A, the German new Expressionism painting-George Basel.

From 65438 to 0964, Basritz began to draw clumsy and rude farmers, shepherds and hunters. Some of these "heroes" are still holding brushes or palettes, ready to revive German society and culture and make it a whole again. Around 1965, he developed the expressive figure painting style of freehand brushwork, reappearing the legendary heroes and characters in fairy tales, which are becoming burnt-out German land and scenery. These works are named "Newcomers" (or new styles) to be exhibited. Critics call these characters "peace fighters, eco-heroes, and anti-war fighters. They use brushes or palettes as weapons instead of guns."

Second, the famous German artist gerhard richter.

Gerhard richter, born in Dresden, Germany in 1932, studied painting in East Germany from195 to 1956, and moved to West Germany in 19 1 year, and continued to receive art education at Dü sseldorf Art Institute. Cologne and Dü sseldorf in 1960s coincided with the influx of new art in Europe and America and the surge of art tide. Gerhard richter did not hesitate to devote himself to the fiery and radical wave of art and kept close contact with many avant-garde artists. In order to express their response to the American and British "Pop Art" and "Riptide Movement" which just entered Germany, gerhard richter and his friends held a one-day art action in a department store in Dü sseldorf on June1963+1October1. The theme of this action is "supporting capitalist realism". Although they claim to be German pop artists, gerhard richter and his friends' understanding of business culture is quite different from that of their counterparts in the United States and Britain. The fundamental reason lies in the differences in economic and political environment. Abstract painting, realistic works based on photos, minimalist painting and sculpture style. Gerhard richter has been trying all kinds of things. He is a real artist and brings surprises to this rich and monotonous art world from time to time.

Third, the German neo-expressionist painter-Joerg? Imendorf

Joerg? Immendorf is the most famous and politicized artist in contemporary Germany. Teacher Joseph wrote it? Inspired by Boyce, the young Immendorf began to get involved in the politics of the Federal Republic of Germany in the mid-1960s, and in the 1970s and 1980s he created a series of paintings of "German cafes" to describe his impressions of the two German realities, and then he created "Germany? The painting series "Cafe Lotus" reflects the relationship between Imendorf and his role models and friends. Painter Jorge? Imendorf studied under Joseph at the Dü sseldorf Art Institute. Boyce, on the whole, his works highlight a question: What influence can art play in the tension network of social relations? Imendorf always intervenes and tries to oppose rigid social norms and traditions. This began with the so-called LIDL activity in the early 1960s. LIDL is a fictional concept, which represents various attempts to bring vitality to the boring atmosphere of the Federal Republic of Germany. LIDL is also a discussed concept, which means that art should participate in the' 68 student movement storm. In Immendorf's words, people's dreams must now be realized. His two slogans are: "Serve the people" and "Colleague, where does your art stand?" The art of propaganda and agitation came into being. What is the social significance of artistic behavior? What is the significance of painting in its modern historical process? Art is idea and behavior. Taking Brecht's poem "The Reader's Problem" as an example, Imendorf turned language into painting. 1976, he formed an "action alliance" with the German democratic painter A.R. Punk, and the famous "German Cafe" painting series was born. This is a struggle against the present situation of the Federal Republic of Germany and the Democratic Republic of Germany, and also a painting study of the history of the two countries. 1980, Imendorf gave up his teaching position in a middle school in Dü sseldorf. The painting series "Lotus Cafe" was born. Imendorf became more and more interested in artistic role models and important contemporary figures. His artistic background has broadened and his historical significance has increased. As he demanded in the sixties and seventies, dreams cannot be changed immediately, which is often a bad reality, but they are still dreamy and explosive. Immendorf still believes that his works may touch and change people's consciousness. As he said, looking for "the picture behind the picture" is a sensitive process, and everyone has different ways. His belief (when he was a student of Boyce) has not changed so far: art is also a slogan and a means of political struggle and artistic creation.

Interview with American contemporary artist Jeff Koons.

Katie Siegel: Let's start with you moving from Chicago to new york. When did you come to new york?

Quince:1I went to new york at the end of 1976, but I officially moved to new york after 1977 1. In Chicago, I entered the Academy of Fine Arts, and I like it very much, because I admire the people who study with me, both their works and their passion. Among them are Ed P and Jim Nutt. But I'm tired of my symbolic works, and I realize that something different is happening in new york, where there are different art groups, new wave music. This is the real reason that prompted me to come to new york.

Siegel: Are you a participant in the New Wave Movement?

Quince: A friend of mine in Chicago is a talking head. I like patty smith, New York Dolls and Jonathan Richman. I have no direct relationship with them in art, but I appreciate their team consciousness and their creation.

Siegel: As soon as you arrived in new york, you became friends with Julian Schnabel and David Salle. Does your creation have anything to do with them?

Quince: I met Julianne at Mudd Club in about 1980. He is very helpful. Once he came to my apartment with me from Mulder Club. He read my work and told David to show him my work. He also called Mary Boone. That's why I planned to hold an exhibition in Mary's gallery, although it didn't come true in the end.

