支持过度高效的独亚博游戏官网ap立艺术新闻。亚博彩票投注成为会员 ”

支持过度高效的独亚博游戏官网ap立艺术新闻。亚博彩票投注

For years, an observation that Frank O’Hara made about Jasper Johns’s art has stuck in my head:

Jasper Johns是一个非常误解的艺术家,其艺术呈现给许多容易嗜好和理解的东亚博彩票投注西,但约翰斯是我们这个工作的艺术家的最神秘的艺术家之一不是正式的,有意义地理解或阐述。他有经验,这可能是或可能对他来说不幸,看到他的画作迎接他的画作,因为图像是可识别的,因为它们充满了痛苦(“艺术编年史”亚博彩票投注Kulchur,1962年夏季)

我总是将O'Hara的观察与罗伯塔伯恩斯坦对他使用在早期作品中使用的使用,例如“与石膏铸造的目标”和“四面的目标”(1955年)的“靶向”(而1955年)的陈述

人类体质的任何破坏表示在某种程度上触摸;它令人沮丧或激起了一个人无法理解的反应。也许是因为一个人自己的身体的形象受到了干扰。

从Leo Castelli(1958年1月)的第一个展览从Matthew Marks(2019年4月6日至4月6日)的最新展览中,约翰斯的经常性主题是损坏的人体。六十多年来,他使用了各种材料和流程来时尚和记录破碎的身体部位,痕迹的皮肤,破碎的解剖,观众只能瞥见,咧着嘴笑,戴着帽子站在门口,穿着帽子和亚博彩票投注体育手杖,好像他们正在等待迎接我们。

约翰斯的进程之一是追踪图像,然后改变它,同时保持其确切的轮廓。他对其来源材料的变化是与一个知名的令人着名的票据,以至于他在他的速写书中制作:“拿一个对象/做点什么/做别的东西。[重复]。”

这是一个早期的例子是“白旗”(1955),其中他覆盖了纸张和织物的拼贴地,白色的封面,达到了无色,尸体的存在。是什么导致旗帜失去了它的颜色,成为葬礼,成为投降的标志?

约翰斯对预先存在的主题的反复考试,或者通常称为“成瘾”,与Andy Warhhhol及其追随者采取的方法非常不同,这是适当的对象并为此做一件事。Johns的成员的转型并不是批量生产或由Studio Assistant生产的生产。他的作品不是变化。

Johns’s restating of motifs derived from modern artists including Edvard Munch, Pablo Picasso, and Marcel Duchamp, along with Northern Renaissance artists such as Hans Holbein and Matthias Grünewald, has routinely led to him being accused of being obscure or hermetic. Within this context, Warhol is commonly described as a democratic artist, while Johns is characterized as elitist — terms that seem wrong in both cases.

Jasper Johns,“Untitled”(1990),油画油,37 1/8 x 25 1/4英寸。在前面,右上角炒:J. Johns 1990(摄影由Jamie Stukenberg,专业图形,罗克福德,生病。©Wildenstein Plattner Institute,纽约;© Jasper Johns / VAGA at Artists Rights Society (ARS) NY)

At the same time, obscure as he supposedly is, viewers are often delighted by his “mysterious” and puzzling works as long as we don’t have to recognize their embodiment of “pain,” particularly since it seems to have no obvious source, and there is no one and nothing to blame for it.

约翰斯的一个主题从未发现过它的来源。他在绘画中介绍了“绿色天使”(帆布上的帆布,73 1/8乘50¼英寸,1990),该展览会Jasper Johns,在Leo Castelli Gallery(2月16日至1991年3月9日)。画廊海报宣布展览描绘了“绿色天使”(1990),这是他第一次使用这个主题。

图案类似于两个连接的数字,一个垂直和一个水平,观看者可以识别任何确定性。垂直数字从绘画的底部边缘上升到似乎太狭窄的身体似乎太窄。它由平坦,互锁区域的蓝色,橙色,红色,黄色和紫罗兰色。水平图是米色的灰泥和无特色,仿佛笼罩着。它的暗灰色大纲将其与垂直数字区分开,概述。薄,较轻的线形成不规则的v,从图的顶部运行,靠近我们易于读取的肩部,到底边缘。该司表明了一个头部和身体。短的附属物从俯卧端的左下方突出,看似挤压裁剪,圆形的红色形式,我们读为属于垂直图。

