Connection of sentiments between urban sketching and Western-painting scene i...VincentKwunLeungLee
The mechanism of painting society camp, which requires a continuous sophistication on urban-sketching skills, is easy for everybody to follow. First, there is a stable source of income from the collective contribution of membership fees for hiring exhibition venues at City Hall or Central Library. Second, you do not need to care about the unpredictable game of contemporary-art award schemes that you must grasp the creative gimmick, as you just need to simply focus on the refinement of your landscape or urban descriptions. Third, the corresponding painting societies are pro-China which easily obtain fundings from the Mainland cultural authorities. Fourth, people no matter for whatsoever backgrounds can easily perceive the aesthetic pleasures from your artworks because they do not need to imagine or think at all. Firth, even though you do not have brilliant creative concepts all the time, you can still paint and produce artworks regularly. Sixth, urban sketchers can easily get the help from the press media for column-writing reports because the works easily connect with our daily basic-class livelihoods.
Moreover, the selected "urban sketching" masters tend to develop a wholesome communication with the district residences and commuters. They prefer a conservation of old heritages, whereas they do not mind practicing the liaison philosophies of Confucian ethics.
The proletariat mode of Russian propagandistic art was much driven by the Leninist mode of Menshevik thought, so that it could condone a limited extent of conservation on either Czarist or Orthodox aesthetic elements.
However, China under Mao Zedong reinterpreted such Soviet-Russian art style as inclining to Bolshevism advocated by Joseph Stalin. Thus, there was an elimination of Romanticism from the Modern Chinese oil paintings of the fine art academies since the administration of CCP, which resulted in a brutal suppression on all kinds of Western European art styles including French or German aesthetics. On the contrary, Russian paintings within the Soviet era still allowed the existence of Post-Impressionistic and Expressionistic elements of French and German art due to a respect to religious affections.
If tracing back the histories of Sino-foreign cultural exchanges, Xu Beihong did persuade the Soviet Russians to humbly apply the harmonious aesthetic nutrients of Lingnan literati painting for protecting the Romanticist and humanistic elements of Russian art even though the Soviet Union introduced propagandistic art. He did not agree with Wassily Kandinsky’s pessimistic approach of reforming Russian art with Bauhaus industrial values as an escape from the Soviet political suppression.
Mr. Xu Fouguan was a renowned Neo-Confucian scholar. His publication on art criticisms cover a wide spectrum of Chinese art analysis, whereas he also explained how the Western philosophers thought about the connection of art with social awareness. This is a piece of book review, with sources from other publications as supportive materials.
Alumni sharing after the joint display at CUHK Chien Mu Library, talking about my issuing of journal articles on Chinese art-history researches after my MAFA graduation from CUHK
Connection of sentiments between urban sketching and Western-painting scene i...VincentKwunLeungLee
The mechanism of painting society camp, which requires a continuous sophistication on urban-sketching skills, is easy for everybody to follow. First, there is a stable source of income from the collective contribution of membership fees for hiring exhibition venues at City Hall or Central Library. Second, you do not need to care about the unpredictable game of contemporary-art award schemes that you must grasp the creative gimmick, as you just need to simply focus on the refinement of your landscape or urban descriptions. Third, the corresponding painting societies are pro-China which easily obtain fundings from the Mainland cultural authorities. Fourth, people no matter for whatsoever backgrounds can easily perceive the aesthetic pleasures from your artworks because they do not need to imagine or think at all. Firth, even though you do not have brilliant creative concepts all the time, you can still paint and produce artworks regularly. Sixth, urban sketchers can easily get the help from the press media for column-writing reports because the works easily connect with our daily basic-class livelihoods.
Moreover, the selected "urban sketching" masters tend to develop a wholesome communication with the district residences and commuters. They prefer a conservation of old heritages, whereas they do not mind practicing the liaison philosophies of Confucian ethics.
The proletariat mode of Russian propagandistic art was much driven by the Leninist mode of Menshevik thought, so that it could condone a limited extent of conservation on either Czarist or Orthodox aesthetic elements.
