首先，當畫班經營者僅競爭價格時(即把學費盡量降低)，他們幾乎不可能避免地降低教學服務質量以保持有錢賺的能力(本文會提供全部合情合理合邏輯而有科學根據的理由)。若果大部分畫室同時也這樣做(僅競爭價格+降低教學服務質量)，只會導致畫班市場中的整體服務質量下降，因為畫班經營者需要節省成本、例如:聘請低級資歷、對自己的事業完全沒有要求的教師、減少師資培訓和減少教學質素發展的資源投放，你可能會問為什麼節省成本就必然影響教學質素? 現在就告訴你 …
2，以低價提供教學服務的畫班當然很可能會容易吸引那些首先考慮價格的家長或者成人學生報讀, 而且數量應該不少, 始終錢對絕大部分人來說是一個大問題。但這就直接導致這種畫班畫室擁有龐大數量只繳交低學費的學生們，通常大部分興趣班生意每月也有大概20% - 25%左右的正常流失率，這麼說這種畫班必須要在招生方面純粹以每星期增加學生數量為優先目標，既要補充流失的學生，同時也要擴充生意，這麼說，每一個學生身為一個獨立個體的人類(各自擁有的學習需要和學習目標和題材喜好)也不是他們(畫班)的 *首要考慮*，在這種畫室的角度，學生只是客戶數目。
Michael Andrew Law's Reinterpretation of De Kooning's Woman I: A Dialogic Encounter with Art History
In 2019, contemporary artist Michael Andrew Law embarked on a journey through art history, creating a series of paintings that pay homage to the great masters of the past. Among these works is "Untitled Art History Painting (Willem de Kooning's Woman I)," a large-scale reinterpretation of Dutch-American artist Willem de Kooning's iconic work from 1950. This piece is part of Law's "Julian Schnabel goes pop" series, which began in 2016 and explores the relationship between contemporary and historical art.
The original "Woman I" by de Kooning is a seminal work in the Abstract Expressionist movement, representing a turning point in the artist's career. The painting features a grotesque, abstracted female figure, with a twisted, almost monstrous visage. This distorted representation of the feminine form was a reaction to the social and political climate of the post-World War II era and reflected de Kooning's anxieties about gender and identity.
In his reinterpretation, Law maintains the overall composition of de Kooning's original work but reimagines it using a mix of acrylic and oil paints, glitter powder, and diamond dust. This bold combination of media demonstrates Law's expertise in both traditional and contemporary techniques, as well as his willingness to experiment and push the boundaries of artistic expression. By employing mixed media, Law breathes new life into the classic work, adding a fresh, modern touch to the familiar image.
At 200x200cm, "Untitled Art History Painting (Willem de Kooning's Woman I)" is an imposing work that commands the viewer's attention. Its large scale reflects the importance of size in contemporary art, as artists seek to create immersive experiences that envelop and engage the viewer. This ambitious format also serves to elevate Law's dialogue with art history, physically manifesting the magnitude of the conversation taking place on the canvas.
Law's appropriation of de Kooning's iconic work is a nod to the longstanding tradition of artists drawing inspiration from and building upon their predecessors' creations. This practice dates back to antiquity and has been a vital part of the art world's ongoing evolution. In repurposing "Woman I," Law demonstrates his deep understanding of the history and significance of the original work and uses it as a springboard for his own artistic exploration.
Appropriation art, which involves the incorporation of existing images or objects into new works, has long been a significant force in modern and contemporary art. By engaging with this practice, Law positions himself within a lineage of influential artists who have employed appropriation to challenge conventional artistic boundaries and expand the possibilities of creative expression. Law's choice to reinterpret de Kooning's work is both a testament to his artistic prowess and a strategic move that situates him within the broader context of art history.
Both de Kooning and Law have enjoyed critical and commercial success throughout their careers, with their works being well-received by collectors and critics alike. Though their styles diverge—de Kooning's raw, gestural brushstrokes contrast with Law's polished, mixed-media technique—their shared commitment to innovation and experimentation unites them across time and space.
