2011年3月28日 星期一
artntheapple: German Expressionism: The Graphic Impulse exhibiti...
artntheapple: German Expressionism: The Graphic Impulse exhibiti...: "(Images coming soon!!) 'German Expressionism: The Graphic Impulse' exhibition just opened this weekend at MOMA and it is an absolut..."
2011年3月13日 星期日
凌晨3點 • 悟
原來,這趟美國行
需要被拯救的,不是我的愛情, 而是我的恐懼
恐懼再一次出乎意料地臉歪,然後只有70%治癒的機率
恐懼再一次那種 無能為力感
恐懼因為恐懼 帶來的負面情緒, 猜忌懷疑,憤世嫉俗
推開了一個個曾經愛我的人
因為恐懼 我畏畏縮縮 我怕這怕那
限制式不僅框在身上 更框在心上
意志不知道哪兒破了洞 心有餘而力不足
原來 黑洞是恐懼
恐懼 不自覺地讓我帶上有色眼鏡 看到的都是人性的黑暗面
更加讓我躲進保鮮膜裡 對這個世界懷疑 保持距離
原來,What matters most to me? 不是健康
而是健康背後 限制式框架下
如何在是(臉歪)與不是(臉歪)之間
調整意志面對恐懼的態度
不擔心恐懼尚未發生的未來
活在當下,活出人生的最大值
相信everything gonna be alright的天真的傻勁
相信這個世界如泡泡般美好的畫面
在黑洞之外.....
需要被拯救的,不是我的愛情, 而是我的恐懼
恐懼再一次出乎意料地臉歪,然後只有70%治癒的機率
恐懼再一次那種 無能為力感
恐懼因為恐懼 帶來的負面情緒, 猜忌懷疑,憤世嫉俗
推開了一個個曾經愛我的人
因為恐懼 我畏畏縮縮 我怕這怕那
限制式不僅框在身上 更框在心上
意志不知道哪兒破了洞 心有餘而力不足
原來 黑洞是恐懼
恐懼 不自覺地讓我帶上有色眼鏡 看到的都是人性的黑暗面
更加讓我躲進保鮮膜裡 對這個世界懷疑 保持距離
原來,What matters most to me? 不是健康
而是健康背後 限制式框架下
如何在是(臉歪)與不是(臉歪)之間
調整意志面對恐懼的態度
不擔心恐懼尚未發生的未來
活在當下,活出人生的最大值
相信everything gonna be alright的天真的傻勁
相信這個世界如泡泡般美好的畫面
在黑洞之外.....
2011年3月12日 星期六
John Baldessari
Baldessari將一系列現成的靜止影象並置, 其中有許多應該是電影影像
藉此創造出一組謎樣的意義
每個各別影像都是某個未經解釋的大敘事中的一瞥,
而這些彼此無關的景框結合起來則創造出一組新的故事
此外, 每個影像也都暗示著一組可能的故事正在景框之外發生
也就是發生在"銀幕之外"
這件影像拼貼創造了一個多層次空間和許多可能的潛在敘述
Using multiple images to construct a new sense of order. Whilst many of the images are mundane and meaningless on their own, by carefully placing them together, Baldessari is able to construct narratives, emphasise a specific viewpoint or emotion, and encourage different ways of looking at the world.
Baldessari began his career in the 1960s as a painter, then in 1970 took the rather theatrical and Duchampian step of cremating all his paintings (he folded some of the ashes into cookie dough and displayed the baked goods at New York’s Museum of Modern Art as part of the 1970 survey “Information”). From that time on, he was known for a certain fluidity and hybridity in his art, working at the intersection of photography and painting, and of image and word. “He always loved text as a kind of image,” explains the poet David Antin, an early friend of Baldessari’s. “He would use a line of text in such an isolated way, as if it were a painting.”
