Michael Andrew Law meets David Zwirner

David Zwirner (born October 23, 1964) is a German art dealer and owner of the David Zwirner Gallery in New York City ,Hong Kong and London . Since 2012, Zwirner has consistently ranked in the top 5 of the ArtReview annual “Power 100” list, the magazine’s survey of most important figures in contemporary art. ; He has been on the list since 2003. In 2012, he was listed at number two in Forbes magazine’s “America’s Most Powerful Art Dealers.

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Michael Andrew Law meets with Zeng Fanzhi 曾梵志

Zeng Fanzhi (Chinese: 曾梵志; born 1964 in Wuhan, Hubei) is a contemporary Chinese artist based in Beijing. New York Times : Most Expensive Artist in the world headline From the earliest stages of his career, Zeng Fanzhi’s paintings have been marked by their emotional directness, the artist’s intuitive psychological sense, and his carefully calibrated expressionistic…

MICHAEL ANDREW LAW FINALLY MEETS MURAKAMI TAKASHI 村上 隆

Takashi Murakami (村上 隆 Murakami Takashi?, born February 1, 1962) is a Japanese contemporary artist. He works in fine arts media (such as painting and sculpture) as well as commercial media (such as fashion, merchandise, and animation) and is known for blurring the line between high and low arts. He coined the term superflat, which…

Michael Andrew Law meets Michaël Borremans

Michaël Borremans (born in 1963) is a Belgian painter and filmmaker who lives and works in Ghent. His painting technique draws on 18th-century art as well as the works of Édouard Manet and Degas. The artist also cites the Spanish court painter Diego Velázquez as an important influence. In recent years, he has been using photographs he has made himself or made-to-order sculptures as the basis for his paintings.

Michael Andrew Law meets with Painter Magnus Plessen

Magnus Plessen is best known for a painting style that combines additive and subtractive techniques, employing both brush and spatula. The impetus of each work often begins with a photograph, which Plessen categorically believes imprisons its subject in time and space. His aim in revisiting these images is to resuscitate the subjects, and therefore make what he calls “completely unsentimental” paintings—“Perhaps an image that leaves the viewer—and also the art object and its creator—much freer,” as he says. Plessen is also known for his signature blocky forms and the blending of figures and background, as well as the use of vivid colors. In more recent works, he has been exploring ideas of rotation and revolution, and employing a central axis point in his compositions.

Alex Prager and Michael Andrew Law

Alex Prager (American, born 1979), a self-taught photographer, takes her cues from pulp fiction, the cinematic conventions of movie directors such as Douglas Sirk and Alfred Hitchcock, and fashion photography. Resembling movie stills, her unnerving photographs—crisp, boldly colored, shot from unexpected angles, and dramatically lit—feature women disguised in wigs, dramatic makeup, and retro attire. Crowd # 1 (Stan Douglas), one in a series of pictures shot for the November 2010 issue of W magazine, makes its debut here. It draws on Stan Douglas’s Hastings Park, 16 July 1955 (2008), among other sources, but Prager has enlisted a new cast of characters, dressed in 1970s outfits (which she selected), and shot the scene in her own signature style. The exhibition also presents the United States première of Despair (2010), Prager’s first film, starring actress Bryce Dallas Howard. According to the artist, it is a “full-sensory version” of her photographs, an attempt “to show the before, now and after of one of my images.” The four-minute film, with a score by composer Ali Helnwein, is set in Los Angeles. It was inspired by The Red Shoes, a 1948 film about a prima ballerina whose obsession with dance conflicts with her need for love, ultimately leading to her suicide. Focusing on the actress’s face to capture one intense emotion, Prager engages in the construction of images that are intentionally loaded, reflecting her fascination with and understanding of cinematic melodrama.

Michael Andrew Law meet with Christian Marclay 克里斯蒂安·馬克雷

Christian Ernest Marclay (born January 11, 1955) is a visual artist and composer. He holds both American and Swiss nationality. Marclay’s work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek,…

Michael Andrew Law meet with Carsten Höller

Michael Andrew Law and artist Carsten Höller (born December 1961) is a German artist. He lives and works in Stockholm, Sweden. Today, he also shares a house in Ghana with colleague Marcel Odenbach.

Michael Andrew Law meet with Mr. from Kaikai Kiki

Mr.’s work is closely linked to the Japanese movement “Superflat,” coined by artist Takashi Murakami in 2000. Superflat refers to a tendency toward two-dimensionality in Japanese visual art, animation, graphic design, and fashion that can be traced back to traditional painting of the 17th through 19th centuries known as nihonga. Contemporaneously, the style is linked with…

Michael Andrew Law meets with John Henderson

John Henderson’s oeuvre has long revolved around the problematic of modernism, abstraction, and the painterly gesture. In this sense, he could possibly be situated in the context of a larger wave of processbased abstraction in recent years, one that is marked by the flatness of the picture plane, a preoccupation with process, and improvised gestures…