Rock and roll music always is my first choice when i need to release myself.It is easy to find rock and roll elements in fashion industry since many famous designer 's collection inspire by rock star. i believe it is because rock band always express their own attitude which is strongly touching their audience .SO,I just can't wait to introduce one of my favorite band -Cranberries to you all. Especially their vocalist -Dolores O'Riordan
The Cranberries are an Irish rock band formed in Limerick in 1989 under the name The Cranberry Saw Us, later changed by vocalist Dolores O'Riordan. Although widely associated with alternative rock, the band's sound also incorporates indie, indie pop, rock, post-punk and pop rock elements.The Cranberries rose to international fame in the 1990s with their debut album, Everybody Else Is Doing It, So Why Can't We?, which became a high commercial success and sold over five million copies in the United States. The group was one of the most successful rock acts of the '90s and sold over 14.5 million albums in the United States alone. The band has achieved four top 20 albums on the Billboard 200 chart
(one of my favorite song from Cranberries.It's about anti-war.)
time is ticking out
Gerhard Richter was born in Dresden in 1932 to a middle class family. Like many Germans of his generation, his relatives were involved in the Nazi movement; his mother's brother, Uncle Rudi died a young Nazi officer, while Richter's mentally disabled aunt was imprisoned in a Hitler euthanasia camp. Rigorous ideology and death have haunted Richter since he was just a child, perhaps causing his strong dislike for ideology of any kind and underpinning the attraction that nature, as an indiscriminate force, holds for him.
Support from his mother encouraged him to become an artist during his mid-teens and he embarked on a classical education at the Dresden Art Academy in Communist East Germany. Years later and a few months prior to the erection of the Berlin Wall, he and his wife fled with only a suitcase to Düsseldorf in West Germany. From 1961 to 1964, Richter studied at the Staatliche Kunstakademie Düsseldorf under Karl Otto Gotz.
During the early sixties Richter met and began to work with artists such as Sigmar Polke, Konrad Fischer-Lueg and Georg Baselitz. Their work, and Richter's in particular, began to have an impact in Germany, and eventually international art circles. Richter's beliefs are credited with refreshing art and rejuvenating painting as a medium during a period when many artists chose performance and ready-made media.
Together with Polke and Fischer-Lueg, Richter formed a group called the Capitalist Realists. The Capitalist Realists were satirical, often deriving subject matter from print media. Richter began to see art as something that had to be separated from art history; he believed that paintings should focus on the image rather than the reference, the visual rather than the statement. He wanted to find a new way of painting that would not be constricting. Richter emerged from the group to become one of the most sought after contemporary artists in the world. His work is regularly sold at auction, sometimes for millions.
Richter's first solo exhibition was held at Mobelhaus Berges, Düsseldorf in 1963. It was the first presentation of his photo-based painting style. Richter blurred the paintings, modernising traditional art through technique, and using photography as his source of material. These blurred paintings of photographs are close to reality but also contain a nostalgic distance, because the eye can never precisely capture the image being viewed, rather like trying to remember the features of a person whom one hasn't seen for a while. Only the outline is remembered, and the rest blurred. With his photo-based paintings of regular images, Richter has tried to subvert the hierarchy of art and the everyday. "I believe in nothing", he has said.
In 1967 Richter won the Junger Westen Prize and began to paint the Colour Charts, Grey Paintings and Forty-Eight Portraits; the Colour Charts are structured on a pre-established system of colour determination, removing artistic whim; the grey paintings contain no interpretable images but are experiments in brushstroke and the application of paint; the portraits are images of intellectuals Richter selected from an encyclopedia.
In 1972 Richter was chosen to represent Germany at the Venice Biennale. That same year, he exhibited at Documenta in Kassel, where he showed again in 1977, 1982 and 1987. At Documenta in 1982 Richter was awarded the Arnold Bode Prize and in 1985 in Vienna the Oskar Kokoschka Prize. To read a comprehensive list of Richter's exhibitions and awards, visit our exhibition page.
Richter's first exhibition in the U.S. took place at the Reinhard Onnasch Gallery in 1973. Fifteen years later in 1988 he was given his first North American retrospective organized by the Art Gallery of Ontario, Toronto and The Museum of Contemporary Art, Chicago. In 2001 the Museum of Modern Art in New York exhibited a retrospective of Richter's paintings called "Forty Years of Painting". Curated by Robert Storr, the exhibition was critically acclaimed.
The 2001 Retrospective at MOMA displayed how diverse Richter's paintings are. His early work is of blurred figurative paintings, both with and without colour followed by seductive abstract paintings, with a colour palette that is either brilliant or subdued. His surprisingly diverse range of work has received prolonged discussion from critics, especially due to Richter's disregard for "traditional" stylistic progression and his use of photographs.
Unlike American artists Richter wasn't interested in the purity of art. Idealism had disillusioned him from an early age. Instead he painted images without glory; images that rendered the ridiculous, ordinary; the tragic, ordinary; the beautiful, ordinary. Throughout his career Richter has shrunk from giving a psychological insight into his art, leaving his admirers and critics guessing and at times confused. According to him, his work forms from structures and ideas that surround him, nothing more profound than that.
Colour and Light
In August 2007 Gerhard Richter's new stained glass window for the south transept of Cologne Cathedral was unveiled. The original window was destroyed in World War II and had been replaced with plain glass. Inspired by Richter's 1974 painting "4096 Farben", the window consists of around 11,500 hand-blown glass squares in 72 different colours. Echoing the colours of the surrounding windows, Richter's illuminated abstraction blends a modernist aesthetic with the Gothic ecclesiastical architecture of the cathedral.
Richter, a resident of the catheral city since the early 1980s, was made an honorary citizen of Cologne in April 2007.
rtist and the most prominent member of the group known as "Young British Artists" (or YBAs), who dominated the art scene in Britain during the 1990s. He is internationally renowned, and is reputed to be the richest living artist to date. During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended.
Death is a central theme in Hirst's works. He becam
e famous for a series in which dead animals (including a shark, a sheep and a cow) are preserved—sometimes having been dissected—in formaldehyde. The Physical Impossibility of Death in the Mind of Someone Living, a 14-foot (4.3 m) tiger shark immersed in formaldehyde in a vitrine became the iconic work of British art in the 1990s, and the symbol of Britart worldwide. Its sale in 2004 made him the world's second most expensive living artist after Jasper Johns whom he surpassed in 2008.