Ji Dachun
Ji Dachun was born 1968 BirthNantong, Jiangsu Province, China.
Lives and works in HomeBeijing.
Categories: Painting
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Documents of modern & contemporary art.
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Roasted Donald
Through subversive wit, Ji Dachun addresses the complex relations between Eastern and Western. Usually working in graphite and acrylic wash on canvas, he infuses his paintings with grotesque humor and accident. His subject matter is the happenstance of everyday life reimagined in absurd collisions of form and context, as in the deadpan Mao, Stalin, Lenin, En, Marx (Rolls Royce), 2004, which shows world-Communist figures seated uncomfortably together in a vintage stretch-limo…
JI DACHUN was born in Nantong (Jiangsu Province) in 1968 and lives and works in Peking. In his paintings and drawings he combines Chinese tradition and western modernism to create an ironic, sometimes humorous, cocktail. On a white-primed background he carefully centres an object or figure, sometimes two objects or persons in a dialogue…
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Documents of Contemporary Art. Utopias: Throughout its diverse manifestations, the utopian entails two related but contradictory elements: the aspiration to a better world, and the acknowledgment that its form may only ever live in our imaginations. Furthermore, we are as haunted by the failures of utopian enterprise as we are inspired by the desire to repair the failed and build the new... |
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South African Art Now. South African Art Now documents, through in-depth essays and stunning full-color photographs, the remarkable work of nearly one hundred South African artists working in every medium from painting, sculpture, and video to cutting-edge performance art. This lush volume includes the impressive work of art world stars such as William Kentridge and Marlene Dumas; newly prominent artists such as Berni Searle, Robin Rhode, and Mustafa Maluka; and exciting newcomers still unknown outside their own country, but clearly marked for success... |
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James Rosenquist. Painting Below Zero: Notes on a Life in Art. “Frank, funny, truthful, ironic and in every way an entertaining account of one major American artist’s involvement in an art movement that interests everyone–and, more than that, of his own character. Jim Rosenquist is a true American original and his book ought to be read by anyone who wants to understand the last half-century of his country’s visual culture, high, low, and in between.” –Robert Hughes, amazon |
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