| |
Skip navigation
|
|
 |
|
|
|
 |
|
|
|
|
 |
|
|
|
 |
|
 |
|
|
 |
|
 |
|
|
 |
|
 |

TOP 200 ARTISTS OF THE 20TH CENTURY TO NOW
TIMES READERS AND SAATCHI ONLINE VISITORS VOTE FOR THEIR FAVOURITE ARTISTS
AFTER 1.4 MILLION VOTES WERE CAST, HERE ARE YOUR LEADING 200 ARTISTS:
| - | Pablo Picasso |
| - | Paul Cezanne |
| - | Gustav Klimt |
| - | Claude Monet |
| - | Marcel Duchamp |
| - | Henri Matisse |
| - | Jackson Pollock |
| - | Andy Warhol |
| - | Willem De Kooning |
| - | Piet Mondrian |
| - | Paul Gauguin |
| - | Francis Bacon |
| - | Robert Rauschenberg |
| - | Georges Braque |
| - | Wassily Kandinsky |
| - | Constantin Brancusi |
| - | Kasimir Malevich |
| - | Jasper Johns |
| - | Frida Kahlo |
| - | Martin Kippenberger |
| - | Paul Klee |
| - | Egon Schiele |
| - | Donald Judd |
| - | Bruce Nauman |
| - | Alberto Giacometti |
| - | Salvador Dalí |
| - | Auguste Rodin |
| - | Mark Rothko |
| - | Edward Hopper |
| - | Lucian Freud |
| - | Richard Serra |
| - | Rene Magritte |
| - | David Hockney |
| - | Philip Guston |
| - | Henri Cartier-Bresson |
| - | Pierre Bonnard |
| - | Jean-Michel Basquiat |
| - | Max Ernst |
| - | Diane Arbus |
| - | Georgia O'Keeffe |
| - | Cy Twombly |
| - | Max Beckmann |
| - | Barnett Newman |
| - | Giorgio De Chirico |
| - | Roy Lichtenstein |
| - | Edvard Munch |
| - | Pierre Auguste Renoir |
| - | Man Ray |
| - | Henry Moore |
| - | Cindy Sherman |
| - | Jeff Koons |
| - | Tracey Emin |
| - | Damien Hirst |
| - | Yves Klein |
| - | Henri Rousseau |
| - | Chaim Soutine |
| - | Arshile Gorky |
| - | Amedeo Modigliani |
| - | Umberto Boccioni |
| - | Jean Dubuffet |
| - | Eva Hesse |
| - | Edouard Vuillard |
| - | Carl Andre |
| - | Juan Gris |
| - | Lucio Fontana |
| - | Franz Kline |
| - | David Smith |
| - | Joseph Beuys |
| - | Alexander Calder |
| - | Louise Bourgeois |
| - | Marc Chagall |
| - | Gerhard Richter |
| - | Balthus |
| - | Joan Miro |
| - | Ernst Ludwig Kirchner |
| - | Frank Stella |
| - | Georg Baselitz |
| - | Francis Picabia |
| - | Jenny Saville |
| - | Dan Flavin |
| - | Alfred Stieglitz |
| - | Anselm Kiefer |
| - | Matthew Barney |
| - | George Grosz |
| - | Bernd And Hilla Becher |
| - | Sigmar Polke |
| - | Brice Marden |
| - | Maurizio Cattelan |
| - | Sol LeWitt |
| - | Chuck Close |
| - | Edward Weston |
| - | Joseph Cornell |
| - | Karel Appel |
| - | Bridget Riley |
| - | Alexander Archipenko |
| - | Anthony Caro |
| - | Richard Hamilton |
| - | Clyfford Still |
| - | Luc Tuymans |
| - | Claes Oldenburg |
TO SEE THE FULL 200 CLICK HERE
|
|
 |
|
 |
|
|
|
|
Selected Works by Lucy Skaer
Lucy Skaer
Diagrams and Banners (Blood)
2002
Enamel Paint on Paper
220 x 270 cm |
Click on images to enlarge
 |
The image of a dead man, taken from a newspaper report of a riot in Mexico, lies across the top of a large, banner-like sheet of unstretched paper. A red pool of blood runs from his head, through the pattern of a Chinese bowl, to a flipped image of the same figure beneath resting on a strange grouping of modular building blocks. To Skaer, the corpse represents "a naturally occurring image, the perfect likeness of the living person, and yet fundamentally different." Like the bowl, an object spanning generations of mortality, it is removed from its historical and geographical context to allow the artist to construct a new narrative on a new timescale.
|
Lucy Skaer
Tragedy No Us Touched Has
2001
Ink on paper
152.4 x 101.6 cm |
 |
Tragedy No Us Touched Has relates closely to Diagrams and Banners (Blood). It employs a similar playing card construction, pairing semi-symmetrical images of a human form lifted from photojournalistic imagery, this time a girl injured in the Bloody Sunday protests, with a delicately etched glass bowl. The bowl is drawn in pencil three times, each version layered close atop the other, to attain a blurry, optical appearance. Entwined in a sort of Venn diagram or a heraldic coat of arms, figure and object are associated by colour (the blood on the girl's face is Wedgewood blue) and design (the pattern on her clothes, the markings on its surface). |
|



|
|