Often the artist’s combinations of photographs and text creates a sense of narrative as well, if only by magnifying the most subtle or uneventful of events. The Pencil Story, 1972–73, for example, juxtaposes two shots of a pencil—the first dull, the second sharp. Beneath the pair, a caption reads: “I had this old pencil on the dashboard of my car for a long time. Every time I saw it, I felt uncomfortable, since its point was so dull and dirty. I always intended to sharpen it and finally couldn’t bear it any longer and did sharpen it. I’m not sure, but I think this has something to do with art.”
Baldessari’s engagement with the film and television industry was fuelled by his proximity to Hollywood, as well as his realisation that film and video helped him to synthesise and understand his own thoughts. Movies reinforced the importance of time and sequence that he had begun to explore in his photographs. The film industry also yielded a ready-made repertoire of images and gestures to choose from. Not only did Baldessari play with the idea of a script, he also appropriated the format of storyboards, displaying images in sequence to explore different scenarios and suggest multiple narratives.
In The Overlap Series, Baldessari continues to construct relationships between disparate images. He combines two unrelated photographs - a melodramatic film still and a snapshot of a mundane urban vista - using a minimal amount of brushwork to continue elements of one image into the other.
In recent years, Baldessari’s appropriation and manipulation of found images has become increasingly sophisticated, with the subtle use of recessed and raised surfaces, adding further depth and interest to the picture plane.
In the Goya Series Baldessari returns to the relationship between language and image, pairing photographs of banal objects with non-specific, yet evocative words derived from titles used by Spanish artist Francisco de Goya. In isolation both image and text are meaningless, but when combined they generate the possibility of multiple readings.
The Prima Facie series tests whether a word can accurately describe a facial expression. Applying words to film stills and therefore to acted emotions, Baldessari sought to show that while we may think we understand something at first glance, it becomes more complicated when we try to prove it. Baldessari’s investigations follow through several states until the facial expression is replaced with a square of commercial paint, with the manufacturer's name for the colour inscribed beneath it.
The face and facial features are recurring subjects for Baldessari. In the series Noses & Ears Etc. the whole face is coloured and flattened, except for the most bizarre appendages, a nose or an ear and sometimes both. While humorous, there is an element of aggression in these works. Faces are disfigured, titles mention fists rather than hands, and blood trickles from an isolated nose on a green head-shape.
藉此創造出一組謎樣的意義
每個各別影像都是某個未經解釋的大敘事中的一瞥,
而這些彼此無關的景框結合起來則創造出一組新的故事
此外, 每個影像也都暗示著一組可能的故事正在景框之外發生
也就是發生在"銀幕之外"
這件影像拼貼創造了一個多層次空間和許多可能的潛在敘述
Using multiple images to construct a new sense of order. Whilst many of the images are mundane and meaningless on their own, by carefully placing them together, Baldessari is able to construct narratives, emphasise a specific viewpoint or emotion, and encourage different ways of looking at the world.
Baldessari began his career in the 1960s as a painter, then in 1970 took the rather theatrical and Duchampian step of cremating all his paintings (he folded some of the ashes into cookie dough and displayed the baked goods at New York’s Museum of Modern Art as part of the 1970 survey “Information”). From that time on, he was known for a certain fluidity and hybridity in his art, working at the intersection of photography and painting, and of image and word. “He always loved text as a kind of image,” explains the poet David Antin, an early friend of Baldessari’s. “He would use a line of text in such an isolated way, as if it were a painting.”
Often the artist’s combinations of photographs and text creates a sense of narrative as well, if only by magnifying the most subtle or uneventful of events. The Pencil Story, 1972–73, for example, juxtaposes two shots of a pencil—the first dull, the second sharp. Beneath the pair, a caption reads: “I had this old pencil on the dashboard of my car for a long time. Every time I saw it, I felt uncomfortable, since its point was so dull and dirty. I always intended to sharpen it and finally couldn’t bear it any longer and did sharpen it. I’m not sure, but I think this has something to do with art.”
