為什麼我們拒絕低價學費教學 ? 
三個理由說明為什麼平價畫班對學生百害而無一利 

在教育和服務為基礎的畫班畫室市場中，價格低廉的競爭對於畫班經營者和學生家長都不利的邏輯科學論據基於下面幾個根據 : 

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。

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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.