2015年10月31日 星期六

梅丁衍




台灣達達主義之父

外省第2代夠台 是學者也是鬼才藝術家

 
 
 
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梅丁衍是個鬼才,他的創作力旺盛,以兩岸、身分認同等作品,在藝術界很受尊崇,身後為以國父為主題的創作,《三民主義統一中國》(又稱《國父們》)。
梅丁衍是一個很難被定義的鬼才藝術家,他的作品形式多元,從油畫、電腦合成相片,到裝置藝術,求學時,他對達達主義特別感興趣,並以超現實手法創作,受到肯定。
他的經歷很特別,外省第2代,當兵時卻被密告思想有問題,差點被關,事件誘發他思考人生的荒謬性,想要尋求真相、真理。
赴紐約求學,在華文報社工作,看到不同於台灣的新聞事件,在異地更展開自我探索,決定以「身分認同」作為創作主軸。
他的作品很台灣,充滿著批判、嘲諷,以及台灣的歷史定位、文化等問題,去年,在北美館舉辦《尋梅啟事》回顧展,代表台灣與國際大師抗衡。
採訪╱彭蕙珍 攝影╱蕭榕、受訪者提供
在台灣藝術界,梅丁衍是個鬼才,他的創作豐富多元,油畫、電腦合成相片、裝置藝術,也是個很難被定義的藝術家。他解釋:「當代藝術本來就很複雜,連我在大學教書也講不清楚。」他的創意廣受認同,被稱為「台灣達達主義之父」,去年北美館邀他舉辦《尋梅啟事:1976-2014回顧》,證明他在美術界的崇高地位。 

超現實畫獲新人獎

「從小我就愛畫畫,那時流行唐老鴨,我邊看電視邊臨摹卡通人物。」當時還代表學校參加電視台節目,以反共議題現場畫漫畫。大學時念美術,梅丁衍說校風保守,「老師要求學生在校不准創作,專心把畫畫好。」
他在圖書館看了很多普普藝術,受到達利等人影響,「我也想用那樣的方式來表現,在家偷偷畫,大3參加系展,去震撼他們,挑戰評審的接受度。」沒想到,交出兩張作品,1張寫實,1張超現實,同時得到第2名,「有人抗議,1人不能有兩件作品入選,後來超現實那張被刷掉,我拿去雄獅美術參賽,得到新人獎。」
當兵時一段不堪的經歷,讓他的藝術種子開始萌芽。那時他到馬祖服役,因得罪長官,退役前被密告思想有問題,「可能被判刑、坐牢,我覺得是一種恥辱,很低潮。」被關2個月,家人無法得知他的下落,幸好軍中師長挺他,最後被放出,「過程中引發我思考人生的荒謬性,將這情緒帶到創作,想去探討真相、真理。」 
中體西用Ⅰ
以杜象的小便斗為創作理念,加入青花瓷,表現一種鬧劇的感覺,電腦合成、相紙輸出,87×87cm,2001年。
黑松
「台灣之光」系列,庶民記憶與台灣普普主題,也是年少時對冷戰背景的解讀,壓克力顏料、畫布,120×120cm,2015年。
現象
大3時畫的超現實作品,參加雄獅美術比賽得到新人獎,1976年。

赴美找到身分認同

「我對自己的未來前途、走藝術感到徬徨和不確定。」1983年赴紐約進修。到紐約後,他在1家華文報社工作,看到不同於台灣的新聞事件,加上在異地探索自我,「7~8年後,決定了要以台灣人的身分創作,想成為華人社區的藝術家。」同時奠定了以「身分認同」為主的創作之路。
「我想在美國人的社會,講自己的故事。」1991年在紐約舉辦個展,運用複合媒材,以兩岸都尊崇的國父做《三民主義統一中國》,其中1幅作品,結合國父與毛澤東的臉孔,他說:「用圖像挑戰中國近代史,2000年在台北展出時,台北市政府的人來抗議。」他認為,台灣雖然解嚴,但「人的心裡面沒有解嚴。」
畫廊簽約,梅丁衍返台,並在大學教書。1994年創作《哀敦砥悌》(Identity)裝置藝術,他強調:「台灣問題不只是兩岸問題,而是國際問題。」以台灣建交、斷交為主題,「展覽2次期間都碰到斷交,做1個儀式,讓模特兒穿上萬國旗西裝,將該國蓋上黑布。」
「這件作品可以一直做下去,並讓全民參與,同時讓大家知道,藝術是個觀念,它不是掛在家裡的藝術品,而是歷史課題,還可以讓子孫參與。」 
旋藏法
臨摩「玄奘取經」,玄奘與世界地圖交疊,並以壓克力顏料與混合媒介,用潑墨技法,壓克力顏料、畫布,227×486cm,1996年,國美館典藏。
我的舅舅
「台灣西打」系列,運用收藏的老照片創作,此為日據時代的台灣年輕人參戰,代表某一段的歷史,影像輸出相紙,100×155cm,2014年。
哀敦砥悌
以複合媒材裝置談中華民國斷交、建交,是一種觀念行為藝術,可以讓全民參與,1994年,北美館典藏。