在“绿色天使”中,约翰将这个新的主题与他在“无题”(帆布上的油,22 5/8到16 1/2英寸,1985)中联合在一起(油画,22 5/2英寸,1985年):一个长睫毛的两种裁剪的眼球,一个紧紧坐落在一起the painting’s upper left corner, peering down, the other peering in from the painting’s right edge, more than halfway down. Along the painting’s bottom right edge, he has depicted what could be read as a pair of lips or two mountain peaks. On the lower left is a curved horizontal line that we could read as nostrils.

Poster forJasper Johns:绘画和图纸1991年,在狮子座Castelli(图片的计谋rtesy of Leo Castelli Gallery)

Johns sets this combination of a schematic face and abstracted figures against a green ground. The schematic face suggests that we are looking at someone staring inward at a figural combination that is both familiar and elusive. The most obvious association is with a mother holding a child, but everything about this reading is off, starting with the anatomy. The vertical form does not invite associations with a woman, particularly a Madonna or mother, while the horizontal forms seems too large to be an infant. Is the prone figure alive or dead?

自从我第一次看到“绿色天使”和相关的作品以来,我已经提醒了约翰斯的陈述对伯尔尼斯坦的陈述,了解“触摸”和“人类体质的破损表示”的“不安”。对我来说,约翰斯的同志反应几乎看起来是一位超然,讽刺,或过于智力和情感距离的艺术家。亚博彩票投注相反,我认为Johns拒绝声称他特别敏感或折磨,这是艺术家的陈词滥调。亚博彩票投注

与此同时,我对这个来源仍然很好奇,并且更加生长,所以Johns使用它,或其中的一部分,在1990年至97年之间完成的更多绘画。亚博彩票投注

这是现代艺术博物馆的网站博物馆所说的蚀刻和水上天使2“(1997),亚博彩票投注在博物馆的收藏中:

Johns has looked to other artists for motifs and patterns to serve as compositional elements in his own work. While many of his references have been identified — from work of the modern master Pablo Picasso to that of Matthias Grünewald of the Renaissance — here Johns presents a shape traced from an unnamed work. He decided not to make the source known because it might hamper spontaneous responses. To date, theGreen Angelmotif has appeared in over forty paintings, drawings, and prints.

如果我们学到了它的来源,我们会对图案不同吗?它会强化约翰斯躲藏了一些东西的信念,因为它可能揭示他的东西(我从未放弃过很多股票)?他是否选择了“绿色天使”主题,因为它与熟悉,近股票,母亲和孩子的牵引权的关系?如果这个数字不是“绿色天使”是天使的原理图面临?我们的同情容能力是什么,特别是在一个困境的世界中,每天都有可怕的,制度制裁的亚博彩票投注暴力和人类虐待的未报告的情况?我们可以保持开放吗?移动我们的是什么?

我今天回到了这些问题,因为我收到了来自Cristobal Lehyt的电子邮件,这是一个我以前没有知道的艺术家,这是读:亚博彩票投注

你好,我希望这封电子邮件能找到你。我只是在写作,因为我看到了这个形象,并认为你可能有兴趣。也许你已经看到了它 - 我可能迟到了分享这个发现 - 但如果你没有,这对你有兴趣。

The black and white image is of an assemblage by Auguste Rodin titled “女人半人马和牛头怪的躯干“(13乘13乘8英寸,C.1910),在法国MuséeGodin。讽刺意味着,约翰恩斯在他的工作中首先使用了这个主题的10年,他在“绿色天使”中,他在书中复制了罗丹的集会的黑白形象,Iconoclash: Beyond the Image Wars in Science, Religion and Art,由Bruno Latour和Peter Weibel编辑(ZKM和MIT Press,2002)。罗丹和约翰斯的“由一个人咬伤”(1961)被纳入“为什么如此模棱两可”的章节,41页分开。亚博彩票投注

来自的页面Iconoclash: Beyond the Image Wars in Science, Religion and Art,由Bruno Latour和Peter Weibel编辑(作者截图)

I sent the Rodin image to Jasper in an email with this statement: “I thought of you when I looked at this piece.” His answer was even shorter: “I should think that you would!”