However, China under Mao Zedong reinterpreted such Soviet-Russian art style as inclining to Bolshevism advocated by Joseph Stalin. Thus, there was an elimination of Romanticism from the Modern Chinese oil paintings of the fine art academies since the administration of CCP, which resulted in a brutal suppression on all kinds of Western European art styles including French or German aesthetics. On the contrary, Russian paintings within the Soviet era still allowed the existence of Post-Impressionistic and Expressionistic elements of French and German art due to a respect to religious affections.
If tracing back the histories of Sino-foreign cultural exchanges, Xu Beihong did persuade the Soviet Russians to humbly apply the harmonious aesthetic nutrients of Lingnan literati painting for protecting the Romanticist and humanistic elements of Russian art even though the Soviet Union introduced propagandistic art. He did not agree with Wassily Kandinsky’s pessimistic approach of reforming Russian art with Bauhaus industrial values as an escape from the Soviet political suppression.
Mr. Xu Fouguan was a renowned Neo-Confucian scholar. His publication on art criticisms cover a wide spectrum of Chinese art analysis, whereas he also explained how the Western philosophers thought about the connection of art with social awareness. This is a piece of book review, with sources from other publications as supportive materials.
Alumni sharing after the joint display at CUHK Chien Mu Library, talking about my issuing of journal articles on Chinese art-history researches after my MAFA graduation from CUHK
C&G Art Department創辦人張嘉莉(Clara CHEUNG)於International Association of Art Critics Hong Kong發表了一篇名為《Reconstructing the Hong Kong cultural identity by reconnecting with history through art exhibitions and performative rituals (from the construction of the “Lo Ting” myth in 1997 to the revival of ritualistic practices in 2014)》的學術文章,旨在探討民間宗教鬼神習俗若放在畫廊空間內再現,能否有效地鼓勵觀賞者把傳統祭祀融入生活去重塑後殖民地時代的文化身份認同。Clara與浸大CVA校友蟻穎琳一樣,有按照中大文化研究系教授何慶基博士辦《盧亭神話》專題展的策展理念,以超現實主義的油畫手法,繪畫魚頭人的戲玩幻像,兌現洪席耶及Walter Benjamin主張敘事性創作及玩味的精神,道出一切歷史也是像神話般由管治者虛構的哲學迷思。
Clara認為《盧亭神話》此「偽民族志」旨在以visual artifacts兌現人類學考察重視的material culture,乃「關係美學」的一種,又被稱作「關係藝術」,是美術實踐上所呈現的一種模式或者趨勢,最早發現並提出者為法國藝術評論家Nicolas Bourriaud。Nicolas Bourriaud認為「關係美學」並非獨立的私人空間,而在理論或者實踐上從整體人類關係和社會背景發展的藝術實踐模式;這時藝術家應當被視為呈現關係美學的「催化劑」,而非整個藝術概念的中心。
Alumni sharing by me after exhibiting my works in the Christian Art Biennial Exhibition, in which Ms. Wu Yin Ching was also a participating artist. Additional acknowledgement given to Sumling for her achievement of emergence as a COLLAR singer.
1. Internal Tutorships
2. External Tutorships
3. History Study Forum
4. Monthly Studio Parties
5. Academic Fruits and Exhibitions at CUHK Fine Arts
6. Report from Press Media
7. Self-Journalism
8. Talks at Hong Kong Society of Humanities
9. Collections
10. As a P1X3L Supportive Hub
11. Overseas Academic Exchange
12. Forecasts
The Kowloon Walled City Series is based on an interdisciplinary research on graphic art like experimental linear drawing, photography such as Greg Girard's documentation, Chinese calligraphic references such as Yan Zhengqing's stele scripts, the journal articles about anarchic urbanism, and the neo-figurative painting styles recommended by Prof. Lui Chun Kwong. The CUHK Fine Arts MAFA Graduation Show will be grandly opened at CUHK Art Museum on 10 July, Sunday. The Kowloon Walled City will be displayed by seperating two generalized streams as "Anarchic Urbanism" session and "Homecoming Dad" session, so that the visitors can perceive how I am eager to enjoy the nourishments of love within a pale mode of retreated livelihood. (* The images have been reduced due to the limitation of 5MB file size for file uploading, and this PDF is 2MB only in which all the texts remain unchanged.)