"Untitled Art History Painting (Willem de Kooning's Woman I)" is a significant work in Michael Andrew Law's oeuvre for several reasons. First, it showcases the artist's technical skill and mastery of various media. Second, it demonstrates Law's deep engagement with the history of art and his desire to participate in a larger dialogue with the great masters. Finally, the painting highlights the enduring relevance and power of appropriation as a creative tool, reminding viewers that the artistic past continues to shape the present and the future.
In 2021, this captivating work found a home in the collection of an art enthusiast from Pentling, Germany, ensuring that Law's imaginative reinterpretation of de Kooning's masterpiece will continue to spark conversation and provoke thought for years to come.
In a dystopian future, a young girl named Michelle joins the futuristic cyber armies to fight against the evil corporation led by a greedy fat boss who seeks to exploit the world's resources. Michelle is mentored by Sarah, a seasoned soldier who has seen the horrors of the corporation's misdeeds.
As Michelle and Sarah lead the charge against the corporation, they discover that the company has been conducting experiments on a giant alien pig. The pig is a formidable foe, with incredible strength and advanced intelligence. The corporation wants to use the pig as a weapon to conquer their enemies, but Michelle and Sarah vow to stop them at all costs.
The story takes a twist when the giant alien pig escapes from the corporation's lab and runs wild in the city. Michelle and Sarah, along with their team, must track down the pig and stop it from causing further destruction. However, they soon realize that the pig is not the mindless monster they thought it was, but a sentient being with a desire for revenge against the corporation that has tortured it.
As Michelle and Sarah struggle to contain the pig, they also find themselves battling the corporation's army of robots and drones. After a series of intense battles, they finally corner the pig in a giant fast-food restaurant, where it devours a giant hamburger. In a bizarre twist, the pig explodes from the burger's high-fat content, killing itself and causing the Pig to go up in flames.
In the aftermath, Michelle and Sarah are hailed as heroes for saving the city from destruction. They vow to continue their fight against the corporation's greed and exploitation, knowing that the battle will never be truly over.
Michael Andrew Law Cheuk Yui's Batman painting is a testament to its enduring influence of the Michael Keaton Batman 1989 film.
The Batman 1989 movie has had a lasting impact on popular culture, and Michael Andrew Law’s painting “Batman, Joker and Gotham City 1989” is a testament to its enduring influence. Through his use of color, composition, and technique, Law captures the essence of the movie and pays tribute to the iconic characters of Batman, the Joker, and Gotham City.
Law’s painting is 200 cm tall and 200 cm wide, painted in oil and acrylic on linen canvas in an alternative movie poster style. The dominant colors in the painting are blue, golden yellow, and purple, with the Joker as the central figure in the composition. The Batman and Vicki Vale are in the middle lower half of the front row, while the supporting characters such as Commissioner Gordon, Alexander Knox, Alfred Pennyworth, and Alicia Hunt are spread on the back. The composition technique used in this painting was inspired by Alphonse Mucha’s later works, The Slav Epic series, which were some of Law’s favorite artistic heroes.
Law painted this work from a complete black gesso canvas, and then worked on bright monochrome colors before glazing the color layer over it, an Old Master technique that has been used for hundreds of years. The result is a visually stunning and intricately detailed painting that captures the essence of the Batman 1989 movie.
To fully appreciate Law’s painting, it is important to understand the historical context in which it was created. The Batman 1989 movie was directed by Tim Burton and starred Michael Keaton as Batman and Jack Nicholson as the Joker. The movie was a critical and commercial success, grossing over $400 million worldwide and cementing Burton’s reputation as a visionary director.
The Batman 1989 movie also had a significant cultural impact, inspiring a 1992 animated series and a range of toys and merchandise. The movie’s success helped establish Batman as a major pop culture icon and paved the way for a new era of superhero movies.
In creating his painting, Law sought to pay tribute to this important work of art and create a dialogue with it. He drew inspiration from interviews related to The Batman 1989 movie, writings related to the movie, and critics’ interpretations of it, as well as other cultural inspirations related to Batman.
