Embracing painting as an unlimited form of expression, Daniel Hesidence’s works describe a means of sub-language communication, something primal and emotive that exceeds linguistic structure. Hesidence’s style ranges from figuration to abstraction, but his subject matter is always what lies beyond the surface. Ranging from dense impasto to delicate washes, frenzied brushmarks and disquieting voids, Hesidence’s refined techniques transform reticent sentiment into tactile physicality. Mapping out the idyllic meanderings of cerebral terrain, Untitled’s colourful fantasia playfully conveys amorphous vitality with an aura of pastoral calm.

Read Entire Article about USA Artist Daniel Hesidence paintings and artwork at The Saatchi-Gallery Daniel Hesidence

Documenting his life through a lens, Snow’s photographs explore personal existence as a periphery to globalised culture. Presenting an unabridged account of his marginalised lifestyle, Snow’s often uncomfortable images paint an intimate portrait where topical issues such as sex, drugs, poverty, and anti-social behaviour are confronted from a frank position of personal participation. Translated through the generic quality of his medium, Snow’s photos convey the disoriented fragments of memory as voyeuristic observation, conceiving the experience of ‘self’ as a bi-product of mass media dissociation.

Picturing the underbelly of contemporary culture, Snow distances his images with cinematic veritas. Graffiti, ironically broken signage, seedy hotel sex romps, and instances of human despair don’t evoke empathy, but rather suggest a poetic affirmation of humanity and against-the-odds survivalism.

Dash Snow’s Untitled (Thong) reworks imagery of porn, violence, and glamour into a totem of faded power. Recalling the optimistic ideology of Suprematist design, Snow’s collage presents a futuristic icon from degenerate emblems. Mounted on a mundane wall paper background, photocopied snippets of syringes, gems, rodents, machine parts and bottoms merge as an abstracted cyborg figure, an unsavoury goddess of underclass bravura. Read Entire Article of Dash Snow at the saatchi-gallery

To understand the works of artists engaged in this practice, it is important to recognize the significance and specificity of the images they are using to fashion their work. Without this knowledge, the work of artists like Wang Guangyi may be reduced to a mere aestheticization of the experiences of the Cultural Revolution, a view which threatens to limit the discussion of these works to their formal elements, foreclosing more important ideological and historical questions that must be raised.

It is perhaps equally essential, particularly for Western audiences, to keep in mind the dominance that the Maoist regime held over visual culture and artistic production in China from 1949 to 1976, a control that reached a near totality between 1966 and 1972, during the Gang of Four’s reign [i].

Wang Guangyi’s paintings combine the ideological power of communist propaganda with the seductive allure of advertising. Juxtaposing revolutionary images with consumer logos, Wang’s canvases provocate with their duplicitous message, highlighting the conflict between China’s political past and commercialised present. Stylistically merging the government enforced aesthetic of agitprop with the kitsch sensibility of American pop, Wang’s work adopts the cold-war language of the 60s to ironically examine the contemporary polemics of globalisation.

Through his critique, Wang’s paintings weave intricate narratives, implicating the role of the artist as an active participant (both as subjugator and subservient) in economic and social policy. Wang treads a very delicate line between moral dictum and capitalist endorsement; the interpretation of his paintings alternates with the subjectivity of context. Amalgamating, confusing, and blurring opposing ideological beliefs, Wang’s billboard sized canvases readily sell out national valour, while simultaneously devaluing status symbol luxury for the proletariat cause.

Certainly, the vast legacy of propaganda that resulted from this period will continue to impact artists interested in critically examining China’s recent visual history. After all, these images were more than simply popular; for a time, they were the only ones allowed.

Conclusions:

Wang Guangyi had already established his own style and the impact of the work had won him a strong reputation in Chinese art circles.

What to Do Next. . .

If you want any information about Wang Guangyi or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/wang_guangyi. htm

The scrawled profiles of a human head are the work of 18K (aka AK47) – the artist formerly known as Zhang Dali. You wouldn’t notice them in a Western city because the simple drawings would be quickly sprayed over with graffiti done by thousands of other lay abouts, vandals, artists and political groups. 18K was born in Heilongjiang 36 years ago and came to Beijing after middle school to attend the prestigious Central Academy of Art and Design. He majored in traditional Chinese ink-and-brush painting but soon began producing abstract works and experimenting with different materials. In the late 1980s, 18K was the first artist to move to the village near Yuanmingyuan that later became a thriving colony of artists and bohemians until it was closed by Beijing authorities in the early 1990s. In 1988, 18K was one of several artists featured in independent filmmaker Wu Wenguang’s Bumming in Beijing (Liulang Beijin)