The Kowloon Walled City Series is based on an interdisciplinary research on graphic art like experimental linear drawing, photography such as Greg Girard's documentation, Chinese calligraphic references such as Yan Zhengqing's stele scripts, the journal articles about anarchic urbanism, and the neo-figurative painting styles recommended by Prof. Lui Chun Kwong. The CUHK Fine Arts MAFA Graduation Show will be grandly opened at CUHK Art Museum on 10 July, Sunday. The Kowloon Walled City will be displayed by seperating two generalized streams as "Anarchic Urbanism" session and "Homecoming Dad" session, so that the visitors can perceive how I am eager to enjoy the nourishments of love within a pale mode of retreated livelihood.
Humanity Paper - Forecast to Renewal of Chinese Sexual PerceptionsVincentKwunLeungLee
This was a group paper from Dr. Lo Kwai-cheong's Humanity course called "Chinese & Western Modes of Thoughts". The points from this paper were as similar as my recent avocations about the lack of love nourishments and a desire for becoming a Homecoming Dad. You can see that I could be that avant-garde in gender issues during my BUVA studies in Donald Tsang's administration era, in which I could enjoy a wet kiss with my ex-girlfriend at Kai Yip Estate after my VA lessons at Kai Tak Campus. Corresponding with the "Sumling Effect", I cannot control the drop of tears while reading this Humanity paper with a Distinction, as I have lost lots of stuffs from my sweetest BU memories due to the intransigent requests from my two secondary Alma-Maters and CUHK for my ability in becoming an "academic hegemony" at the expense of my creampie opportunities.
Professor Alexander Wai Ping-kong is definitely a good BU principal, even performing better than Lui Ki-cheong and So Pui-ting judging from their boycott on my CUHK MAFA Graduation Show.
This is a piece of dissertation in Grade B+ level. I wrote this very general topic based on the elementary perspectives of literati painting, Chinese aesthetic spirits, Sinology, self-expressive painting, union between Heaven and Man, and coexistence between calligraphy and painting. I legitimately learn how to write a formal piece of Chinese art history research by quoting a large sum of convincing book references once I have made clear with lots of complicated concepts and knowledge that I haven't learnt during my Bachelor era. Now, I have adjusted the contents for my dissertation before the uploading based on the corrections from Dr. Lee Chi Kong:
關於你的論文,幾㸃意見謹奉參考。
首先,文中有個最大謬誤,是多處將南宗與浙派混為一談。浙派崇尚南宋馬、夏,是董其昌所厭棄的風格。此外,論文第一段舉藍瑛為例亦不太妥當,因為被畫史譽為浙派殿軍的藍瑛,比董其昌小三十歲,屬後輩,董其昌成名時藍瑛尚未成氣候。畫風固不入董眼,但亦不足為其掛齒。
其次為錯別字,「黃公望」多處誤作「黃宮望」。其他如:
翰林圖畫院(頁1)
皆從董、巨得來(頁1,注1)
折釵股(頁1,注3)
乾淡(頁5,兩處)
致虛守靜(頁6)
淡彩赭石(頁6)
滃鬱恍惚(頁7)
幼獅文化(頁10,注26)
米萬鍾(頁10,注32)
以余所見(頁13,注37)
The final two pieces of my "Kowloon Walled City Series" have been fruitfully finished. For the last piece, I employed a lifeguard colleague to serve as my nude model. The whole experimentation began with pencil-drawing session of 1.5 hours for each piece, and I created two drawings based on the model. Then, the second part was a formal life description of the lifeguard model onto the 48" x 36" canvas, and the long pose lasted for one hour. After this Final Presentation, there will be still an "Oral Examination" at CUHK Art Museum before the grand opening ceremony of the CUHK Fine Arts MAFA Graduation Show.
