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在1981年写给巴斯基亚特的一封尖刻的信中,伊迪丝·施洛斯拖拽纽约艺术界

Read this 3,700-word,讨论菲利普·古斯顿作品的超批判信,安塞姆·基弗Nell Blaine,Bill King,Arthur Dove,Marsden Hartley,还有其他几个人:“每个人似乎都为自己不去而骄傲,“没有魅力。”

Edith Schloss in Pietrasanta,?伊迪丝·施洛斯(Edith Schloss)的庄园(礼貌艺术家庄园工作室)

1981年5月,画家Edith Schloss他是《国际先驱论坛报》的评论家,发表了对展览会的评论金博宝188app纽约/新浪在宾夕法尼亚州1(目前为MOMA PS1)。这篇评论是有史以来第一次提到一位正在崛起的年轻艺术家让·米歇尔·巴斯基亚特。十年后,施洛斯给巴斯奎特写了封信。她承认对他的工作的热爱,并向他提出建议。And in a rambling,对纽约艺术界的高度批判,她讨论了菲利普·古斯顿的作品,安塞姆·基弗Nell Blaine,Bill King,Arthur Dove,Marsden Hartley,Kenny ScharfSusan Rothenberg,Eric FischlDonald Baechler,詹妮弗·巴特利特,伊丽莎白·默里,弗朗西斯科·克莱门特,and others,以及画廊,包括退出艺术,Anina Nosei,and the East Village.This is that letter.

* * * * * * *

Jean-Michel Basquiat's "Untitled" (1986) on display as part of the 2015 巴斯奎特:未知笔记本金博宝188app布鲁克林博物馆展览(照片:hrag vartanian/过敏)金博宝188

在为时已晚之前给Jean Michel的信,或者现在的纽约艺术

当我看到你第一次在P.S.1在1981,我做了一些不好的事情:在你的打字机纸上的图画旁边的砖块上,我用铅笔写下:“我喜欢这些。”

后来,当我要求更多细节的时候,你的经理,and the manager of the whole P.S.1 show,给了我一百美元的图纸。但我说我是做艺术品销售的,不是在艺术品购买行业,以这种方式,我把另一个项目加入了我生命中失去的机会的长名单。但是我不后悔Rien,正如我同名的歌手所唱。

Before I go any further,尊敬的Jean Michel:我必须说明我是个画家,但作为一种爱好,我写艺术评论,我曾经住在纽约,现在住在欧洲。

然后,我在1983年的惠特尼双年展上看到了你那瘦骨嶙峋的身躯。

So penetrating,同性恋和悲伤。You were there yourself,恐怖锁和所有的,jammed into a corner of the staircase by a blonde groupie or two and I told you,"I really like your work." A foolish non-sequitur,对于这样的事情你能回答什么?You stared at me for a moment.

又一次我在另一个楼梯上看到你,当你带着一个女孩和一个孩子从罗马的一个男人秀上下来的时候。那是在迪亚科诺画廊的一幅画,which I'm sorry to say was your weakest: someone leading a cow.And Diacono,Italian intellectual that he is,写了一个很长的Schmerbis,用伟大的哲学社会学政治细节来解释这一切。This painting you had made in the hick town of Modena,the rich little provincial center up river,上埔,where they invited you to have your first one man show ever.(劳申伯格也在意大利举办了他的第一场单人秀,在罗马,but that is neither here nor there.)

And later I saw those anatomical things at Anina Nosei's in Soho and then the three stunners at the graffiti art show in Bologna last year.对我来说,值得去博洛尼亚度过一个多雨的周末(除了美味的博洛尼亚意大利面,I must admit.)

Edith Schloss《海窗》(1977年)亚克力和铅笔在画布上,(Edith Schloss房地产收藏)(由艺术家提供房地产工作室)

刚才在纽约,我在玛丽·布恩家看见你。Even if most of the paintings weren't as good as they used to be,except for the small one on the wooden slats,你的是1985年4月纽约最好的两个节目之一。

The other good show was of [Philip] Guston's late work — a bleeding finger,一只鞋,戴着帽的脸;my god,as simple as a road sign.去看看古斯顿,Jean Michel随着年龄的增长,看那拳。

Every time I mentioned that show to anyone they would say one of two things: Either: "I liked the abstract Guston before better," or: "The late Guston is the real Guston."