Siegel: What kind of art were you most interested in at that time?

Quince: My other friends in new york are involved in different art fields. I like the exhibitions and activities held in John Gibson Gallery. I like Bill Beckley. When I was working in new york Museum of Modern Art, Bill was holding an exhibition there. I also admire Bill lundberg, who is the first projection artist I met. My favorite artists are James Carpenter and Dennis oppenheim. I always feel that I have a close relationship with Martin Kippenberger.

Siegel: How did you change from painting to artistic creation based on objects?

Quince: My father is an interior decorator. He has an exhibition room full of exhibits, so I grew up with all kinds of things. When I almost lose interest in painting, I like to appreciate those three-dimensional works of art, such as robert smith's works. Some of my early works imitated Smith's style.

Siegel: Are you teasing Smith with commercial and mass-market goods?

Quincy: No, I'm not being sarcastic. I just like this simple and mirror-like abstraction, and I like this way of attracting the audience. Since then, I have added some ready-made items that I am interested in. New york has made great progress now. At that time, there were often many commercial activities on Fourteenth Street. People can sell all kinds of small commodities, from man-made goods to small animals like birds. I often look for things I like there. I lost interest in painting, and three-dimensional objects became my interest. Finally, one day I made a huge cone-shaped object covered with artificial leopard skin, probably because I have seen (Mink Deville's performance, and I like Deville's leopard skin guitar. Then, I made a star-shaped fabric with reflective effect and shiny metallic luster, and put a porcelain girl on it. There is a porcelain portrait on the table below, with an inflatable panda and an inflatable elephant on both sides of the portrait. This is 1977.

Siegel: Your first exhibition in new york was at 1980, in the window of the new museum. You named it "new". What is new? Is it a vacuum cleaner or something new?

Quince: That project is new. In the past, I have exercised some aggressive behaviors on objects-pasting or nailing things on objects. However, in this window exhibition of the new museum, if this is a vacuum cleaner hanging in a plexiglass box, I just show the original state of the items here. There may be a small hole in the hanging place, but the only thing I can do is to hang it on the hook of this plexiglass box.

Siegel: The exhibition 1980 is not the first public appearance of your art in new york, but the only exhibition for some time. 1982 You have returned to your hometown of Sarasota. Did things get better when you returned to new york again?

Quincy: Before I left new york, everything was at a loss. If I hold an exhibition with the help of Mary Bernie and start working with Annina Nosey, nothing will make much progress. After saving enough money in my hometown, I went back to new york, bought a small apartment in the prosperous area of new york, and later opened a gallery. From 65438 to 0980, I participated in an exhibition called "Art in the 1980s" held in Caracas, the capital of Venezuela, where the young artist Meyer Vaisman visited the exhibition. Later, Meyer moved to new york and opened a gallery called "International Memorial" on the Lower East Side. He often mentions me to artists like Richard Prince who plan to hold art exhibitions there. Meyer said to them, "Do you know Quince? I like his works very much. I saw his works in Caracas. How can I see him? " From 1982 to 1985, I participated in many joint exhibitions.

Siegel: 1985 What was the response to your first solo exhibition?

Quince: I think people like the vacuum cleaners I exhibited in my early days, but they still want to see more and see the greater development of my art. I think Balance has done this. This is a very narrative exhibition.

Verb (abbreviation of verb) Jeff Queens, an American contemporary artist

Jeff Koons 1955 was born in the United States, and 1976 graduated from maryland institute college of art. After graduating from college, Koons did not immediately engage in art-related work, but became a successful securities broker on Wall Street. In the early 1980s, as a radical advocate of new geography, Quince first came into people's sight and attracted the attention of the art world. Misappropriation and parody advocated by the new geography are the core of Quince's artistic creation in this period. It should be said that the booming pop art in the United States in the 1960s had a vital impact on Quince, who showed the bizarre modern commodity society with a satisfied, curious and even playful attitude. At the beginning of 1980s, Quince borrowed from Du Xiang's misappropriation, and turned exquisite modern commodities into an out-and-out artistic state. His vacuum cleaner and the basketball suspended in the plexiglass cover have brought people endless reverie, which is still fresh in people's memory. All kinds of commodities, advertisements and cartoon toys not only show the colorful modern commodity society, but also show the endless consumption desire of modern people like children. Queens grew up in the United States, where the commodity society developed rapidly, and had a short but unforgettable business experience. Therefore, although he focuses on mass goods, his works are full of satisfaction and narcissism, which is different from the implicit critical spirit of the first generation of pop artists. He deliberately broke the standard of beauty that people are used to, and showed the most vulgar public image in a very delicate way, especially a series of works of his intimate relationship with his wife, which naturally caused a lot of controversy because of their pornography and exposure.

Jeff Koons absorbed all the nutrients in the history of art without hesitation, and Dadaism, Duchamp's techniques, minimalism and early pop art all became his reference sources. He held high the banner of communication with the public, dared to challenge the "elegant" culture and the hierarchical concept of traditional aesthetics.