“Nothing is simple” is a refrain we hear again and again. 我们周围的一切, 包括指令, 听起来, 的想法, 参数, 据说它们有一种复杂性,而这种复杂性往往被它们表面的简单所掩盖. 但, just because beneath the surface something is complex, we should not deny the raw joy of a simple external structure. 通常是人们第一次遇到一个想法或物体时的直接感受,最能在情感上和美学上引起共鸣. 取, 例如, 一辆漂亮的意大利跑车, 一辆法拉利:虽然我们可能永远不会理解(或关心)机械的复杂性, 转矩, horsepower or aerodynamics involved in the car, 在街上看到这样一辆异国情调的汽车会让我们对它似乎拥有的力量感到惊讶, an almost visceral or physical understanding of its grace and exuberance.
As with automobiles so it is with art. Often the most powerful experiences with art are reactions to basic forms, 一个简单的手势, 一条线, color. 虽然复杂性可能隐藏在表面之下,但首先抓住我们的是表面. 本次展览中展出的17件艺术品也是如此,它们清楚地说明了它们是什么以及它们是如何被制作出来的. 取n individually and together they are 真正的简单的.
有几件作品 真正的简单的 project simplicity through their gestural abstraction. 这种方法的象征是 蓝调之家 (1995), the blue gridded painting by the lyrical abstractionist 玛丽Heilmann. 在这幅作品中,Heilmann安排了一系列近乎孩童般的蓝色网格,以表达强烈的情感. 类似的, 亚历克斯·奥尔森的作品, 劳拉·欧文斯(劳拉•欧文斯)和乔恩·佩斯托尼(Jon Pestoni)都是抽象的手势,提供了丰富多彩的力量. 作为形式升华的抽象在展览中并不局限于绘画. 迈克尔·E. 史密斯的 无标题的 (2010),一根花园软管被重新利用,创造了一种类似于墙上涂鸦的形式. 从日常生活中提取物品的行为也是沃尔夫冈·蒂尔曼斯的主题。 纸滴(玻璃). 拍摄一张弯曲的照片这个简单的想法被主体的物质性所吸引.
Several other photographs included in the exhibition are in essence portraits. 摄影最基本的用途之一经常是观察我们人类同伴的脸. 然而, 安妮·科利尔的作品, 罗伊Ethridge, 索尔·弗莱彻都在他们的作品中加入了复杂的手势,使简单和更模糊的体验成为可能. 科利尔的 作曲家 (2004), 例如, 拍摄对象用一张相册封面遮住自己的脸,使唱片上的照片看起来像是拍摄对象的脸.
海莉汤普金斯’ two works from 2001 are both based on portraits. 在这里, 然而, 这位艺术家从杂志上撕下年轻女性的画像,然后揉成一团,攥在手里好几天. 由此产生的褶皱图像被赋予了艺术家的能量和气场. 伊丽莎白·佩顿, well known for her small-scale 绘画 of lithe young things, further engages in portraiture in her 2010 work 福楼拜在埃及(继德拉克洛瓦之后). While not necessarily simple in subject matter, 这幅画的具体意图是使用最基本的方法之一将其制作成多个版本, 施乐.
Perhaps the most outwardly simple form of artistic production is appropriation, 从一个地方获取图像,并通过将其放置在不同的上下文中来改变其含义. 马修·希格斯展出的两件令人愉快的作品,都是把书的扉页从装裱的书本上取下来的——他们用高效率的劳动来制作诙谐的语言游戏,比如 “怀旧已今非昔比.” 马丁·克里德的作品 别担心 (2001)用闪烁的黄色霓虹灯拼出了这句话——一个看似简单的短语,却能表达很多东西,这句话(字面上)被夸大了.
克里斯Ofili touches on the same feel good vibes as Creed in his work 天选之子 (1995-96). Ofili fills the page with dozens of sketched tiny faces, 并不总是微笑, that combine to make one big crude smiley face. Like all the work gathered in this exhibition, 它很简单,很容易做出反应, to understand how it was made and how it makes us feel. While in all the works there are many issues boiling beneath the surface, 表面上看就是这样, 这很简单.
安妮·科利尔 (b. 1970) 安妮·科利尔’s photographs incorporate found images, 比如杂志页面, 记录的袖子, 和海报, to explore notions of perception and representation in a media-driven world. 她是纽约安东·科恩画廊的代表,并在诺丁汉当代艺术馆展出, UK and the Salina Art Center in Kansas.
