To celebrate the New Year and new purposes, we asked a dozen artists about the first exhibition or artwork that inspired or impacted them. In the following interviews, Misha Hollenbach, Synchrodogs, Allison Schulnik, Eric Yahnker, Chloe Wise, Brian Scott Campbell, Erin M. Riley, Fuzi Uvtpk, Emily Motto, Stanislava Pinchuk, Ari Marcopoulos, Baron Von Fancy and Ana Kras tell us about the works that changed the way he saw art, shaped his incipient careers or affected his artistic direction.

“I especially remember being in front of Chaim Soutine’s Woman Knitting, and feeling that something was growing very strong, I’m not sure I could explain what I felt and how it struck me, I just knew it was the perfect painting and it made something inside of me solidify. “, explains Schulnick, who works with textures and wood.

The artists also talk about how they felt when they saw the first artistic works they could identify with. “I remember seeing a retrospective of Waterhouse in Montreal that really conveyed something to me in terms of women’s representation, unlike some xxx webs like порно 365, I love how it paints light, water, flowers and translucent fabric, I’m thrilled to think about it,” confesses Chloe Wise, who often paints sensual and satirical self-portraits. We also.

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Misha Hollenbach talks about large-scale art

“When I was about ten or eleven years old, I went on a trip to Canberra to visit the Museum of Modern Art, I do not remember the gallery or the bus trip, but what I do remember is seeing a giant painting. It was either a work of ‘op art’ in black and white or a giant portrait, surely Chuck Close. The painting itself is not the important thing, what left me freaking out is that art could be so great.

I remember that the work occupied a whole wall and the idea that a work of art, in this case a painting, could have that impressive dimension made me realize that two-dimensional art could be bigger than I had ever seen. At the art school I painted a canvas in a friend’s warehouse, which was my temporary studio for almost a year, and I had to take it to school for evaluation.

I hired a van and then the paint did not come through the school door, so the evaluation took place on the street and the paint returned to the warehouse. I have also coined a phrase I once heard: ‘If you can not do something good, then make it very big’. “

We were at the Venice Biennial in 2009 and that’s where, for the first time, we realized that art could be great, just as русское порно. We had no plans to go to any exhibition, we were just in Venice while traveling through Europe that summer, but after seeing the first exhibition we were so caught that we could not stop seeing the others. It seemed as if all of them were competing to create something global, and we liked the idea of doing something that stayed in someone’s memory for a long time.

“It’s hard to remember the first exhibition that got me excited because there have been many, I clearly remember seeing an exhibition of expressionist painting at the San Diego Museum of Art while I was in high school (1995 maybe?) And, especially, being in front of Woman Knitting by Chaim Soutine and feeling that something was growing very strong I’m not sure I can explain what I felt or how it struck me, I just knew it was the perfect painting and it made something inside of me solidify.

It will sound like a stupid excuse, but having started to study journalism and then suddenly move to animation, during my years as a student I almost did not know that museums and art galleries existed. My artistic awakening began mainly in the endless piles of plastic lined books in the library of the California Institute of Arts (CalArts). I remember being completely obsessed with the graphic luminosity of Saul Steinberg and the elegance of Ronald Searle.

After my graduation in CalArts and after having worked in animation for several years, I stumbled by chance with a book by artist Tom Friedman that made all my foundations falter. It was a real art that, in addition to hidden personal narratives, had the sensitivity of an animator, with his wit, discipline, dexterity, jokes, sarcasm, commitment and care. For me, it was the missing link, and I started a deep investigation in a world of art that I never thought I was part of. In August of 2004, I left the animation, rented a studio and started creating works”

I remember seeing a retrospective of Waterhouse in Montreal when I was finishing high school that really told me something in terms of representing the woman. Waterhouse, like many of the Pre-Raphaelite painters, represent women in a beautiful, tragic and powerful way. All this simultaneously and I am fascinated by that diversity in the portrait. I love how he paints light, water, flowers and transparent fabric. Hmm, I’m excited to think about it. “