Elliott Carter said: "But the late Gustons are like cartoons." When I told this to Connie Fox while we were looking at these Gustons again (flesh pink skyscrapers?Canvases looking at you like eyes?) she said: "Of course they are like cartoons." You too are like cartoons.所以我是,我希望,like cartoons.

然后是安塞尔姆·基弗的表演,很棒的照片,戏剧性的照片。还有什么阴谋,what melodrama,什么是沃普古纳(贝伊斯,Wagner — all that old German Mumbo Jumbo).我,who don't like big pictures,最喜欢他的大照片,所有那些灰蒙蒙的铅,该死的稻草,hanging ribbons with staples on them still.He has a beautiful grasp of materials,但说到他的小照片,装饰性太强了,太明白了。它们就像是多尔的指纹,like old Victorian mirrors.

Then,在同一栋楼里,我看到了和这完全不同的东西,或者来自你,或者来自我:古老的内尔布莱恩为舒适的家园准备的愉快的鲜花。她是我的朋友,or rather my guru,在Bebop时代-她带我和她的帮派去听Pres,鸟,晕眩

You would not believe she ever did intense grey and black intelligent abstractions in the forties before you were born,如果你现在看到这些华丽的东西。尽管如此,her color is good.旧时代的一些东西潜伏在某种淡紫色和浅灰色的阴影中,这些阴影是由天竺葵所造成的。

Still in another gallery in the same building were some pieces,not in a show,by Bill King.Here's another great American.他的雕塑很薄,瘦长的,以及扁平的金属片。他们有一个快速优雅的拉。比尔喜欢美国的民间艺术,而且它很有表现力。他的作品不可思议——看起来简单流畅——但背后有很多智慧。你应该看看古斯顿,so you should look at him.

比尔的画廊里有一些亚瑟·多夫的作品。He's one of the earliest abstract artists in America.他看着花心,tree trunks,stones.他听了他们的话,然后提取了他们的精华,so to speak.It was an abstraction derived from mystic romantic experience.

I also saw paintings by Marsden Hartley from roughly the same period (the twenties) in America.马斯登的风景和海景无人能及。钢铁般的蓝天覆盖着生锈的山脉和雪白的云块,tree trunks like the spikes on a fence.这些倾斜的、分裂的人群,这些灯塔,这片血蓝色的海洋只能是北美,Maine.(这使得[保罗]雷西卡市中心显得更加模糊和不具体,他的Rockport Cape Anne可能在法国南部,他的法国南部可能是洛克波特。)

Arthur Dove and Marsden Hartley were loners.They weren't part of a movement,或是一套艺术作品,或是一个大中心的艺术工会。这种独立性既好又坏。There is something uneven in their development,有污点和尴尬的东西。他们是先驱者,但他们走来走去,缺乏一点流动性。

Dove and Hartley have something to do with a show I saw at the Exit Gallery and with some of the shows at the Miller Gallery.

“出口画廊就在那里,”我告诉两位旅行的意大利画家,谁认为你的节目是最新鲜的呢?他们被惠特尼双年展迷惑和排斥(除了他们和我认为很搞笑的肯尼·沙夫)。

Did you open the door near the beribboned but working telephone booth in the corner between the decorated lady's and men's rooms?I did!I thought: in there,in the broom closet,was the funny heart of the show.里面全是肯尼白天用来发光的刷子。

馆长们通常只看那些明显的东西,而且往往落后于时代,only selecting "new" trends when they are practically over.I ask you: what's new about [Elizabeth] Murray making holes in doors and giving them funny names,and all those blinking on and off constructions like small town department store window dressings?Yes,there was a bit of good painting in [Susan] Rothenberg and [Eric] Fischl (although their subject matter was like illustration).