In fact, many of 18K’s tags are intentionally placed right next to “chai” characters. Not only is graffiti painted onto walls that will soon be rubble unlikely to stir the police into action, 18K also has artistic reasons for associating his heads with condemned structures: the work is an attempt to engage in a dialogue with Beijing, a city where buildings come down faster than they did in wartime Berlin and London. Like many young people involved in the arts, 18K left Beijing in 1989. He went to Italy where he spent six years living in different cities and working as an artist. On his return to Beijing in 1993 he conceived of his long running graffiti project which he entitles Dialogue because the intention is that the graffiti along with photographs and articles that document and criticize it will together comprise a dialogue about the changing face of Beijing

Selected EXHIBITIONS-

2006

• A Second History curated by Wu Hung, Walsh Gallery, Chicago

2005

• Sublimation curated by Wu Hung, Beijing Commune, China

2004

• Chinese Contemporary Gallery, London

2003

• Galleria Gariboldi, Milan, Italy

2002

• Base Gallery, Tokyo, Japan

Chinese Contemporary Gallery, London

Conclusions:

Zhang Dali has portrayed 100 immigrant workers in life-size resin sculptures of various postures, with a designated number, the artist’s signature and the work’s title “Chinese Offspring” tattooed onto each of their bodies.

What to Do Next. . .

If you want any information about Zhang Huan or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/zhang_dali. htm

In a new initiative to generate more exposure for the artists in Saatchi Online and to spotlight their work to as wide an audience as possible, they have created SHOWDOWN at the Saatchi gallery. Showdown is for all registered Saatchi Online and Stuart artists to enter their works for visitors to score. The winner of the final head-to-head vote will receive £1000 and the runner up will receive £750. The winning work will go on display at the new Saatchi gallery.

HOW IT WORKS

To submit your artwork in SHOWDOWN, you need to be a registered Saatchi Online or Stuart artist.

The process is as follows: on Monday mornings from 9 am (UK time) registered artists on Saatchi Online and Stuart have until 6 pm Sunday night (UK time) to load an image for Showdown

Voting takes place for the next seven days (Monday 9 am until the following Monday 9 am UK time). The two artworks with the highest overall scores go head-to-head. Visitors then vote on the two head-to-head works for a further seven days.

After twelve rounds all the head-to-head victors enter a knockout phase, until the final showdown, to choose an overall winner. Throughout the seven day head-to-head vote, artists are able to enter one of their works for the next round of the contest, so that the process is continuous. Artists are able to enter every round of the contest that they wish to.

VOTING system

Any visitor to the site can rate and vote for artworks in Showdown. All visitors are free to vote on all artworks, scoring them from one to ten (one being the lowest score and ten the highest). Although visitors can vote for as many artworks that have been entered as they like, to prevent multiple voting by one person for one work, only one vote per individual artwork will be accepted from each visitor.

The artworks are displayed randomly and constantly rotate. Each time an artwork is rated by clicking on a star to register a vote a new random artwork is displayed. To see more images please click on the ‘Click here to see more images’ displayed on the SHOWDOWN homepage.

If you have already rated an artwork, your rating will be displayed, and this rating cannot be changed.

Vote for Finalists artwork on Showdownat Saatchi Gallery to determine the winner. It is for all registered artists to enter their artworks for visitors to Vote.

Saleroom is a great opportunity for buyers to buy artwork and also for sellers to sell their artwork within a community of artists. All artwork sold through the Saatchi Online, allow the buyers to pay through paypal securely ensuring a purchase protection up to the value of $2000.

The lack of a physical gallery space has allowed the Saatchi Online Gallery to flourish with the number of hits exceeding fifty million per day on most days. Primarily a space for artists to display their work and network with other artists, it was only going to be a matter of time before the ability for artists to sell their work through the gallery was included, and that time has come. The Saatchi Online Saleroom allows anyone to buy art free of commission from artists around the world. The site takes no commission from artists and charges no commission to buyers. You simply buy the work you like directly from the artist, using Paypal or a suitable alternative payment method.

To display your artwork, register with the Saatchi Gallery, alternatively if you already have a Saatchi Online or Stuart account you may get started right away.

The Saatchi Gallery’s Saleroom Online – Buy Art free of commission from Artists around the world. Our Website takes no commission from artists and charges no commission to buyers.