C&G Art Department創辦人張嘉莉(Clara CHEUNG)於International Association of Art Critics Hong Kong發表了一篇名為《Reconstructing the Hong Kong cultural identity by reconnecting with history through art exhibitions and performative rituals (from the construction of the “Lo Ting” myth in 1997 to the revival of ritualistic practices in 2014)》的學術文章,旨在探討民間宗教鬼神習俗若放在畫廊空間內再現,能否有效地鼓勵觀賞者把傳統祭祀融入生活去重塑後殖民地時代的文化身份認同。Clara與浸大CVA校友蟻穎琳一樣,有按照中大文化研究系教授何慶基博士辦《盧亭神話》專題展的策展理念,以超現實主義的油畫手法,繪畫魚頭人的戲玩幻像,兌現洪席耶及Walter Benjamin主張敘事性創作及玩味的精神,道出一切歷史也是像神話般由管治者虛構的哲學迷思。
Clara認為《盧亭神話》此「偽民族志」旨在以visual artifacts兌現人類學考察重視的material culture,乃「關係美學」的一種,又被稱作「關係藝術」,是美術實踐上所呈現的一種模式或者趨勢,最早發現並提出者為法國藝術評論家Nicolas Bourriaud。Nicolas Bourriaud認為「關係美學」並非獨立的私人空間,而在理論或者實踐上從整體人類關係和社會背景發展的藝術實踐模式;這時藝術家應當被視為呈現關係美學的「催化劑」,而非整個藝術概念的中心。
Alumni sharing by me after exhibiting my works in the Christian Art Biennial Exhibition, in which Ms. Wu Yin Ching was also a participating artist. Additional acknowledgement given to Sumling for her achievement of emergence as a COLLAR singer.
1. Internal Tutorships
2. External Tutorships
3. History Study Forum
4. Monthly Studio Parties
5. Academic Fruits and Exhibitions at CUHK Fine Arts
6. Report from Press Media
7. Self-Journalism
8. Talks at Hong Kong Society of Humanities
9. Collections
10. As a P1X3L Supportive Hub
11. Overseas Academic Exchange
12. Forecasts
The Kowloon Walled City Series is based on an interdisciplinary research on graphic art like experimental linear drawing, photography such as Greg Girard's documentation, Chinese calligraphic references such as Yan Zhengqing's stele scripts, the journal articles about anarchic urbanism, and the neo-figurative painting styles recommended by Prof. Lui Chun Kwong. The CUHK Fine Arts MAFA Graduation Show will be grandly opened at CUHK Art Museum on 10 July, Sunday. The Kowloon Walled City will be displayed by seperating two generalized streams as "Anarchic Urbanism" session and "Homecoming Dad" session, so that the visitors can perceive how I am eager to enjoy the nourishments of love within a pale mode of retreated livelihood. (* The images have been reduced due to the limitation of 5MB file size for file uploading, and this PDF is 2MB only in which all the texts remain unchanged.)
The Kowloon Walled City Series is based on an interdisciplinary research on graphic art like experimental linear drawing, photography such as Greg Girard's documentation, Chinese calligraphic references such as Yan Zhengqing's stele scripts, the journal articles about anarchic urbanism, and the neo-figurative painting styles recommended by Prof. Lui Chun Kwong. The CUHK Fine Arts MAFA Graduation Show will be grandly opened at CUHK Art Museum on 10 July, Sunday. The Kowloon Walled City will be displayed by seperating two generalized streams as "Anarchic Urbanism" session and "Homecoming Dad" session, so that the visitors can perceive how I am eager to enjoy the nourishments of love within a pale mode of retreated livelihood.
Humanity Paper - Forecast to Renewal of Chinese Sexual PerceptionsVincentKwunLeungLee
This was a group paper from Dr. Lo Kwai-cheong's Humanity course called "Chinese & Western Modes of Thoughts". The points from this paper were as similar as my recent avocations about the lack of love nourishments and a desire for becoming a Homecoming Dad. You can see that I could be that avant-garde in gender issues during my BUVA studies in Donald Tsang's administration era, in which I could enjoy a wet kiss with my ex-girlfriend at Kai Yip Estate after my VA lessons at Kai Tak Campus. Corresponding with the "Sumling Effect", I cannot control the drop of tears while reading this Humanity paper with a Distinction, as I have lost lots of stuffs from my sweetest BU memories due to the intransigent requests from my two secondary Alma-Maters and CUHK for my ability in becoming an "academic hegemony" at the expense of my creampie opportunities.
