Mark Tansey 馬克·坦西 (1949) Contemporary American

tonykwk@ The works of Mark Tansey (whose parents were art historians) challenge the mythology of art history and criticism (especially American formalism), bringing back pictorial rendering and discourse into the foreground. In contrast with the “photo-realist“ and “hyper-mannerist“ painters of the period, emphasis does not fall solely on technique, as Tansey is interested in “how different realities interact with each other“. 馬克·坦西 (他的父母是藝術和史學家) 的作品挑戰了藝術史和評論介的傳奇(特別是美國形式主義) 將畫面渲染和論調帶回到前面. 與 “時代 現實主義者“ 和 “超現實 主義 “畫家相反, 強調並不僅僅局限在技術上, 而是 坦桑 對“不同的現實互相交流 “感興趣 Mark Tansey (born 1949 in San Jose , California, USA) is an American painter. He lives and works in New York. Mark Tansey, son of the American art critic Richard G. Tansey, studied from 1967 to 1969 at the University of San Jose in California and later until 1972 at the College of Design in Los Angeles, California. In 1974, he continued his postgraduate art studies at Hunter College in New York . After his studies, he worked from 1978 to 1979 as an assistant to Helen Frankenthaler and then as a freelance illustrator for various newspapers and magazines. In the early 1980s, Tansey is actually recognized as artist in 1982, he opened his first solo exhibition in a New York gallery 1 . Mark Tansey is recognized by critics as a typical representative of post-modern art. The personality of Tansey can be seen in his paintings with ironic aspects of the history of philosophy and art, as, for example, in his painting of the triumph of the New York School from 1984 on: International American art in the second half of the xx th century as a military failure of European artists against their American colleagues of the modern age, directed by military capitulation; Europeans wear uniforms from the First World War and sit mainly on horses, while representatives of American art arrive in armored vehicles. It can also be seen, In the composition, a reference to a painting by Diego Velázquez , The Surrender of Breda . Tansey’s realistic and monochromatic paintings, though undoubtedly possessing a photo-realistic character, nevertheless contain an original composition with paradoxical elements, as in the Snowman painting (“the Snowman“) where one finds the portraits Of Karl Marx , Adolf Hitler and George W. Bush .