把老物件變藝術品

平時,梅丁衍很愛逛跳蚤市場,20多年來收藏了上萬件老物件,近年以它們創作。在老照片裡,他看到日據時代台灣年輕人出征,後製處理變成一個故事,「這是上一代的集體記憶,讓歷史能進行客觀討論。」
梅丁衍表示,去年《尋梅啟事》展出時,很多長輩帶小孩去看,奶奶和孫子能夠對話,「我以台灣文化為主題,讓人們去尋根。」最特別的是,此時大家才知道,原來不起眼的老物件也可以為藝術,這是達達主義對藝術的叛逆,更是梅丁衍想要強調的,藝術的荒謬性。因作品充滿著寓意,他也是少數能代表台灣與國際抗衡的藝術家。 

梅丁衍小檔案

★年齡:1954年(61歲)
★學歷:文化大學美術系、紐約Pratt Institute藝術碩士
★經歷
.23歲:台陽展版畫銀牌獎
.26歲:第2屆雄獅美術新人獎
.31歲:美國紐約普拉特學院畫廊個展
.35歲:省立美術館、台北市立美術館個展
.37歲:美國西東大學個展、紐約美華藝術中心個展
.49歲:《梅式解讀玩》、台北當代藝術館、第2屆台新藝術獎「視覺藝術類」首獎
.50歲:《梅式發滮:梅丁衍創作精選展 》、海洋大學藝文中心
.54歲:《台灣西打 》、台北伊通公園
.60歲:《尋梅啟事:1976-2014回顧》 、台北市立美術館
作品價格:油畫一號約2萬元 

2015年10月28日 星期三

Ambrosius Bosschaert, “Bouquet of Flowers in a Glass Vase,” 1621,

The Dutch loved the color and beauty of flowers, particularly tulips. Floral still lifes became popular in the early 17th-century, in part because they depicted the exquisite, imported blooms collected by wealthy citizens who wished to admire their colors and rhythmic forms throughout the year.
Why might this depiction of a vase of flowers be a ‪#‎Vanitas‬ painting?
Ambrosius Bosschaert’s bouquets capture the fragile beauty of flowers and the sense of hope and joy they represent. Cut flowers do not survive long, so any depiction of a vase of blossoms alludes to the brevity of earthly existence as well. ‪#‎ArtAtoZ‬
Ambrosius Bosschaert, “Bouquet of Flowers in a Glass Vase,” 1621, oil on copper, National Gallery of Art, Washington, 1996.35.1

Noguchi in Suburbia Vs. Noguchi in Nature BY ALEXANDRA LANGE



CULTURE DESKOCTOBER 27, 2015
Noguchi in Suburbia Vs. Noguchi in Nature
BY ALEXANDRA LANGE




Isamu Noguchi’s “Strange Bird,” in bronze, installed at the Brooklyn Botanic Garden. CREDITPHOTOGRAPH BY LIZ LIGON. COURTESY BBG/THE NOGUCHI MUSEUM

The squat, mirror-glass office buildings by South Coast Plaza, in Costa Mesa, hard by the San Diego Freeway, look like a hundred other squat, mirror-glass office buildings scattered across greater Los Angeles. Most of the time, these buildings serve as a backdrop for nothing special, but Costa Mesa is different. There, the mirrors reflect Isamu Noguchi’s “California Scenario,” a little-known public plaza dotted with carefully placed trees, sculpture, mounds, and a meandering river. Noguchi spent decades trying to make something similar for New York City, but nothing ever happened. That chronicle of frustration provides a backdrop to the installation of eighteen Noguchi sculptures at the Brooklyn Botanic Garden (through December 14th), in conjunction with the thirtieth anniversary of the Noguchi Museum in Queens. It was fascinating to see Noguchi first in the epitome of bland office suburbia, and then in the Indian-summer lushness of the Botanic Garden.

