Tuesday, July 18, 2017

Featured Painting - A Young Frenchman

Painting human faces and figures, not as means to document, rather, as means to probe and investigate, is hugely challenging and exciting, and thankfully, such is also a the validity of portraiture painting in selfie age. One of my successful attempts was a portrait of a young man, whom I saw near Musée d'Orsay in Paris, and I was intrigued by his serious and even severe countenance, and his chiseled features, intelligent, graceful, vulnerable yet vigorous, an enthralling concoction led to my 2001 painting, A Young Frenchman, which managed to capture many of these engaging characteristics.


A Young Frenchman / 一位法國青年 / Ein junger Franzose
A Young Frenchman
Oil on Canvas
24" x 20"
Completed in 2001

Someone once wondered about the “Frenchman” in the title; I was fairly confident that the young man was a french national, because not only I saw him in France, also to me, he was the epitome of Gaullic attributes and attraction.

Originally posted on matthewfelixsun.com

Other Related posts on Art · 文化 · Kunst:
- My Featured Painting "Cascades"
- My Featured Painting "Origin"
- Featured Painting - Remembrance
- My Featured Painting "Apprehend"
- Featured Painting “Mirage” – A World of Ambiguity
- Featured Painting – “Forest Within” – When Reality Met Illusion
- Featured Painting: The March of Time
- My Featured Painting "Minotaur"  

Wednesday, July 12, 2017

Edvard Munch at San Francisco Museum of Modern Art


DSCN9040 _ Edvard Munch - Between the Clock and the Bed, SFMOMA, 24 June - 9 Oct. 2017

The ongoing special exhibition at San Francisco Museum of Modern Art (SFMOMA), Edvard Munch: Between the Clock and the Bed (June 24-October 9, 2017), "featuring 44 landmark compositions about art, love, mortality, and the ravages of time", which could well be a record of current turbulent time, is profoundly unnerving and ultimately moving. Moreover, "these profoundly human and technically daring artworks reveal Munch as a tireless innovator and an artist as revolutionary in his maturity as he was in his breakthrough years."

First, a group of self-portraits, dating from 1886 through 1940s, and one could see that Munch moved rapidly from almost quaint to deeply psychological.

DSCN9041 _ Self-Portrait, 1886, Edvard Munch, SFMOMA
Self-Portrait, 1886

DSCN9044 _ Self-Portrait under the Mask of a Woman, 1893, Edvard Munch, SFMOMA DSCN9042 _ Self-Portrait with Brushes, 1904, Edvard Munch, SFMOMA
Self-Portrait under the Mask of a Woman, 1893 & Self-Portrait with Brushes, 1904

DSCN9048 _ Self-Portrait with a Bottle of Wine, 1906, Edvard Munch, SFMOMA
Self-Portrait with a Bottle of Wine, 1906

DSCN9063 _ Self-Portrait with Hand under Cheek, 1911, Edvard Munch, SFMOMA
Self-Portrait with Hand under Cheek, 1911

DSCN9051 _ Self-Portrait with Bottles, ca. 1938, Edvard Munch, SFMOMA DSCN9055 _ Self-Portrait_ Between the Clock and the Bed, 1940-43, Edvard Munch, SFMOMA
Self-Portrait with Bottles, ca. 1938 & Between the Clock and the Bed, 1940-43

DSCN9057 _ The Night Wanderer, 1923-24, Edvard Munch, SFMOMA DSCN9059 _ Self-Portrait with Hands in Pockets, 1925-26, Edvard Munch, SFMOMA
The Night Wanderer, 1923-24 & Self-Portrait with Hands in Pockets, 1925-26

DSCN9061 _ Self-Portrait by the Window, ca. 1940, Edvard Munch, SFMOMA
Self-Portrait by the Window, ca. 1940

Then, a group of symbolism works, mysterious and forbidding, featuring isolated figure(s), or their shadows, in starkly outlined and dramatically lit environment:

DSCN9068 _ Moonlight, 1893, Edvard Munch, SFMOMA
Moonlight, 1893

DSCN9074 _ The Storm, 1893, Edvard Munch, SFMOMA
The Storm, 1893

DSCN9071 _ Lady in Black (Olga Buhre), 1891, Edvard Munch, SFMOMA DSCN9082 _ On the Veranda Stairs, 1922-24, Edvard Munch, SFMOMA
Lady in Black (Olga Buhre), 1891 & On the Veranda Stairs, 1922-24

DSCN9077 _ Night in Saint-Cloud, 1893, Edvard Munch, SFMOMA
Night in Saint-Cloud, 1893

DSCN9079 _ Starry Night, 1922-24, Edvard Munch, SFMOMA
Starry Night, 1922-24

Next group focused on the ill and the dying, often with women as bereaved protagonists:

DSCN9086 _ Inheritance, 1897-99, Edvard Munch, SFMOMA
Inheritance, 1897-99

DSCN9089 _ The Sick Child, 1896, Edvard Munch, SFMOMA
The Sick Child, 1896

DSCN9095 _ The Sick Child, 1907, Edvard Munch, SFMOMA
The Sick Child, 1907

DSCN9183 _ Edvard Munch, SFMOMA

DSCN9099 _ The Death of Marat, 1907, Edvard Munch, SFMOMA
The Death of Marat, 1907

From the death, we moved onto works examining sexual awareness and tension:

DSCN9102 _ Puberty, 1894, Edvard Munch, SFMOMA
Puberty, 1894  

DSCN9106 _ Female Nude (Anna), 1920, Edvard Munch, SFMOMA DSCN9115 _ Model by the Wicker Chair, 1919-21, Edvard Munch, SFMOMA
Female Nude (Anna), 1920 & Model by the Wicker Chair, 1919-21

DSCN9108 _ Weeping Nude, 1913-14, Edvard Munch, SFMOMA
Weeping Nude, 1913-14

DSCN9113 _ The Artist and His Model, 1919-21, Edvard Munch, SFMOMA
The Artist and His Model, 1919-21

DSCN9112 _ The Artist and His Model, 1919-21, Edvard Munch, SFMOMA
The Artist and His Model, 1919-21

Then, back to more symbolic works. One of these, Despair (1894) recalled Munch's most recognizable work, The Scream, which was not part of the exhibition, though one hardly noticed its absence, when surrounded by so many insightful and disturbing works:

DSCN9135 _ Madonna, ca. 1895-97, Edvard Munch, SFMOMA
Madonna, ca. 1895-97

DSCN9120 _ Ashes, 1925, Edvard Munch, SFMOMA
Ashes, 1925

IMG_3123 _ Edvard Munch, SFMOMA

DSCN9126 _ Red Virginia Creeper, 1898-1900, Edvard Munch, SFMOMA
Red Virginia Creeper, 1898-190

DSCN9123 _ Despair, 1894, Edvard Munch, SFMOMA
Despair, 1894

More self-portraits, featuring the artist examining himself in unflinching ways:

DSCN9141 _ Self-Portrait with Cigarette, 1895, Edvard Munch, SFMOMA DSCN9151 _ Self-Portrait in Hell, 1903, Edvard Munch, SFMOMA
Self-Portrait with Cigarette, 1895 & Self-Portrait in Hell, 1903

DSCN9137 _ Self-Portrait with the Spanish Flu, 1919, Edvard Munch, SFMOMA
Self-Portrait with the Spanish Flu, 1919

DSCN9149 _ Man with Bronchitis, 1920, Edvard Munch, SFMOMA
Man with Bronchitis, 1920

DSCN9145 _ Sleepless Night: Self-Portrait in Inner Turmoil, 1920, Edvard Munch, SFMOMA
Sleepless Night: Self-Portrait in Inner Turmoil, 1920

Next group again, depicting the the death of his sister, as in the the two "Sick Child" above. These were just as personal to the artist, but the paintings were more somber and archetypal than individual: 

DSCN9154 _ The Smell of Death, 1895, Edvard Munch, SFMOMA
The Smell of Death, 1895

DSCN9159 _ Death in the Sick Room, 1893, Edvard Munch, SFMOMA
Death in the Sick Room, 1893

DSCN9157 _ At the Deathbed, 1895, Edvard Munch, SFMOMA
At the Deathbed, 1895

DSCN9162 _ Death Struggle, 1915, Edvard Munch, SFMOMA
Death Struggle, 1915

DSCN9180 _ Edvard Munch, SFMOMA
 
Finally, a final survey of the land of mystique and symbols:

DSCN9164 _ Eye in Eye, 1899-1900, Edvard Munch, SFMOMA DSCN9176 _ The Kiss, 1897, Edvard Munch, SFMOMA
Eye in Eye, 1899-1900 & The Kiss, 1897

DSCN9170 _ Jealousy, ca. 1907, Edvard Munch, SFMOMA
Jealousy, ca. 1907

DSCN9172 _ The Dance of Life, 1925, Edvard Munch, SFMOMA
The Dance of Life, 1925

Emotionally draining, yet hugely satisfying.



Other Related posts on Art · 文化 · Kunst:
- Tomás Saraceno at SFMOMA
- Introduction to Fisher Collection and the 75th Anniversary Exhibit at SFMOMA
- Preview of the Newly Expanded SFMOMA- Unauthorized SFMOMA Solo Show
- Cy Twombly (April 25, 1928 – July 5, 2011)
- Three Heads, Six Arms (Nezha), Giant Bronze Scuplture at Civic Plaza, San Francisco
- @Large: Ai Weiwei on Alcatraz
- A Day at Palace of Fine Arts & Crissy Field in San Francisco

Saturday, June 17, 2017

Unauthorized SFMOMA Solo Show


DSCN9003 _ "Unauthorized Exhibition" at SFMOMA

DSCN9004 _ "Unauthorized Exhibition" at SFMOMA

San Francisco Museum of Modern Art is presenting an "Unauthorized SFMOMA Show", which allows people to upload images of artworks to SFMOMA website, and "all works are immediately accepted, each submission automatically constituting an Unauthorized SFMOMA Solo Show on view at SFMOMA via the same website ( http://sfmoma.show ). Each exhibition starts when a work is submitted and ends when a new work is submitted."