Chat rooms are a common meeting place for people of all ages and interests. While these are usually created for social reasons, many have been created to offer help, support, and information. Now you can find rooms on a variety of topics, including art chat rooms. People will revisit your web site to participate on your discussion board or chat room. They will meet other people with similar interests and your web site will become a hang out were they can chat. Live chat is a great way to communicate with business associates without having to go through the hassle of e-mail or phones. Phones are instant communication, but you cannot send files over the phone, and emails are wonderful if they happen quickly. However, often times email can take a long time, and there are mistakes involved. With mass amounts of junk mail, people tend to erase things they need, or important emails can get lost in the bulk folder. Therefore, instant messaging is the perfect business software solution.

This system supports a large number of customers for the development of business, it is totally based on cooperation and coordination with the clients and the customers that have the mutual relationship between the client and their working profile. This will work with full assistance providing the product knowledge and customer’s point of view and approach. Meanwhile, customer’s support services that handles by best professionals in their core domain. Their dedication and determination will work for the best outsourcing live chat support services.

Live chat support is one of the services that are built on customers support basis. This system supports a large number of customers for the development of business, it is totally based on cooperation and coordination with the clients and the customers that have the mutual relationship between the client and their working profile. You get for more information view Art Live Chat Support

Second only in size to the US market, The UK art and antiques market is worth well over £4 billion a year, and holds a global share of some 26% of the world’s total art sales. In terms of volume, the UK is the largest marketplace for art on the planet. (1). In 2005, the index covering sales of old masters showed growth of 18. 8%, while the similar index covering post-war and contemporary art rose 8. 3%. Over the past five years, the average annual returns were 3. 1% and 17. 7% respectively. (2). That’s a better return than investing in stocks and shares.

Buying art can represent a fantastic long-term investment opportunity. In order to help you make an informed decision on the art you buy through The Art Ministry website, we have put together some key considerations to bear in mind when selecting work from our galleries. With over 25 years’ experience in the art market, our team have followed the same steps to ensure all work available in our Online Store is fairly valued. 1. Buy what you like

It’s important to trust your own taste when buying art. Our aim in providing this collection is to offer artwork for every budget that adds interest to your home or office, a talking point that enriches your environment and lifestyle. Great art needn’t be expensive, and buying artwork should primarily be an expression of your own personality. Like stocks and shares, the value of artwork can go up or down, so it’s crucial you buy what you like and can afford. Ultimately the true value of art is in the pleasure or feelings it evokes. The more people that find it appealing the more demand increases, which inevitably increases the value. 2. Do your homework and understand the value of the work

When you view a piece of artwork to buy, pay attention to detail. If you look into the way it has been physically created, how much time it took and the journey the artist went through in producing the piece, you will come to appreciate the skill of the artist and the effort involved in making the work. When it comes to value, don’t be taken in by the medium either. For example, oil paintings are in general more expensive than watercolours, but the latter can require more skill to achieve the desired impression.

The more artwork you look at and the more background information you obtain on various artists and how they work, the more you will learn what you like and why. Comparing the merits of a work with other artist’s work will help you determine the inherent value in any given piece and assist your buying decision. If you want to know what similar work has sold for, use a source like The Art Sales Index, which has catalogued art prices since the 1950’s, or the Mei/Moses Fine Art Index, which tracks various auction price indexes and compares them to the stock exchange to gauge relative performance.

The comparative merits include:The artist’s exhibition history The nationality of the artist What country the artist works in The medium the artist uses The size and dimensions of the piece The price their work has sold for in the past3. Buy from a reputable dealer

Only buy artwork from a reputable dealer. The best ones will provide extensive background information on the artists in their portfolio, giving details on how they work and what inspires them. Knowing the artist’s passion might also help you find a work that is right for you. Click here to read ‘About the Artists’ at The Art Ministry.

Reputable dealers will also provide a ‘Certificate of Authenticity’ with all original and limited edition artwork sold. This will be signed by the artist and proves the work is 100% genuine and has been accurately valued. These also include the following information:The title and visual description of the artwork Edition numbers and collection details Materials and techniques used Size and dimensions of the work The copyright holder Distributor details Release date of the artwork Printer’s details if relevant Comments from the artist Notes on caring for the artwork

Sources:

1. The House of Commons Select Committee on Culture, Media and Sport (Sixth Report)

2. ‘Is it just art, or is it investment?’ by Joe Bolger, Times Online 17th April 2006, quoting figures from the Mei/Moses Fine? Art Index

If you require more assistance with buying art from our website, please to contact us, alternatively, feel free to browse our to view the work of all our artists.

Looking for tips and advice on art and design, visit our blog.