Noguchi’s “California Scenario” is an essay on the landscape of California in seven parts. “Water Source” is a thirty-foot-high triangular sluice, with water flowing into a curving stream that is sunken below the sandstone plaza. The stream leads all the way to a flattened granite pyramid symbolizing civilization, called “Water Use.” A circular mound, dotted with desert plants, stands for one part of the state, while a wedge-shaped hill, circled by redwoods, represents another. A knotty stone sculpture called “Spirit of the Lima Bean” refers to the original use of the land under the South Coast development, while the circular “Energy Fountain” creates a rush of whitewater over stacked granite blocks. I’m not really sure what “Land Use,” the ivy-covered hill placed in front of 3200 Park Center Drive is doing. It does screen the door of the building, further separating Noguchi’s space from that of business.

When the developer Henry Segerstrom first approached Noguchi about creating a garden, the artist turned him down, uninspired by the surroundings. But Segerstrom was persistent and flattering, and he understood that Noguchi wanted (paid) opportunities for “exploration and growth.” As the writer Hayden Herrera describes the design process in “Listening to Stone,” her 2015 biography of Noguchi, Segerstrom was ready to meet Noguchi’s terms, abandoning his idea of a green garden or freestanding sculpture and letting the artist take over. Noguchi presented the scenario to the client on a twenty-by-twenty-inch board, placing the elements like chess pieces. Later, Noguchi would try to convince the officials at Joshua Tree to let him have five rocks from the national park for the garden. When they turned him down, Noguchi found what he needed in Yucca Valley and Arizona. (This YouTube video shows footage of the installation.)

Encountering “California Scenario” behind a Peet’s Coffee is a perpetual surprise. The freeway is nearby, but a de Chirico-like wall that fronts the parking garage and encloses the other two sides of the plaza effectively removes it from notice. You ping-pong between Noguchi’s seven elements, looking at them up close, then far away. Then you might wonder if you’re allowed to dip your feet in the water. Each piece has its own texture, combining rough and smooth, stone and cacti and evergreens, as well as its own microclimate. It’s hot and bare by “Desert Land” but, on the bench atop “Forest Walk,” it feels ten degrees cooler. Even the garbage can is a Noguchi sculpture.

If Segerstrom had gotten the green garden he pictured, it would be brown now in the era of #droughtshaming. But Noguchi, in creating an homage to the different landscapes of California, hit upon the strategic use of plants, water, energy, and pavement necessary now and for future public plazas in the era of climate change. His use of resource-hogging grass is minimal, and yet there is still a small lawn on which to sit. Look in any direction and you see green mixed with the brown. Most of the plants are drought-tolerant, and the redwoods have deep roots. You can hear the fountain as soothing white noise even when it is not in view, and the meander of the river draws water through the space. Both were designed to recirculate water.

Brooklyn is not having a drought, but I had a déjà vu moment in the “Desert Pavilion” at the Brooklyn Botanic Garden, where Noguchi’s “Root & Stem,” a slender upright of galvanized steel, is initially imperceptible among the slender cactus at the center of the glass room. The artificiality of the setting mimics the “Desert Land” in Costa Mesa, with the sculpture as both an echo and an interloper.

Dakin Hart, a senior curator at the Noguchi Museum, said that he tried to think like the artist when placing the fifteen sculptures in the garden. “The main goal was to install works in a way that makes them feel uncannily at home, like they belong there, have always been there,” he said. Many of the sculptures’ settings echo existing paths and lines in the garden: there’s a foliated tree at the end of the Ginkgo Allee and a bird totem in the Cherry Esplanade. A bronze circle, cast like miniature mountains and molded by Noguchi’s feet, fits in a circular node in the path through the meadow in the Native Flora Garden.


A number of these settings were too polite and predictable. Once freed from the museum, I wanted to see the sculpture in the relative wild, popping up in the midst of the meadow or interrupting a predictable route. While it was great to come upon a Noguchi unannounced, I wished a few were visually bigger, so that I could have spotted them without consulting a map. (“The Whole,” next to one of the wisteria pergolas, weighs eight thousand pounds, but doesn’t look that big in the context of the garden.) The last thing I wanted was for the sculptures to blend in with the other rocks, roots, and stems.

In the Japanese Hill-and-Pond Garden, for example, “Mountains Forming” sits like two silvery peaks above the pond. The concept of borrowed landscape, so central to Japanese gardens like this one (designed by Takeo Shiota a hundred years ago), was doubled by the addition of the Noguchi, providing another set of hills in the distance. The placement of “Magritte’s Stone,” another steel piece, on the stone steps leading from the formal Osborne Garden, also worked as a double joke. The “stone” is flat, though it had a rounded glow in the sunlight, and it looked as if it had dropped to earth to throw off old-fashioned symmetry. In both of these settings, the material and placement of the Noguchis created the friction that he desired, adding to the garden and making the visitor move closer, then back away, as at “California Scenario,” to see the sculptures from different angles.

