Art Critic Louis Choi Chul-joo

Contemporary ArtReview Basquiat Untitled

Art Critic Louis Choi Chul-joo Criticism [72] Jean-Michel Basquiat <Untitled (Skull), 1981>, Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.: Jean-Michel Basquiat <Untitled (Skull), 1981>

Jean-Michel Basquiat, Untitled (Skull), 1981, Collection: The Broad Museum of Art in Los Angeles

Jean-Michel Basquiat,《Untitled (Skull), 1981》

Basquiat's graffiti 'skull' image is a squeaky narrative image in a linguistic sense.

This is an image of an artistic language that expresses the emotion of the previous stage of the linguistic meaning as a skeleton, using the theme carved into the skull as a symbolic image as an excess of desire.

Therefore, the skull is a linguistic image in which the existence of death is divided. Jean Basquiat is pushing the boundaries between the inside and the other through linguistic grammar through the skull.

'skull' is an image that symbolizes death in a symbolic world as a linguistic meaning, and is a structure of a subject that is separated from the absence of desire for division. This is an existential image according to image design in a linguistic sense, and is the result of repeatedly aiming for death as a symbolic structure in the pre-creation stage.

Therefore, his graffiti identifies skulls with skulls with structures of deficient desires that are alienated from the city's identity as vectors that aim for the image of the existential subject.

In this way, his graffiti is a vector aimed at the image of an existential subject, identifying the structure of insufficient desire that is alienated from the identity of the city and the subject of the skull, and expressing the skull as an abstract realism picture in vector space as a result of ex post facto according to the existential orientation of the subject.

This is a critical image of the linguistic meaning as a result of the violent structure as a structure of desire lacking and bursting the social identity of the city.

The skull as a critical image in a linguistic sense stops at the imaginary identification of the skull reflected in the mirror toward the critical image of the real face in the imagination world.

In "Untied (Skull)," a skull is an unfinished human face, a "disruption of identity of mirror images" fragmented by death, which transformed a fragmented facial image from social identity into a skull.

This recognizes the self as a subject with the skull image reflected in the mirror as the same facial image as oneself.

This is a semantic function that interprets the image reflected in the mirror as an expressive image of the other's desire structure in a linguistic sense.

Therefore, his symbolic graffiti shows an excessive breakdown of meaning expressed as a signifier image of desire, and shows traces of sociality lacking as an armage in a linguistic sense.

In other words, graffiti images in the linguistic sense of racism and intense colors that reject sociality are graffiti images caused by mental suffering from urban violence.

As a subject, the skull structures the traces of desire as a linguistic grammatical structure, and the subject expresses the linguistic meaning as an image and structures the unconscious abstract as a language structure. In this way, the abstract is transferred to a specific object and interpreted as a meaning of language. In other words, according to causality, the skull as an abstract structure is interpreted as an image of death as a linguistic meaning, resulting in a grammatical causal relationship.

This is a "post-colonial graffiti aesthetic" that resists dividing space into the eyes of slave structures by interpreting skulls as traditional African masks due to grammatical causality.

As such, Basquiat's skull becomes a specific object of abstract structure, which is interpreted in a linguistic sense.

The design of the image interpreted in a linguistic sense connects the design (d) to the skull image (i) as an abstract structure according to Choi Chul-joo's desire formula. It repeatedly selects the insufficient death image as an image of a skull concept, and another skull image that has reached a fantastic abstract structure of what the object the other's desire structure wants. The choice (i/d) follows an abstract structure in which a specific linguistic meaning is supported by a desire structure that exists as an object image.

This is a conceptual abstract realism image expressed in the previous stage of symbolic language as a non-verbal reality, and refers to the dissolution of an ego and the division by the other's desire as a desire signifier image based on the intense hue projected by the desire of the other and the anatomical distortion of the human body.

He constructs graffiti that combines skulls, texts, and symbols to express the inner resistance of black people who function as a symbolic system of similarities.

It symbolically implies life and death, human identity and social struggle through social repression, and it symbolizes an image that lacks the linguistic meaning of the concept of desire and dissolution as an ego of desire. And the graffiti of symbolic characters reconstructs the reality image of non-verbal conceptual abstraction through the collapse of linguistic meaning as an excessive signifier image.

His graffiti is an image that records the event image itself as a picture. It serves as a visual device to express realistic images by blurring the line between reality and abstract optical illusions due to reversible shades of light that make up the linguistic meaning of event images.

Therefore, his work functions as a phenomenal event image beyond the painterly meaning. Here, the fantastic boundary between reality and reality constitutes the boundary where light and darkness intersect through the eyes and mouth of the skull as a place of conflict with desire. In addition, the linguistic semantic structure of the concept of desire overlaps the division of gaze and the structure of desire in a reversible shadow of light. The act as a linguistic meaning, in which the skull image is a semantic structure in the conscious structure in the linguistic sense, is a linguistic semantic structure of the concept of desire in the same temporal sense, and is a death image replicated by a black-style trickster graffiti aesthetic structure in both dimensions of consciousness in the social context and the unconsciousness that contends the fundamental death of human existence./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, a Contemporary art critic