Found in Greek mythology, Minotaurs and centaurs are opposites. A Minotaur is a beast with the head of a bull and the body of a man, while a centaur has the head and torso of a human and lower body and legs of a horse.

在罗丹的组合中,黑暗的牛排座支持女里半人鹰的俯卧位,这已经从她的前臂上摆脱了她的较低的动物身体。手指关闭了他的白手,超越了她的身体。

Jasper Johns, “Untitled” (1994), encaustic on canvas, 28 1/2 x 42 1/4 inches. Stenciled on front, lower right: J. JOHNS 1994 / ST. MARTIN F.W.I (Photography by Jamie Stukenberg, Professional Graphics, Rockford, Ill. © The Wildenstein Plattner Institute, New York;© Jasper Johns / VAGA at Artists Rights Society (ARS) NY)

What are we to make of the severed torso of the woman centaur, her head thrown back? Is Rodin’s combination of incommensurable creatures erotic, violent, tragic, or sad? How did this scenario come to pass? Both the centaur and Minotaur seem to be victims of unnamed cataclysms.

Johns抑制了来源,因为他希望以观察者更易于访问的方式重述他们不可能的关系的折磨?或者因为它使他能够专注于两个不透明的数字,而看似加入,不合适?

Is the face in “Green Angel” looking at himself as a creature made up of parts that are bonded but don’t fit together? Or is it looking at the dependent figure that is both joined to and separate from the towering one? Why is the prone figure monochromatic and the vertical one in multiple colors? The painting suggests that we are observing someone in a state of reflection, which would explain why we might not be able to identify what we are looking at. How and why did the image disturb him? Might not the state of disturbed looking be an inescapable condition? Does there need to be a key to all these questions? Might not Johns want us to keep looking without “reaching,” as John Keats warned against, “after fact & reason”?

John Yau

John Yau发表了诗歌,小说和批评的书籍。他的最新诗歌出版物包括一本诗歌,单色进一步冒险(铜峡谷出版社,2012年),以及埃及十四行诗的章节(雨......

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3 Comments

  1. 多年来,我跟随贾斯珀约翰的洞察着作品,包括你的书“一件事。”你的文章今亚博彩票投注天早上很棒。像Cristobal Lehyt的电子邮件一样,我也向您的Rutgers账户发送了一封电子邮件,于2020年2月9日,我不知道是否收到了。

    在它中,我写了一些像“过去一周我买了1993年展览目录”的东西:醒来的梦想:摄影的一世纪。从吉尔曼纸公司收藏的选择'在一家二手书店,当我在沃尔特埃文斯的复制中看到了沃尔特埃文斯,“纽约市的佛陀蜡烛,1929-30”时非常感兴趣。在这张照片中,有两个蜡像,一个孩子,也许是一个少年挂在钉子上的绳索。立即想到的是Johns在1982年起在他的绘画中通过一根绳子挂着一根烤的蜡手,三个类似彩绘的蜡像在1982年的“危险之夜”中悬挂着钉子。

    Given his use of some select photographs as a jumping off point, like John Deakin’s photograph of Lucian Freud and a photograph by Larry Burrows in Life Magazine, I was wondering if there may be a possible connection? It may just be a coincidence or maybe not….

    要了解一下,我今天早上发了一封电子邮件给John Yau,看看他可能的想法。如果我得到一个,我会发布他的回复。“

    Here is a link to a photograph of the cover of your book on Johns next to the Walker Evans photo mentioned above-https://www.flickr.com/photos/tonydevarco/49513747142/in/dateposted-public/

  2. Jasper Johns是一个白人,艺术职业生涯长期以来他的艺术实践亚博彩票投注。本文试图对亚博彩票投注卓越的诗意的东西说,他的艺术的不太广泛的众所周知的属性证明了我的观点。这不仅仅是愚蠢的方法也可以提供什么。但吐司人。这就是你想要的。

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