Even if some additions were disappointing, the act of looking for them did transform my experience of the Botanic Garden, leading me down paths I’d never walked in a dozen earlier visits. It works, even if not necessarily as a showcase for art. “Noguchi or water fountain?” I wondered, half-joking, about a blocky concrete fountain that looked not unlike the Segerstrom garbage can. Ordinary stones and blasted stumps had to be considered as potential sculpture—as Noguchi did when he went rock hunting in the Yucca Valley.

If Noguchi sculptures seemed superfluous on the pond in the Hill-and-Pond Garden, that superfluity called attention to the carefully placed bridges, temples, and specimen trees already there. The Botanic Garden, similar to “California Scenario,” is a landscape chess match, in which the artist and curator must weigh when to deploy a phalanx of pawns (bushes) and when to place a show-stopping queen (tree). Noguchi’s pitch to Segerstrom was that he would be a sculptor of space, not just of material, and would make a place rather than just a piece of trophy art. In Brooklyn, among the native grasses of Long Island, I could hear the rumble of Flatbush Avenue, but it seemed very far away. The best urban gardens let you step off the grid, just for a moment, and find yourself somewhere else. Noguchi, like the designers of the Brooklyn Botanic Garden, understood that grid as an essential part of the scenario.

The Art Garden at the Israel Museum, Jerusalem / The Billy Rose Art Garden




Fine Arts  The Billy Rose Art Garden  
The Billy Rose Art Garden
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Designed by the Japanese-American sculptor Isamu Noguchi, the Billy Rose Art Garden lies on the western slope of the Museum’s campus. It is divided into wide, crescent-shaped sections arching upward and supported by high walls made of rough fieldstone. As in a Japanese Zen garden, the ground is covered in gravel, and paths lined with local plants and trees connect the different sections. A multitude of materials were incorporated into the garden’s design: stones of different kinds and sizes, exposed concrete, and water. Walls enclose smaller spaces and rectilinear terraces of the garden, echoing the shapes of the Museum’s buildings. 

The collection displayed in the garden includes works by the great sculptors of the late nineteenth century (Auguste Rodin, Emile-Antoine Bourdelle, and Aristide Maillol) and renowned artists of the twentieth century (such as Pablo Picasso, Alexander Archipenko, Jacques Lipchitz, Henry Moore, David Smith, Sol LeWitt, Donald Judd, Claes Oldenburg, Magdalena Abakanowicz, Richard Serra, Joel Shapiro, and James Turrell). Menashe Kadishman, Igael Tumarkin, Ezra Orion, and Benni Efrat are some of the prominent Israeli artists represented. 

The Art Garden is greatly loved by the Museum’s visitors. While providing an opportunity for the quiet contemplation of natural and artistic beauty, it has also been the venue of successful cultural events of all kinds. Counted among the finest sculpture gardens of the twentieth century, this is one of Noguchi’s masterpieces, a synthesis of different cultures—those of the Far East, the Near East, and the West—against the backdrop of Jerusalem’s dramatic landscape.

Collection online
See the department curators on the senior staff list.



About the Israel Museum  Languages中 文(繁體)比利羅斯藝術花園  
比利羅斯藝術花園
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比利羅斯藝術花園
以色列博物館內的比利羅斯藝術花園由日裔美國人雕塑家野口勇(Isamu Noguchi)設計,融合了不同文化;雕塑家將東方及西方的元素融合在中東文化裡,跟耶路撒冷神秘的背景互相輝映。園內收集了多位國際著名雕塑家的作品,包括瑪格達蓮納阿巴卡諾維茲(Magdalena Abakanowicz)、亨利摩爾(Henry Moore)、巴勃羅畢卡索(Pablo Picasso)、詹姆斯特瑞爾(James Turrell)及米哈厄爾曼(Micha Ullman)的作品。
花園坐落在博物館西面的斜坡上,由粗石造成的高牆和拱門支撐。花園設計理念和日本襌宗花園很相近:地面鋪上礫石,小徑兩旁種滿本地獨有的植物。此外設計師採用不同種類、大小不一的石頭,結合混凝土和水等材料來突出花園設計
現在藝術花園已成為舉辦各種公共及私人活動、節日慶祝活動、嘉年華會及博物館活動的熱點。為期三天的以色列品酒節每年夏天都在這裡舉行。品酒人士在著名美國波普藝術家羅伯特印第安那(Robert Indiana)的作品《愛》(LOVE)旁邊,品嘗從多間以色列酒廠出品的葡萄酒。他們可以悠閒地坐在一旁,一邊欣賞現場演奏的爵士音樂,一邊細嘗美酒。在清風送爽的晚上,柔和的燈光照亮雕塑,這時對酒當歌,則另有一番風味。除了以色列品酒節,博物館每年八月都會在花園舉辦風箏節,讓大眾感受放風箏的樂趣。傍晚時分,在徐徐微風下,一只只風箏隨風在耶路撒冷的天空中翱翔,場面壯觀。不少以色列專業風箏好手因此慕名而來,一家大小亦可參與風箏製作活動。除此以外,藝術花園還舉辦一系列不同形式的音樂及舞蹈表演,例如以色列愛樂樂團和布茲當代舞蹈團等等,這些活動為藝術花園增添了一份活力。

