Author: Admin

  • Beyond the Blue: The Legacy of Yves Klein

    Not many artists can lay claim to a color, but Yves Klein (1928-1962) is synonymous with the mesmerizing, deep ultramarine hue he mixed in 1956 and dubbed International Klein Blue (IKB). Using a synthetic resin binder to suspend the ultramarine, Klein was able to preserve as much of the pigment’s intensity as possible, yielding a brilliant, vibrational new paint mixture. What inspired the artist to create an entirely new pigment? He desired to visually convey what he referred to as “the void”—a concept informed by his interest in Zen Buddhist teachings—which gestures to the infinite, immaterial space surrounding the visible universe.

    In 1957, Klein debuted a series of 11 identical monochromatic canvases painted in the immersive hue. In presenting pure color on canvas, rather than an abstraction of something representational, he sought to bring viewers closer to that inexplicable, immeasurable void that lies beyond the confines of reality. Indeed, staring into one of Klein’s immersive canvases is quite like peering into an expansive abyss. 

    Such an infinite concept could not be confined to the canvas. What followed was Klein’s “Blue Revolution,” during which he covered everything from living female bodies to plaster casts of ancient sculptures with IKB. These projects were considered precursors to both performance art and pop art, respectively. In his famous Anthropometries performances, Klein painted nude female models in blue and directed them to drag themselves like paintbrushes across swaths of canvas in front of live audiences. His series of Venus de Milo plaster casts drenched in IKB anticipates the serial, iconic nature of much pop art to come, although the aim of his work was always to reach “the void”. This ethos was echoed in Nouveau Réalisme, a movement conceived in 1960 as “new ways of perceiving the real.” Yves Klein became the group’s leading member, advocating for the “multiplicity of new possibilities” that shaped his work, and would come to characterize the contemporary art world at large.

    Despite living a brief 34 years, Klein’s legacy lives on not only through the iconic IKB hue, but through an extensive art practice that is said to have influenced the pop art, performance, and minimalist art movements to follow him. Read on to discover rising contemporary artists who share Klein’s reverence for color and awe of the infinite.

    Yeachin Tsai

    Trained in traditional Chinese calligraphy and brush painting, Yeachin Tsai has created her own hybrid style of Eastern and Western sensibilities. Drawing on both her training in Chinese painting and the playful, nonobjective forms of Western modernism, Yeachin makes sweeping abstract paintings distinguished by their rich color and confident, minimalist mark making. Alternating between moments of deep, saturated color and traces of raw, dry brushstrokes, Yeachin’s compositions emit a vibrational quality akin to Yves Klein’s expansive paintings. Born in Taiwan, Yeachin now lives and works in New York. See more of Yeachin’s work here.

    Robert Tillberg

    Often opting to work on a large-scale canvas, painter Robert Tillberg skillfully blends nuanced color and texture into entrancing minimalist paintings. Inspired by the quiet, natural surroundings of his adopted hometown, Klamath Falls, Oregon, Robert’s paintings recall the atmospheric, icy mountain air. In their weathered texture and subtle gradients, Robert’s canvases invite viewers to get lost in an abyss of color. Robert’s paintings are held in private collections around the world. See more of Robert’s work here

    Anna Sidi-Yacoub

    Anna Sidi-Yacoub’s wall-mounted sculptures ripple and reflect the space around them, drawing the viewer into their iridescent peaks and valleys. With Yves Klein’s monochromatic paintings, each viewer was meant to uncover a new and unique experience. Anna’s sculptures provide similar aesthetic experiences, with their reflective surfaces playing off different vantage points and lighting conditions to appear subtly changed with each viewing. Inspired by the wind and sunlight dappling ocean waves, Anna’s sculptures bring us closer to nature and, by consequence, closer to infinity. Anna is based in Kerry, Ireland, and she has exhibited throughout the UK. See more of Anna’s work here.

    Chloe McCarrick

    London-based photographer and printmaker Chloe McCarrick uses cyanotype and collage to reimagine found images, delving into narratives about unsung women, science, and natural history. Though a natural result of the cyanotype process, the pervasiveness of blue throughout Chloe’s work comes to support her conceptual interest in our connection to each other, history, and nature—connections united in a cosmic array of deep blue and scintillating gold leaf. Interested in the multitude of possibilities in image production, Chloe recalls Yves Klein’s spirit of expansiveness and experimentation. See more of Chloe’s work here

  • Opps 简明写作测试


  • April 10, 2020

  • A purely seeing-machine

    Human is built as a vision cognitive machine. How comes when you hold a vision recording machine? 

    When you think of Photography, what comes to mind? You might think of someone holding a camera with gold or red lines on the lens or looks so different in the crews because you are continually finding something unique. Well, you might right. Almost right, Photography is a ubiquitous expression that all of us can do when you have a recording device. But there may be more things to discuss when we tilt the angle of view. 

    The nature of Photography is one kind of spontaneous desire. It is not to find out something over there. Instead, it is trying to finding something inside your experience. It is about memory, experience, and yourself — how to see the world around you and read it.