But now I'm coming to the girl who paints those huge seedpods,at the Exit Gallery show called "Surplus." This was where it was at,never mind the Whitney.后来他们说有400人来参加开幕式。Could be — there were 33 artists and each brought friends and relations.这是一幅真正的画——一幅复仇的画。Everything was by brush,by hand,more or less gutsy,命中注定。没有什么特别好的,但有能量,以及对自由的追求。为了真正的自由,即使没有人非常成熟。

主导的是粗糙的新抽象;something that comes remotely from Arthur Dove.一种浪漫主义,回归自然,但戒备,perhaps subconsciously influenced by close-up photos in nature magazines.Some,尤其是女性,paint a heart,子宫对称形状。There are shapes whizzing around like spinning tops.The colors are there,but dark and subdued.Purples,血红绿色蔬菜,not pretty but muddy.这一切都不是很直接。这种刻薄的浪漫主义在某种程度上被保留了下来——直截了当地谈论它是不酷的。

Another direction in this show is a kind of roughness derived from you and graffiti art.It's gawky,不受教育,它咬人黄色的丑陋,肮脏的米色and dusty blacks has real punch.这是令人讨厌的数字,有点流行艺术背景,strange birds and animals and humans.This "graffitism" is less developed than the first trend,more tentative and with fewer exponents.

第三种趋势是新发现的干净抽象线和几何图形。精力充沛,整洁,好像其他的硬边,older abstraction had never existed.It is sometimes based on charcoal line,或者在油漆上划了一道线,and tries to be dynamic.And there is an abstraction of good plain fields of glowing color,有一些弯曲的花束,再次接近浪漫主义。罗谢尔·范斯坦,我还看到了凯瑟琳·科赫的其他抽象作品,who lives in Virginia.

所以这里有粗糙的自然抽象,graffitism,以及一种新的直接抽象——粗略地说。

我们不需要的是詹妮弗·巴特利特。It's hard to believe that such a lot of people go for this sort of thing.当他们在乡村之声这是雅皮士艺术,天哪,他们是对的。This woman does big paintings of beaches with striped cabins on them,船在他们前面的松软的水里。In fact,每样东西都有点湿。Each canvas is sort of unfinished on one side,因此,下一个可以采取的主题,让它悬空下一个等等。A row of landscapes left unfinished on purpose?她也不会画风景画,耶鲁大学一位成功的风景画家朋友告诉我。这些支离破碎的画都不是真正的绘画,而是与前面的画廊地板上真正的木船和真正的木条小屋一起构成一个场景。她不能错过——她取悦概念艺术的最后一位崇拜者,取悦新形象艺术的第一位崇拜者。整个别致的展览对郊区的人们和收藏家来说都是美好而友好的,他们在木棍上摆出了漂亮的大布景来证明他们的实力。

There is someone else who is even more with it than Bartlett,以一种发自内心的方式,who appeals to the guts of spoiled inner city New Yorkers who believe they are so sophisticated.He has also had a bad show,nay three shows.

我几年前在罗马认识克莱门特。Dressed in black even then,在Campo Dei Fiori和右边的画廊里,never saying anything to give himself away (like all Italians in this country that have always been overrun by rapacious invaders and held tight by corrupt priests and corrupt politicians,你不让任何人知道你的事情,你的价值,你的意图,who you have associated with.坦白是不值得的。Clemente's squiggles on graph paper in conceptual times didn't say anything either.你充其量可以称他们为神秘主义者,or stingy with news or simply dull.I didn't even think there was enough there for me to write about.But after that he was groomed for theTransavanguardia现在,他让所有人都能看到他独特的小秘密:在闻所未闻的地方有阴茎,无花果形状的脓包。各种可爱的颠倒性水果为那些只想被艺术挠痒痒的人制作了有趣的舞台造型。or have their jaded tastes stirred.但我必须承认,这些小的半色情画比一个闷热的纽约人漫画更有趣。