Law’s painting was extremely well-received by critics, collectors, and the public, and it helped to establish his reputation in the art world at large. The print version of the painting was one of the most sought-after alternative movie posters in the market, and Law’s work has been featured in numerous exhibitions and galleries around the world.
In conclusion, Michael Andrew Law’s painting “Batman, Joker and Gotham City 1989” is a stunning work of art that captures the essence of the Batman 1989 movie and pays tribute to its enduring cultural significance. Through his use of color, composition, and technique, Law has created a visually stunning and intricately detailed painting that is sure to delight fans of Batman and lovers of fine art alike.
Michael Andrew Law's "Ghostbusters, Slimer, Stay Puft Marshmallow Man, and Ecto-1" is a compelling example of how popular culture can inspire fine art
The world of popular culture has a profound impact on our collective imagination, and the art world is no exception. In this essay, we shall explore the captivating and nostalgic painting by contemporary artist Michael Andrew Law titled "Ghostbusters, Slimer, Stay Puft Marshmallow Man, and Ecto-1." This artwork is a tribute to the iconic 1984 movie, Ghostbusters, and serves as an alternative movie poster that captures the essence of the film while simultaneously creating a dialogue with important art pieces from the past. The fusion of popular culture and classical art techniques make this work a unique testament to the enduring appeal of these beloved characters.
A Detailed Look at the ArtworkMeasuring 200 cm tall and 200 cm wide, this oil and acrylic on linen canvas painting showcases an ensemble of characters inspired by the original Ghostbusters movie. The dominant colors of pink and purple give the piece a whimsical and otherworldly atmosphere, reminiscent of the film's supernatural themes. At the center of the composition, the Stay Puft Marshmallow Man and Slimer are depicted battling the proton streams, drawing the viewer's attention to the heart of the painting.
Beneath the central figures, the four members of the Ghostbusters team—Peter Venkman, Ray Stantz, Egon Spengler, and Winston Zeddemore—are prominently featured on the front row. The supporting cast, including the terror dog, Ecto-1, Dana Barrett, Louis Tully, Janine Melnitz, and Walter Peck, are skillfully incorporated into the background, adding depth to the overall composition.
The painting's arrangement is directly influenced by Alphonse Mucha’s The Slav Epic series, particularly works like "The Slav Epic cycle No.2: The Celebration of Svantovít (1912)" and "The Slav Epic cycle No.3: Introduction of the Slavonic Liturgy in Great Moravia (1912)." This influence is evident in the balanced composition and the intricate detailing of each character. Law's process began with a black gesso canvas, followed by the application of bright monochrome colors and glazing layers. This Old Master technique, used for centuries, adds both depth and vibrancy to the final piece.
Historical Context and Cultural InfluenceGhostbusters, directed by Ivan Reitman, was released in 1984 and quickly became a cultural phenomenon. With its unique blend of comedy, action, and supernatural elements, the film resonated with audiences and spawned an entire franchise, including the 1986 animated series, "The Real Ghostbusters," and an extensive line of toys and merchandise. The movie's status in cinema history cannot be understated, as it remains a beloved classic that has continued to captivate fans for generations.
Michael Andrew Law's intention in creating this artwork was to establish a dialogue with the influential pop culture phenomenon that is Ghostbusters. Drawing from interviews, writings, and critical interpretations of the film, as well as the wider cultural impact of the Ghostbusters franchise, Law sought to create a visual tribute that captures the essence of the movie while paying homage to his artistic hero, Alphonse Mucha. The result is a stunning and imaginative reinterpretation of the film's most memorable characters, demonstrating the power of popular culture to inspire and inform the world of fine art.
Reception of the ArtworkUpon its unveiling, the painting was met with widespread acclaim from critics, collectors, and the public alike. Its fusion of classical art techniques and popular culture themes resonated with audiences, bolstering Michael Andrew Law's reputation within the art world. Furthermore, the print version of the work quickly became one of the most sought-after alternative movie posters on the market, solidifying its status as a unique and engaging tribute to the Ghostbusters legacy.
