Zhang Dali was born on 1963 and Born in Harbin, China. 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. They are often hung upside down, indicating the uncertainty of their life and their powerlessness in changing their own fates.
According to the artist, immigrant workers who have traveled from the rural areas all over China to earn a living in construction sites in Chinese cities, are the most important members of the Chinese race, who are shaping our physical reality. Yet, they are the faceless crowd who live at the bottom of our society. To cast them in resin is a way to recognize their existence and contribution as well as to capture a fast-changing point of time in the Chinese society. From 2003 to 2005, Zhang 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. They are often hung upside down, indicating the uncertainty of their life and their powerlessness in changing their own fates.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.
But Beijing has almost no graffiti and the heads compete for space only with notices telling you not to park in front of gates or dump garbage, advertisements for venereal disease remedies and the ubiquitous Chinese character - chai, indicating that the building is about to be demolished. 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.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).
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.
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Some of northern Europe's greatest artists used oil and brush to set the mood that many associate with the Little Ice Age: snowy and dank. Pieter Bruegel the Elder may have used the frigid winter of 1565 as source material for the dull, greenish sky of 'Hunters in the Snow', part of his series of seasonal depictions. This was one of the first portrayals of a snowy landscape in European art, noted William Burroughs in the British Journal 'Weather'.
Bruegel extended the wintry theme to other topics, including 'The Adoration of the Magi in the Snow'. Many Dutch artists, notably Hendrick Averkamp, took to cold-weather depictions in the mid-1600s, another period of brutal chill across the region.
The northern Renaissance also spawned a new realism in sky portraiture. Back in the early 1400s, Flemish painter Jan van Eyck was one of the first to depict cloud types that a meteorologist today might recognise and label. Hans Neuberger quantified the treatment of clouds by US and European painters in recent study that appeared in 'Weather'.
Sampling 41 museums in nine countries, Neuberger examined more than 12,000 paintings produced between 1400 and 1667. He found that blue skies, which predominated up to 1550, gave way to low clouds in more than half of the post-1550 paintings. Neuberger didn't attempt to analyse how much of the trend was related to the Little Ice Age weather and how much to artistic fashion.
English landscape painters of the Little Ice Age held true to their island's cloudy climate. Every English sky examined by Neuberger had at least some cloudiness, and the sky was typically a pale blue at best. The English Romantic artist J.M.W. Turner specialised in foggy, misty tableaux as well as striking sunsets; the latter may have reflected the volcanic dust that added vivid hues to many sunsets in the early 1800s.
Later in the century, the gigantic Krakatoa eruption of 1883 let to sunsets so striking they were noted in press reports in New York and London. According to astronomer Donald Olson of Texas State University, Krakatoa may also have inspired Edward Munch's iconic masterpiece, 'The Scream'. In describing what triggered the painting, Munch wrote of experiencing a 'blood-red' sunset in present-day Oslo that resembled 'a great unending scream piercing through nature' - though Munch didn't give a date for this experience. Although a full decade separates the eruption from 'The Scream', Olson believes that Munch may have encountered a Krakatoa sunset and waied years to depict it.
The legendary frost fairs held on the River Thames in London during occasional freeze-ups were captured in a number of paintings, including 'A Frost Fair on the Thames at Temple Stairs' (1684) by Dutch painter Abraham Hondius. However, these festivals weren't as frequent as one might assume. Outside of the especially frigid mid-1600s, the Thames froze at London only about once every twenty or thirty years from the 1400s until 1814, when the last freeze-up was recorded.
Moreover, it wasn't the end of the Little Ice Age that ended the frost fairs. When London Bridge was replaced in the 1830s, it allowed the tide to sweep further inland. This made it virtually impossible for the Thames to freeze at London, and it hasn't happened since.
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