Professor Alexander Wai Ping-kong is definitely a good BU principal, even performing better than Lui Ki-cheong and So Pui-ting judging from their boycott on my CUHK MAFA Graduation Show.
This is a piece of dissertation in Grade B+ level. I wrote this very general topic based on the elementary perspectives of literati painting, Chinese aesthetic spirits, Sinology, self-expressive painting, union between Heaven and Man, and coexistence between calligraphy and painting. I legitimately learn how to write a formal piece of Chinese art history research by quoting a large sum of convincing book references once I have made clear with lots of complicated concepts and knowledge that I haven't learnt during my Bachelor era. Now, I have adjusted the contents for my dissertation before the uploading based on the corrections from Dr. Lee Chi Kong:
關於你的論文,幾㸃意見謹奉參考。
首先,文中有個最大謬誤,是多處將南宗與浙派混為一談。浙派崇尚南宋馬、夏,是董其昌所厭棄的風格。此外,論文第一段舉藍瑛為例亦不太妥當,因為被畫史譽為浙派殿軍的藍瑛,比董其昌小三十歲,屬後輩,董其昌成名時藍瑛尚未成氣候。畫風固不入董眼,但亦不足為其掛齒。
其次為錯別字,「黃公望」多處誤作「黃宮望」。其他如:
翰林圖畫院(頁1)
皆從董、巨得來(頁1,注1)
折釵股(頁1,注3)
乾淡(頁5,兩處)
致虛守靜(頁6)
淡彩赭石(頁6)
滃鬱恍惚(頁7)
幼獅文化(頁10,注26)
米萬鍾(頁10,注32)
以余所見(頁13,注37)
The final two pieces of my "Kowloon Walled City Series" have been fruitfully finished. For the last piece, I employed a lifeguard colleague to serve as my nude model. The whole experimentation began with pencil-drawing session of 1.5 hours for each piece, and I created two drawings based on the model. Then, the second part was a formal life description of the lifeguard model onto the 48" x 36" canvas, and the long pose lasted for one hour. After this Final Presentation, there will be still an "Oral Examination" at CUHK Art Museum before the grand opening ceremony of the CUHK Fine Arts MAFA Graduation Show.
26. 提供香港藝術館(如雙年展、虛白齋)以外
另一套藝術家提攜的價值觀,讓另類的當代
藝術家能以「素人」姿態上位。
給予商業畫廊一個提攜年青藝術家的指標
不只是衡量作品本身的美學價值,還要評核
藝術家遞交的展覽紀錄、公共教育經驗及社
會服務貢獻,要求的是具備「holistic
capabilities」的多元智能藝術家。
Deleuze and Guattari criticized Lecan for an over-
emphasis on “discourses” in his “superego” theories
which neglected the possibility of “social
engagements”
28. 推崇「新媒體」及「跨媒界」創作,且要「入世」,具「應用
藝術」的功能,藝術家亦必須具備自身公關能力,當然具「公
司背景」的nomination亦同時獲推崇:定立新的social order
朱大成博士引用SarahThornton的精英主義理論解讀藝發局獎項
不用向各創作媒介派別民意屈服而「派糖」(如《新城勁爆頒
獎禮》般創出一大堆「豬肉獎」):
A good reputation is not necessarily an original sin.One of the ways to
launch successfully one’s artistic career, as spelled out by Sarah
Thornton, is to get an important award.All the policy related to art
development in Hong Kong is elitist,in the sense that, like in sport
development, there is no grass root planning. In Bourdieu‘s sense,
there has been and is no desire to accumulate cultural capital for the
society as a whole in Hong Kong.As such it will remain elitist, only a
very few can make it big -- in terms of reputation and money spinning.
In general, reputation of an artist requires years to establish, as there
are a lot of mechanism, institutional assessment, as well as trial by time.