#gdragonsart

[dramasprite-blog]

3 of our favourite #Bigbang members with favourite artist Jonas Wood on visits in 2016/17... someday I hope @choi_seung_hyun_tttop @xxxibgdrgn @__youngbae__ all meet @jonasbrwood together 🔝🌞🐉💚✨🎨😌#탑 #たぷのIG #TOPinstagram #TOPstagram #TOP #たぷさん #たぷ #TOPsart #TOPisart #최승현 #崔胜铉 #choiseunghyun #TTTOP #choi_seung_hyun_tttop #TTTOPArt #TTTOPsart #TTTOPsartists #youngbaesart #Youngbae #Taeyang #Sol #YBsart #GDinstagram #GDstagram #GDragonsArt #권지용#KwonJiYong #Gdragon #ジヨンく

[dramasprite-blog]

#ZhangXiaogang Promise, 2016 & #AlexanderCalder 1972 in the back with #KoheiNawa Pixcell-Maria. Beautiful 🎨💚✨#Repost @xxxibgdrgn ・・・ 🙏--- #PaceKorea #PaceSeoul #GDinstagram #GDstagram #GDragonsArt #TOPsart #TOPisart #권지용#KwonJiYong #Gdragon #ジヨンくん

[dramasprite-blog]

#GDragonsArt @xxxibgdrgn 's IG update 170313 ➡️#jonaswood Hammer Storage, 2011, oil and acrylic on linen, 82 x 82 inches (208.3 x 208.3 cm) - I miss doing these so .... 💚☺️🎨➡️"In his paintings, drawings, and prints, Jonas Wood merges references to art history, his memories, and visions of the people, objects, and settings that compose the fabric of his life. Working in acrylic and oil on supports including cardboard and canvas, he presents portraits of his friends and family, interior scenes, and still lifes. Through his partially abstract rendering of these subjects and use of bright colors, he emphasizes patterns and forms while flattening out the space in his compositions. Ceramic vessels and potted plants figure prominently in his works. In some, he covers the outside of a plant’s pot with an intricately realized landscape, which reads as a painting within a painting. Working with an eye toward his predecessors, Wood cites Lucian Freud, David Hockney, and Alex Katz as influences, claiming, “All three of them are superheroes.” American, b. 1977, Boston, Massachusetts, based in Los Angeles, California" Style Wood paints from studies (collages and drawings) and sometimes uses photography, but most of his works and studies are part of the larger plan of creating paintings. Wood has also done etchings. Among Wood's motifs are domestic interiors, landscapes, still-life and sports scenes. In an Architectural Digest story by Rebecca Bates, Wood claimed to paint to create new memories of his former residences: "I'm interested in exploring the spaces that I’ve inhabited and the psychological impact they've had on me and my memories of them,...And then I can create a new memory of that space." The result is the perception that his work is very sincere. Wood's genre is described as multidimensional."

[dramasprite-blog]

#TTTOPsArt #TTTOPArt #GDragonsArt #TTTOPsArtists 170502 💚🏀🎨Collaboration Appropriation 4, 2015, oil and acrylic on canvas, 42 x 36 x 1 1/2 inches (106.7 x 91.4 x 3.8 cm) #JonasWood - @xxxibgdrgn posted this art work today with the comment of it being one of his favourites & tagged @choi_seung_hyun_tttop ✨(GD also posted this on 161128) 🎨As I noted on after the initial mistake of mine on my original update about this & after others asked about it, this is NOT the same painting as posted by T.O.P on 170427 as part of his #TTTOPCollection However, as seen in the lower left with a post by @jonasbrwood and a cover done by him for the Art in America magazine, obviously his work with similarities in some style & differences in others. No title for the one T.O.P owns yet, but nice choices in both for GD & T.O.P ✔️➕

[dramasprite-blog]

#gdragonsart @xxxibgdrgn 's IG update 🎨 170216 (Someone asked me soooo...) ➡️#GerhardRichter ABSTRAKTES BILD (843-4) Estimate 600,000 — 800,000 USD signed, dated 1997 and numbered 843-4 on the reverse oil on aluminum 21 5/8 by 18 7/8 in. 54.9 by 47.9 cm. CONTEMPORARY CURATED FEATURING WORKS FROM “IN ITS OWN LIGHT: PROPERTY FROM THE COLLECTION OF ED COHEN AND VICTORIA SHAW” 02 MARCH 2017 - """For works like those, as Richter wrote to Buchloh in 1977, the premise is "that I can communicate nothing, that there is nothing to communicate, that painting can never be communication, that neither hard work, obstinacy, lunacy nor any trick whatever is going to make the absent message emerge of its own accord from the painting process." Consciously or not, Richter is citing Samuel Beckett, who called for an "expression that there is nothing to express, nothing with which to express, nothing from which to express, no power to express, no desire to express, together with the obligation to express." Not surprisingly, Richter soon discovered that a message nonetheless does emerge from the painting process, that something is communicated." Barry Schwabsky, The Perpetual Guest: Art in the Unfinished Present, Brooklyn 2016, p. 98 Gerhard Richter’s Abstraktes Bild series represents the paragon of the artist’s treatise on the aesthetic and conceptual capacities of painting. Executed in 1997, Abstraktes Bild (843-4) is an outstanding example from this celebrated body of work. The artist’s process is expressed in the gestural tide of color that pulls from both edges of the aluminum support, revealing a kaleidoscopic world within. Richter’s practice of abstract painting began in 1976. Reflecting on his process Richter said, "I want to end up with a picture that I haven't planned. This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture...I just want to get something more interesting out of it than those things I can think out for myself" (Richter interviewed in 1990, in Hubertus Butin and Stefan Gronert, Eds... Cont.)