马丁的信条 (b. 1968年)马丁·克里德在他的作品中使用朴素的材料,使视觉上引人注目, witty commentary on the relation between art and everyday life. Creed is represented by Gavin Brown’s enterprise in New York, has exhibited in numerous solo and group exhibitions world wide, and was the recipient of Britain’s prestigious Turner Prize in 2001.
罗伊Ethridge (b. 1969) A successful commercial photographer, Ethridge’s images exude precision and clarity, while demonstrating the full expressive power of the medium. Ethridge的代理是纽约的Andrew Kreps和洛杉矶的Gagosian画廊, 曾在波士顿现代艺术博物馆和当代艺术学院展出.
扫罗弗莱彻 (b. 1967)索尔·弗莱彻以他的小尺度作品中难以捉摸和忧郁的特质而闻名, 亲密的照片. Fletcher carefully conceives of and composes each detail in his images, 并且经常合并他自己的家, 自己, 或者是家庭成员. Fletcher is represented by Anton Kern Gallery in New York, 他的作品曾在匹兹堡的卡内基艺术博物馆和伦敦的泰特现代美术馆展出.
玛丽Heilmann (b. 1940)玛丽·海尔曼(玛丽Heilmann)充满活力和快乐的抽象画以其饱和的色彩而闻名, 空间的活泼处理, 还有有节奏的作品. Heilmann是纽约303画廊的代理,并在纽约新当代艺术博物馆和俄亥俄州的Wexner艺术中心举办过大型展览.
马修·希格斯 (b. 1964)艺术家, curator and writer 马修·希格斯 is the current Director of White Columns, New York City’s oldest alternative non-profit art space. 希格斯的作品通常采用从二手商店购买的装裱好的书页和封面的形式. Higgs is represented by Murray Guy in New York.
克里斯Ofili (b. 1968年)国际知名艺术家克里斯·奥菲利探索当代黑人文化的主题, referencing a wide range of influences, from his own Nigerian heritage to Zimbabwean cave 绘画 to hip-hop heroes. In 1998 Ofili was awarded the Turner Prize, and in 2003 he was selected to represent Britain at the Venice Biennale. He is represented by David Zwirner in New York.
亚历克斯·奥尔森 (b. 1978)加州艺术家亚历克斯·奥尔森的画作具有一种根深蒂固的活力, 通过颜色的爆发来证明, 手势的行, 有力的标记, or youthful dots made with her fingertips as in the case of 无标题的 (2010). 奥尔森的代理是纽约的丽莎·库利美术公司和芝加哥的谢恩·坎贝尔画廊.
劳拉•欧文斯 (b. 1970年)洛杉矶艺术家劳拉·欧文斯的作品独特地融合了抽象和表现, incorporating expressive washes of color, 详细的线路工作, 还有浪漫和异想天开的意象. Her work has been exhibited at several renowned museums, 包括德国波恩艺术博物馆和洛杉矶当代艺术博物馆. She is represented by Gavin Brown’s enterprise in New York.
Jon Pestoni (b. 1969年)乔恩·佩斯托尼通过美丽而薄的油漆层创造了诱人的抽象. 探索光线和空间张力, the surfaces of his 绘画 breathe as the various layers emerge, 退去, 并相互交流. Pestoni is represented by Lisa Cooley Fine Art in New York.
伊丽莎白·佩顿 (b. 1965)伊丽莎白·佩顿(伊丽莎白·佩顿)独特的肖像展现了朋友们个人和亲密的观点, 家庭, 还有著名的历史人物, depicted in her signature style with jewel-like colors. She is represented by Gavin Brown’s enterprise, 曾在纽约新当代艺术博物馆和伦敦皇家艺术学院展出.
Michael E. 史密斯 (b. 1977) Known for using domestic and urban materials, Michael E. 史密斯的雕塑, 绘画, 视频和装置讲述了他的家乡底特律的城市状况. 他的代表是克利夫顿·贝内文托在纽约,并曾在圣. 路易斯当代艺术博物馆.
沃尔夫冈•蒂尔曼 (b. 1968) German photographer 沃尔夫冈•蒂尔曼 is known for his versatile style, moving through a wide array of subjects, from abstraction to seemingly casual snapshots. Tillmans is represented by Andrea Rosen in New York, 2000年,他成为第一位获得特纳奖的摄影师和非英国艺术家.
海莉汤普金斯 (b. 1971)海莉·汤普金斯(海莉汤普金斯)在纸上和雕塑上的小规模作品触及了我们每天遇到的经历. The objects she works with—whether mass produced, 自然, or found—contain tangible histories and reveal a passage of time. 她的代表是纽约的安德鲁·克雷普斯和格拉斯哥的现代研究所.