At the moment, to view the "solo shows", visitors need "to be physically present at SFMOMA and have access to a device that can connect to the Internet. Once there, go to http://sfmoma.show to see the show (please, allow location access to Unauthorized SFMOMA Show in order to confirm your location). Note that public spaces at SFMOMA don't require ticket and thus Unauthorized SFMOMA Shows are free to visit." This show is not being displayed on any public device in SFMOMA.

Furthermore, the catalogue will be published this summer.

Naturally, I wanted to be part of this wonderful enterprise. The pieces for my entries were three multimedia installations, as they fit best the spirit and image of SFMOMA. I uploaded those three pieces on a May day when I visited SFMOMA and I also carefully chose the place I viewed and photographed my works on my mobile device, so as to display and record my works near similar works or inspiration by masters.

The first piece I "exhibited" at SFMOMA was a 2016 piece, titled Wilting Flowers, spurred by my continued fascination with paper material – delicate, malleable, and transitory, characteristics well suited for hinting at, versus representing, a world of fragility and vulnerability, constantly under threat of total destruction. The location of "my display" featured the great sculpture of Richard Serra's Sequence.

Wilting Flowers / 凋萎的花卉 / Wilting Blumen

DSCN8938 - Unauthorized Exhibition at SFMOMA

DSCN8941 _ "Unauthorized Exhibition" at SFMOMA

My second piece Niobe was about this mythological princess and mother of fourteen children, seven sons and seven daughters (the Niobids), whose boast of her large family and jeer at goddess Leto, who had only two children, the powerful twins Apollo and Artemis, resulted in unbearable tragedy. I used two shades of origami dresses to represent the male and female figures of the queen and her slaughtered sons and daughters.

Niobe / 尼俄柏 / Niobe

The gallery for my display featured works by one of my greatest heroes, Anselm Kiefer, who also employed unconventional auxiliary media, and often concerned human suffering and struggle, often through retelling of ancient myths.

DSCN8952 - Unauthorized Exhibition at SFMOMA

DSCN8963 - Margarethe, 1981, Anselm Kiefer, SFMOMA
Margarethe, 1981, Anselm Kiefer

DSCN8947 - Unauthorized Exhibition at SFMOMA

DSCN8961 - Wölundlied [Wayland's Song], Anselm Kiefer, 1982, SFMOMA
Wölundlied (Wayland's Song) 1982, Anselm Kiefer

DSCN8958 _ "Unauthorized Exhibition" at SFMOMA

DSCN8966 - Wege_ märkischer Sand (Ways_ March Sand), 1980, Anselm Kiefer, SFMOMA
Wege: märkischer Sand (Ways: March Sand), 1980, Anselm Kiefer

DSCN8955 _ "Unauthorized Exhibition" at SFMOMA

DSCN8955 _ "Unauthorized Exhibition" at SFMOMA (detail)

The last piece I posted in that May day was Stringed White Dresses — an Installation, the very first piece in my continuing series of installation or assemblage employing paper as main medium.

Using some rather square and unyielding origami white dresses, pasted onto twine, which was in turn attached to a wooden frame, I created a subtle contrast between order and disarray, manifested in the rather random formation of the white dresses. To enhance the contrast and drama, I affixed to the frame an abstract ink drawing - mostly in black, with dashes of muted red. 

Stringed White Dresses - An Installation / 紮起來的白色連衣裙 - 一個組裝 / Streich Weiße Kleider - Ein Installation

The location for my viewing was in the lobby, overlooking Alexander Calder's 1963 installation, Untitled, which also featuring a series of similar objects on wire or strings.

DSCN8984 - Unauthorized Exhibition at SFMOMA (m)

DSCN8989 - Unauthorized Exhibition at SFMOMA (m)

DSCN8983 - Unauthorized Exhibition at SFMOMA

DSCN8990 _ "Unauthorized Exhibition" at SFMOMA

DSCN8990 _ "Unauthorized Exhibition" at SFMOMA (detail)


A couple weeks later, I uploaded two oil paintings - my main endeavors, to be included in the upcoming catalogue. 

Grandma / 祖母 / Oma
Grandma, Oil on Canvas, 40"x30", 2003

Liberation Road / 解放路 / Befreiungstraße
Liberation Road, Oil on Canvas, 18"x24", 2010

Thank you, SFMOMA!


Other Related posts on Art · 文化 · Kunst:
- More Sculptures at Cantor Arts Center, Stanford University
- Introduction to Fisher Collection and the 75th Anniversary Exhibit at SFMOMA
- "The Political Line" - Keith Haring Exhibition at De Young Museum
- "Fresh Works VII" Juried Exhibition in Pleasanton
- "Golden Ages" Opening at Expressions Gallery, Berkeley 
- Featured Installation - Wilting Flowers