Michael Andrew Law's "Ghostbusters, Slimer, Stay Puft Marshmallow Man, and Ecto-1" is a compelling example of how popular culture can inspire fine art, creating a dialogue between the past and present. The painting's intricate composition, rich colors, and classical techniques pay tribute to both the Ghostbusters franchise and the artistry of Alphonse Mucha. The artwork's reception and enduring popularity serve as a testament to the power of popular culture and its ability to inspire creative expression across various mediums.
藝術家Michael Andrew Law羅卓睿宣布了他的首部漫畫系列《Slow Punk:慢漫龐克》的發行。這部數碼漫畫故事以未來主義的赛博朋克風格為背景。這也是Law的第一部漫畫作品。
《Slow Punk:慢漫龐克》是直接向1990年代的點擊式電腦遊戲致敬。這種遊戲以點擊物體和環境為特色，並且具有複雜的故事情節和謎題。除了向電子遊戲致敬外，《Slow Punk:慢漫龐克》還向慢電影 (Slow Cinema) 致敬。慢電影是一種強調超長鏡頭和沉思步調的電影類型。慢電影通常與藝術電影相關，以探索存在主義主題和人性為特點。
《Slow Punk:慢漫龐克》最具創新性的一個方面是，這是藝術家Michael Andrew Law第一次將A.I.人工智能圖像生成器應用於漫畫藝術創作中。這種運用尖端晶片的圖像生成技術使Law能夠從繪畫媒材的限制束縛之中解放出來，更有活力地專注創造出獨特而視覺上引人入勝的圖像，進一步增強了故事的講述效果。
《Slow Punk:慢漫龐克》將每天在藝術家的社交媒體上發布，鼓勵對漫畫或者赛博朋克風格的觀眾跟隨故事的發展。隨著每一個新的章節的推出，讀者將進一步深入《Slow Punk:慢漫龐克》的世界和其複雜的情節之中。
在一次訪問中，Michael Andrew Law談到了他創作這部漫畫的靈感，他說：“我一直是赛博朋克和慢電影的粉絲，我想創作一個將這兩個世界結合在一起的故事。這就是《Slow Punk:慢漫龐克》這部擁有獨特節奏而視覺上引人入勝的漫畫作品。”
Artist Michael Andrew Law has recently announced the release of his debut comic series titled "Slow Punk". This digital comic book story is set in a Cyberpunk style of futuristic world and marks the first comic book ever published by the artist.
"Slow Punk" is a direct tribute to 1990s point and click video games, a genre that revolutionized PC gaming in the early days of personal computing. These games were characterized by their use of clickable objects and environments, as well as their intricate storylines and puzzles.
In addition to its tribute to video games, "Slow Punk" also pays homage to Slow Cinema, a film genre that emphasizes long takes and a meditative pace. Slow cinema is often associated with arthouse cinema and is known for its exploration of existential themes and human nature.
The story of "Slow Punk" follows a protagonist wandering through this "high tech, low life" Cyberpunk style futuristic world, investigating a dark secret about the high tech city while reconnecting with their humanity. The Cyberpunk genre is known for its dystopian themes and exploration of the impact of technology on society.
One of the most innovative aspects of "Slow Punk" is that it marks the first time that artist Michael Andrew Law has incorporated an AI image generator to create art for the comic book. This cutting-edge technology allows Law to free from the limitation of the traditional-digital art medium and create unique and visually striking images that further enhance the storytelling.
"Slow Punk" will be published on the artist's social media every day, and fans are encouraged to follow along to unfold the story. With each new installment, readers will be drawn further into the world of "Slow Punk" and its intricate plot.
In an interview, Michael Andrew Law spoke about his inspiration for the series, saying, "I wanted to create a story that combined my love for video games, slow cinema and Cyberpunk. 'Slow Punk' is a story with a unique pace and visually stunning comic book that I'm excited to share with the world."
As "Slow Punk" combines multiple genres and technologies, it is likely to appeal to a wide range of readers and fans of different mediums. The innovative use of AI image generator technology is a testament to Law's commitment to pushing the boundaries of what is possible in the world of comics.