FINE ARTS UNVEILS 'YET ANOTHER REALITY'
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The Daily Campus
By Tina Forbes
FINE ARTS UNVEILS 'YET ANOTHER REALITY'
Austrian artist Gottfriend Helnwein's large mixed media portrait of a
little girl faces the gallery's entrance. The press release states,
"[Helnwein's] images intend to evoke associations with mutilation,
anguish or internal alienation ... his paintings blatantly put forward
images that border the line of social unacceptability and comment on
the results of post Second World War society."
The "Yet Another Reality" portrait exhibition is currently on display
in the Fine Arts Building from now until April 8. The gallery features
work from eight contemporary artists, who paint and draw heads.
According to its press release, " ... this 'heady' exhibit isn't simply
that all the artists make portraits. Rather, the connection rests in
the artists' common interest in demonstrating the implied authority of
the photographic portrait. They also reveal the genre's shortcomings."
Upon entering the gallery, British artist Julian Opie's vinyl paintings
are one of the first sights in the gallery, occupying the right wall.
Opie uses a colorful and simplified style based on real individuals.
Across from Opie's paintings, Japanese artist Kumi Yamashita has
several conte crayon portraits made from deliberately rubbing the
subject's credit card numbers over and over to create a realistic and
individualized face.
"Yamashita makes a sharp comment on our impersonal and commercial
time," the artist bio information that accompanied her work stated. "I
like the credit card (portraits) the best," Karen Marino, a
6th-semester communications design major said. "They're all amazing
though."
Austrian artist Gottfriend Helnwein's large mixed media portrait of a
little girl faces the gallery's entrance. The press release states,
"[Helnwein's] images intend to evoke associations with mutilation,
anguish or internal alienation ... his paintings blatantly put forward
images that border the line of social unacceptability and comment on
the results of post Second World War society."
Russian artist Boris Zaborov had a couple old fashioned-looking acrylic
and pencil portraits, noted by the posted artist's information as
having a nostalgic mood. Lordan Bunch had some oil paintings exhibited
that were based on photo-booth photographs from the 1920s and 1940s.
Since the paintings were created from photographs rather than sitters,
the facial expressions in a couple of them appeared more fleeting and
animated. "By painting these portraits, Bunch is immortalizing lives
depicted in small inconsequential photographs...illustrating their
stories, contrived or not," artist's posted background information
stated. "I like the photo-booth [paintings] ... they were beautiful and
realistic," Alexandra van den Berg, a 4th-semester art history major
said.
Peruvian-born Belgian artist Till Freiwald had several gigantic
watercolor portraits. "Freidwald's images carve out an intimate and
meditative space to explore and feel the power of the human image," the
artist's info stated.
Jenny Dubnau had a couple oil paintings. Her statement described how
she'd create the paintings from photo shoots with close friends.
"I usually choose the image which is the most revealing: it is often
also the image which renders the subject most vulnerable, both
psychologically and physically," she said in her statement. Lastly,
Chinese artist Yi Chen had some of his "Generation E Series" portraits,
which were interesting and meaningful collages created from fashion
advertisements. "I attempt to capture a new generation of modernized
Asian urban/suburban dwellers who are caught up in the waves of
globalization," Chen said in his statement.
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http://www.helnwein.com/presse/international_press/artikel_2054.html
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x_cy...@hotmail.com wrote:
> 23 February 2005
> The Daily Campus
> By Tina Forbes
>
> FINE ARTS UNVEILS 'YET ANOTHER REALITY'
>
CRAP CRAP CRAP CRAP
the sarp