    The goals of Photography should not be a photograph, its about seeing and understanding the things over here, and match based on specific aesthetic media attributes. A display of final images defined a media. A typical picture is two dimensional, X and Y, with a thin layer of Z, which usually ignorable easily. It is a rectangle, its maybe black + white or with a full mimic of colors that optically projected on the light sensor surface.

    Photography display is an experience sharing system, you see – photo – they see a picture — so its the expression that the audience-depended. It has to be clear that Photography does not about change the world. Therefore, anything alters the basic pattern will slightly change its media attributes.  The things we have done to improve the information quality and quantity in a photo or change how to display it will add an extra coat of exaggeration.

    So what we should attempt is photographing without purpose and a strong desire been recognized, to pursuit a purely seeing-machine as we are. 

  • There is no substitute for practice.

    There is no substitute for practice. Studying a lot is the latchkey to follow the steep patch to gather knowledge and skills. To learn, technically learned, use properly, then mastery the profession by using it creatively is a long way for most people. Shortcuts are more design for amateurs who looking for speedy results, it defined a simple equation from A to B, the so-called Success Rules to produce good works, or numbered list of doing things all not realistically helpful for the long run. It is harmful.

    Curiosity is the number one attitude that any creative person should have. Stop attempting would put the possible new into a barred, protected space that was declining naturally. The curiosity evolved from the broad technical confidence, which is originating from a well-crafted practice and assignment.

  • Effective Learning strategy.

    # 10MinWritingEveryday # SunriseNote

    It is interesting how humans remember things. We continuously access certain information by using it for an extended period. Remember a list of new vocabulary, learn new skills that involve some strategical repeatability.

    Memory is such a fantastic function that all brain carries. There is a particular function or ability called Synaptic Plasticity, and it is means the existence of synapses – a structure that works and helps between neurons communication – to strengthen or weaken over time. Use it or lost it is the key insights of leaning.

    In education and learning, the key to designing instructional materials for maximum high-efficiency learning results is not the well-constructed class curriculum for a duration of time. Instead, it is how we can build a system that comfortable for a student to quickly ‘mimic’ and repeat. A system that turns and divide leaning models to a smaller cell that complete usable task. For a leaner, you always should take action now and move learning direction one step at a time forward and make it a solid routine strategically. It is not necessary to set goals to changes, the goal usually weakens the action.

    #日升笔记 #每日写作


    其根本区别在于技能的层级(专业级)和其能应对的问题的复杂程度。技能的专业化过程代表了该记忆揉杂进入了“经验”,经验可以通过重复使用特定的程序或经历来获取。每次按下快门的经验实际是不同的,遇到的不同情景下的技术挑战,会促使使用者解决特定的 – 看似简单重复经验过程中的 – 不确定性因素,这就是知识向技能转换的过程,你必须持续在一种循环式的锤炼中获得纯粹的经验积累。这意味着,从摄影观看经验的学习角度而言,学习摄影的关键在于如何将人类生来的观看能力 Ability,转化为观看的技能 Skills,继而转换为观看的思考 Critical Thinking,通过对观看的思考、分析和认知 Analytical Kownleadge,继而转化为观看的输出品 Photographic action。

  • Writing small, write often

    In Nov. 2004, 15 years from now, I launched a website Busoni Books, an early version of Just at the time when I signed a contract to write my first book Digital Photography for Zhejiang Photography Press. The purpose of the online Busoni Books is to collect some writing pieces that may not use for the book, but it’s still valuable in some perspective.

    Many things have changed in the past 15 years. Now, in my early 40s, I decided to continue to accumulate some of my current thoughts in Art, Design, and future media, and start writing in English regularly.

    I can never claim myself fluent in English writing, but I see the value of thinking in a different language mode. Stay Hungry, Stay Foolish!

  • 人们将从自然物体和空间关系中获得最大的终极启迪,人造物无法达成这种纯粹性。人造建筑、城市和服饰,本身是一种类照片的、非纯粹的存在,是一种他人创造的产物,是一种变化的传递过程。与之相反,自然蕴含了最大的秘密。要放弃对自然的僭越,认清自己时空窃贼的渺小身份的目标,好奇的凝望这一被大脑随机重组的数以帧记的更迭时空。

  • Can a fish tank considering as an TV? What is the definition of a medium.

  • 学习摄影在于学习视觉观察的手段和方法,时空,角度的审美,到了一定阶段后,更重要的是有一颗观看的心。人类在一个受限的空间内,有它的认知极限。所以千百年来,人类的视觉创作有它的近乎稳定的边界,有边界就意味着如果你有足够的储备,你就更容易到达似曾相识的 Deja Vu。

  • 人是一种妥协生物,理想设计和现实之间的差距总是很多,牵制也很多。有的是能或不能,有的时候,是能够和不能够。

  • 塑形的驱动力干预和中和了冲动的价值,导致了从理论意义上的即影即无,摄影即失败。