Arts, University of Complutense, Madrid (199899). Motion picture film stills or motion picture footage from films in MoMA's Film Collection cannot be licensed by MoMA/Scala. I can finish a painting in Beijingperhaps even more so than elsewherebut theres no way I can have experiences like this in Beijing. A leading figure among the Chinese Neo-Realist painters to emerge in the 1990s, his adherence to figurative painting amounts to a conceptual stance within a contemporary art context where photographic media dominate. Liu Xiaodong is a painter of modern life, whose large-scale works serve as a kind of history painting for the emerging world. For wealth, people will reshape mountains and transform rivers. It wasnt easy work. Liu locates the human dimension to such global issues as population displacement, environmental crisis and economic upheaval, but through carefully orchestrated compositions, he walks the line between artifice and reality.
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The Chinese have, of course, prized jade for thousands of years. If you would like to reproduce text from a MoMA publication or moma. The mountain has been overly carved up by jade miningit looks awful, like a rotten apple. So he drove us about an hour away, to a village at the foot of Kunlun Mountain. I dont think Im working in a realist framework. Today, its mostly rich people who love having jade. His undertaking to see people as they really are was galvanised in the aftermath of 1989 events and, alert to the legacy of Chinese Socialist Realism, his compositions are painted with loose, casual brushstrokes and layered with meaning. Weitere Informationen zu unseren Cookies und dazu, wie du die Kontrolle darüber behältst, findest du hier: Cookie-Richtlinie. Art Resource (publication in North America) or, scala Archives (publication in all other geographic locations). For licensing motion picture film footage it is advised to apply directly to the copyright holders. More information is also available about the film collection and the, circulating Film and Video Library. I like to paint places with complex backstories like this.
We were in Hotan during the hottest, cruelest month of summer. In so doing, Liu re-assesses painting in the age of internet and algorithm and implicitly invokes the present condition, in which humans and other objects reciprocally co-create the world as we know. Half Street (2013 as well as recent trips to make work in the UAE and Greenland, Liu has also created an automated painting machine entitled. The people I met there were great, though. I dont paint what I thinkonly what I see. His work has been the subject of numerous solo exhibitions at venues including the NRW-Forum Kunsthalle Düsseldorf, Düsseldorf, Germany (2018 Chronus Art Centre, Shanghai, China (2016 Palazzo Strozzi, Florence, Italy (2016 Fondazione Giorgio Cini, Venice, Italy (2015 Shao Zhong Foundation Art Museum, Guangzhou, China (2014 Minsheng Museum. While he works from life and often en plein air, he chooses sitters to supply ancillary narratives to landscapes or situations.
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