matter as a departure point for visual invention, Struble offers a complex paradox, merging an idealised beauty nurtured and improved with eerie transgressions of artificiality and toxicity. nguon : saachi-gallery.co.uk

Sophie Von Hellermann

born 1975, Germany

Christo Paffgen 2003 acrylic on canvas 185 x 145 cm

Sophie von Hellerman is a young German artist working in London. The title of the painting Christo Paffgen is the real name of Warhol protégé, Velvet Underground vocalist, and unrepentant lifelong heroin addict Nico. The 1960s icon was infamous for her sexual endeavours and drug abuse. Rather than capture Nico in all her excess von Hellermann chooses to depict her before she lost her beauty, interest in life, and eventually her death in relative obscurity, and mystery, in Ibiza in 1988.

Leading Lady 2001 acrylic on canvas 180 x 260 cm

When He Came... 2001 acrylicl on canvas 180 x 260 cm

on set go 2000 acrylic on canvas 230 x 320 cm

nguon: saatchi-gallery.co.uk

Joseph Beuys

, German, 1921–1986

Untitled (Blackboard)

nguon : mfa.org

Sarah Sze

American, born in 1969

The Letting Go

nguon : mfa.org

Sigmar Polke

German,1941 - 2010

Lager

nguon : mfa.org

Paul Sietsema

(American, born 1968)

untitle

Taxi Drawing

Stack Drawing

Figure 3

nguon:moma.org

Anselm Kiefer

Everyone Stands Under His Own Dome of Heaven

Winter Landscape

Saint Eustace

My Father Pledged Me a Sword

Essence

Broken Flowers and Grass

Brünnhilde Sleeps

Iconoclastic Controversy

Heavy Cloud

On the Rhine

Untitled (The Rhine)

nguon : metmuseum.org

nguon : google.com.vn

John Lurie

( American, born 1952 )

Penis Family Vacation

Cold Happy Bird

Custer’s Luck

nguồn : Moma.org

Susan Rothenberg

Axes

Untitled

Between the Eyes

Plug

Stumblebum

Four Green Lines

nguon: MoMa.org

Nadia Ayari

Click on the images to enlarge

Beirut 2007 Oil on canvas 35.5 x 40.5 cm

SidiBou 2007 Oil on canvas 51 x 46 cm

Raised in Tunisia, Ayari didn’t start working with her Middle Eastern subject matter until she’d moved to America and notions of cultural heritage and identity came to the fore. She describes her practice as an awakening of self-consciousness. SidiBoutakes its name from Sidi Bou Said, a popular tourist destination in northern Tunisia renowned for its blue and white buildings and cobbled streets. In Ayari’s work, the eye doubles as an ‘I’, a personified all-seeing entity, anonymous witness, portrayal of cognitive perception. In SidiBou, the eyeball is closed, a pink fleshy mass bearing the punk Mohawk stripes of eyebrows or lashes. The street signs in the background read: “Avenue Iraq” and “Palestine Street”.

Rain 2007 Oil on canvas 40.5 x 51 cm

WshhWshh 2008 Oil on canvas 30.5 x 30.5 cm

For Ayari, who grew up in the religiously tolerant culture of Tunisia, the burka is less a politicised issue than a source of fascination; she acknowledges its suppressive role within patriarchal societies, but also views it as an enviable means of ‘disappearing’, its anonymity providing a sense of comfort and empowerment. In WshhWshh, two women are shrouded in a flat black mass, thinly painted to be flush with the picture plane. Their faces transformed into giant eyes, they are not seen, but observe everything. Ayari illustrates them sharing a secret, heightening the mysteries surrounding the veil.

The Fence 2007 Oil on canvas 152.5 x 142.3 cm

Giving her disembodied oculi a sense of agency or personhood, Ayari often animates their appearance with attributes such as eyelashes or clothing; in The Fence, her lash-less eyeball is rendered as naked and vulnerable, imprisoned within a refugee camp. Ayari’s tension between narrative and abstraction is exemplified in this painting as her statement about human rights concerns becomes encoded in a formal approach to composition and markmaking. The simplified geometric patterns created by the central circle, the evil-eye shape, and chain-link fence are inspired in part by Arabic calligraphy as well as traditional Tunisian ceramic painting.

The Book 2008 Oil on canvas 183 x 183 cm

The Book takes the Quran as its subject, and its square-in-square composition is deceptively complex. Referencing Malevich’s supremacist design which approached abstraction as an embodiment of pure emotion, Ayari attempts to translate the sanctity of religious doctrine and experience, to understand its meanings by manifesting its form in the physical medium of paint. Rendered in grand scale, size is used to denote the scripture’s importance. Ayari, who does not consider herself to be religious, allowed herself to be directed through an intuitive response to her subject when making this work, her gestures informed by childhood memory and rediscovery of the values of prayer and ritual.

Right of Return 2008 Oil on canvas 35.5 x 40.5 cm

Ayari usually works in small scale, a process which allows her to complete her paintings in one or two days and retain an intensity of concept and energy. Through her absurd scenarios she develops an intricately woven and constantly extending narrative that underpins and contextualises her practice as whole; each painting operates as a scene from her ongoing story. Right Of Return is one of the original images from which her other paintings have developed: imagining the release of a group of Palestinian prisoners from an Israeli jail, as witnessed by a little girl who will grow up to become a suicide bomber. For Ayari, authoring these fictive scenarios is a way of personalising the abstract nature of geo-politics and gaining a more intimate understanding of how global conflict affects each of us as individuals.

Hive 2008 Oil on canvas 61 x 56 cm

Ayari’s paintings offer a stranger than fiction response to some of the most controversial issues surrounding the Islamic world. Her ability to present highly provocative ideas in an endearing and sensitive way is facilitated by her use of paint: through images she can suggest things which would be outrageous to say otherwise. Her canvases are terrains where quick comic wit is tempered by a profound engagement with painting’s history and practice, citing influences as diverse as folk art, abstract expressionism, and Arabic artifacts and hand-crafts. In Hive, Ayari’s eyeballs line up in militaristic fashion, like interlocking landmines or giant insects, imposing a perverse conformity through their suggested violence.

Syrian Dream 2008 Oil on canvas 40.5 x 35.5 cm

Informed by a news story about the burgeoning Syrian undergarment industry,Syrian Dream broaches the dichotomies of the expected roles of women within Islamic culture. Within the Quran, a healthy approach to sex is encouraged and mutual satisfaction of married partners is held sacrosanct. Donning sexy lingerie beneath chadors is an increasing practice, and in Syria this trend has been further popularised through the sale of high-tech knickers which incorporate elaborate light and sound effects through electronic chips stitched into the lining; some even come with remote control. Through her hilarious rendition of a burka-clad Cyclops eying up a pair of raunchy smalls, Ayari’s shrewd parody re-evaluates the contradictory mores which simultaneously encourage women’s public chastity and private lasciviousness. The Holy Quran pendant around the woman’s neck is a symbol of religious observance, which ironically is one of the key marketing strategies used by Syrian undie-mongers. nguon : saatchi-gallery.co.uk