Baldessari’s engagement with the film and television industry was fuelled by his proximity to Hollywood, as well as his realisation that film and video helped him to synthesise and understand his own thoughts. Movies reinforced the importance of time and sequence that he had begun to explore in his photographs. The film industry also yielded a ready-made repertoire of images and gestures to choose from. Not only did Baldessari play with the idea of a script, he also appropriated the format of storyboards, displaying images in sequence to explore different scenarios and suggest multiple narratives.
In The Overlap Series, Baldessari continues to construct relationships between disparate images. He combines two unrelated photographs - a melodramatic film still and a snapshot of a mundane urban vista - using a minimal amount of brushwork to continue elements of one image into the other.
In recent years, Baldessari’s appropriation and manipulation of found images has become increasingly sophisticated, with the subtle use of recessed and raised surfaces, adding further depth and interest to the picture plane.
In the Goya Series Baldessari returns to the relationship between language and image, pairing photographs of banal objects with non-specific, yet evocative words derived from titles used by Spanish artist Francisco de Goya. In isolation both image and text are meaningless, but when combined they generate the possibility of multiple readings.
The Prima Facie series tests whether a word can accurately describe a facial expression. Applying words to film stills and therefore to acted emotions, Baldessari sought to show that while we may think we understand something at first glance, it becomes more complicated when we try to prove it. Baldessari’s investigations follow through several states until the facial expression is replaced with a square of commercial paint, with the manufacturer's name for the colour inscribed beneath it.
The face and facial features are recurring subjects for Baldessari. In the series Noses & Ears Etc. the whole face is coloured and flattened, except for the most bizarre appendages, a nose or an ear and sometimes both. While humorous, there is an element of aggression in these works. Faces are disfigured, titles mention fists rather than hands, and blood trickles from an isolated nose on a green head-shape.
Chuck Close (July 5, 1940)
攝影的出現有助於解放繪畫風格, 讓它從寫實往抽象邁進
但到了20世紀末, 藝術界興起了照像寫實主義風格
許多畫家自覺地以"照片般的"繪畫風格進行創作 (photorealist)
Close had been known for his skillful brushwork as a graduate student at Yale University. As he explained in a 2009 interview with the Cleveland Ohio Plain Dealer, he made a choice in 1967 to make art hard for himself and force a personal artistic breakthrough by abandoning the paintbrush. "I threw away my tools", Close said. "I chose to do things I had no facility with. The choice not to do something is in a funny way more positive than the choice to do something. If you impose a limit to not do something you've done before, it will push you to where you've never gone before."
Chuck Close often worked from photographic stills to create paintings that appeared to be photographs. The everyday nature of the subject matter of the paintings likewise worked to secure the painting as a realist object.
Best known for the monumental heads he has painted in thousands of tiny airbrush bursts, thumbprints, or looping multi-color brushstrokes, Close has developed a formal analysis and methodological reconfiguration of the human face that have radically changed the definition of modern portraiture
但到了20世紀末, 藝術界興起了照像寫實主義風格
許多畫家自覺地以"照片般的"繪畫風格進行創作 (photorealist)
Close had been known for his skillful brushwork as a graduate student at Yale University. As he explained in a 2009 interview with the Cleveland Ohio Plain Dealer, he made a choice in 1967 to make art hard for himself and force a personal artistic breakthrough by abandoning the paintbrush. "I threw away my tools", Close said. "I chose to do things I had no facility with. The choice not to do something is in a funny way more positive than the choice to do something. If you impose a limit to not do something you've done before, it will push you to where you've never gone before."
Chuck Close often worked from photographic stills to create paintings that appeared to be photographs. The everyday nature of the subject matter of the paintings likewise worked to secure the painting as a realist object.
Best known for the monumental heads he has painted in thousands of tiny airbrush bursts, thumbprints, or looping multi-color brushstrokes, Close has developed a formal analysis and methodological reconfiguration of the human face that have radically changed the definition of modern portraiture
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