   
               比利羅斯藝術花園               羅伯特印第安那的作品《愛》

比利羅斯藝術花園


博物館內著名的比利羅斯藝術花園由日裔美國人雕塑家野口勇(Isamu Noguchi)設計,藝術花園被喻為二十世紀中一座舉世矚目的雕塑花園。現代化的設計把藝術花園融合在古耶路撒冷山坡的東方美景中,展示了現代西方雕塑與傳統結合的美。園內收集了多位國際著名雕塑家的作品,包括一代大師傑克斯利普茲(Jacques Lipchitz)、亨利摩爾(Henry Moore)和巴勃羅畢卡索(Pablo Picasso)的作品;以及當代著名藝術家瑪格達蓮納阿巴卡諾維茲(Magdalena Abakanowicz)、馬克狄翁(Mark Dion)、詹姆斯特瑞爾(James Turrell)和米哈厄爾曼(Micha Ullman)的現場創作雕塑作品。



The Art Garden at the Israel Museum, Jerusalem - YouTube

www.youtube.com/watch?v=qzhMDBD6VDE

Dec 3, 2008 - Uploaded by museumisrael
Designed by the Japanese-American sculptor Isamu Noguchi, the Art Garden lies on the western slope of the ...

https://www.youtube.com/watch?v=qzhMDBD6VDE


Designed by the Japanese-American sculptor Isamu Noguchi, the Art Garden lies on the western slope of the Museums campus. It is divided into wide, crescent-shaped sections arching upward and supported by high walls made of rough fieldstone. As in a Japanese Zen garden, the ground is covered in gravel, and paths lined with local plants and trees connect the different sections. A multitude of materials were incorporated into the gardens design: stones of different kinds and sizes, exposed concrete, and water. Walls enclose smaller spaces and rectilinear terraces of the garden, echoing the shapes of the Museums buildings.




2015年10月27日 星期二

Adrian Stokes ( 1902-1972)



Art, Psychoanalysis, and Adrian Stokes: A Biography Hardcover – 29 Jul 2015

德累斯顿、非洲原始艺术是生命本源感受的表达

首页

毕加索与德国

在毕加索的出生地西班牙马拉加,以他命名的博物馆探讨一个话题:这位艺术家与德国有着怎样的关系?尽管从未踏上德国的土地,德国对毕加索的绘画生涯却有着举足轻重的意义。

2015年10月26日 星期一

Teresa van Dongen:生物燈《Ambio》

還記得今年春天,小編跟大家分享很酷的生物燈《Ambio》,還有打造它的設計師Teresa van Dongen嗎?
一年一度的荷蘭設計週剛過,當然也公布了荷蘭設計獎名單。而這次獲得荷蘭設計獎(Dutch Design Awards)新銳設計獎項(Young Designer Award)的,就是這位年僅27歲,剛從恩荷芬設計學院畢業的設計師Teresa van Dongen!
Teresa一直很喜愛自然生物和科學,過去的她選擇主修生物,發現許多大自然的奧秘,但她也從沒放棄自己對設計和藝術的興趣,之後她更進入荷蘭恩荷芬設計學院,並於去年畢業。令小編興奮的是,Teresa巧妙地將兩個興趣集結一起,而在她手中成形的《Ambio》燈也是其中的例子。設計迷不妨在睡前看看這盞有趣的燈飾作品,說不定你也能集結另一專長,打造不同於以往的新奇設計呢。⋯⋯
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