淘气的,naughty,Francesco.But you are even naughtier in your watercolors.他说如果他们给你一套水彩画,一些刷子和水,你可以做水彩画吗?你根本不知道水彩画是关于什么的。学习这个需要很多年。你的人太不忠了,已经很累了。那些大画,丙烯酸树脂或其他,就像剧院的背景,in black and blue and purple.他们到处都是大污点,或是满身小指甲,死亡之首,more sex symbols,甜蜜的自画像。最有趣的是,这些大布匹上有油漆,它们甚至不是你画的,Francesco.Here in Italy the word is that you flew your little helpers to New York and let them mess around prettily,加上一两个数字,就是这样。There's something laughingly smart-alecky about all this,but it's sickly and tired.

What's in the East Village is sick too.Everyone seems to be proud of having no go,no oomph,尽可能地保持一切丑陋和平庸。它不是幼稚的或原始的(它不知道更好,但仍然充满快乐),它只是阴沉的。These are hard,ugly times — why should anyone try?让我们来做一些难看的非艺术图片,我们不要做好事。我们不要向别人学习。没有人才是人才。

但是在东村的某个地方,我看到了好东西,not in a gallery.在他的小工作室里,每20分钟就有一次震动,当IRT经过的时候,Geoffrey Isaacs is another kettle of fish.天主教的局外人,他喜欢圣人的观念,把它们和野生动物转移到纽约街道和其他不太可能的地方。Some,它们的颜色和古老的风景,以及它们的狮子和老鹰,像旧的油印机一样有点奇怪。在一种油中,from the shelves of a Turkish cloth shop,lined entirely with bolts of cloth in all the colors and patterns comes zooming out of a hawk or an owl,like a new hatched moth.在另一张Soho街的照片中,有一个带有圣光的垃圾桶,仿佛圣人随时都会燃烧起来。艾萨克斯创造了超自然——一个光着一条腿在人群中行走的裸体圣人,玛丽莲梦露在斑马上-变成自然的日常活动,而不打睫毛。

In another studio I saw Marthe Keller's angular abstractions.他们是黑暗的,非常平静;straight lines and shapes with steps,金字塔或金字塔的阴影。这一切都很壮观。马蒂的工作很好也很积极,done in relative obscurity.

然后我看到了爱德华·达格莫尔。我和这个抽象表现主义者共进晚餐,苦涩的,大声的,咒骂,讨厌变老,但在他灰色的卷发下有一团火焰。I thought,这是另一个老家伙磨出他的旧的抽象,米色的大事情用斜杠。看起来像巨人,但不是故意的。

我上楼去了他和妻子伊迪住在一起的阁楼,我唯一喜欢的摄影师是谁。她拍摄缅因州池塘、谷仓和窗户的照片,这些照片既甜蜜又真实,就像你一眼就能看到一样。它们就像一个真正的臭烘烘的夏日,在你面前反射着它的光芒,他们也有着讽刺的机智和悲伤。This dirty old loft was chock full of collections of things,在通常的大床上,还有通常放满书籍和公告的大桌子,以及通常的一堆面朝墙的巨大油画。我担心,当达格把其中一个转过来的时候,我不得不说出通常礼貌的恭维话,在里面我会对同样的旧东西感到很厌烦。但不是这样的。

他展示了一块很大的方形帆布,让我喘不过气来。A big field of subtle colors,一个小小的冲动,a pulse here,a directional lash there.It was bright and glowing.It added up to a wonderful,moving experience.It went through and through.

这是一位成熟的画家,a master who knows what to do with his craft and his troubles.No wonder he is in this great hard rage,当他的作品应该被展示而不是,and terrible stuff chokes the galleries instead.这就是绘画的方式。是的,but abstraction of feelings of experience turned into brushings and color and marks which speak to you.我也看到了与托姆布雷的血缘关系-但没有告诉他,因为晚饭时,我提到西的时候,他差点吐到我的眼睛里。Another painting with darker patches,带着稳定的情绪,was in homage to his lifelong friend Ernie Briggs,去年去世的。Man,这是一个不会妥协的人。Here is someone not afraid to give away everything.

I also saw the silk screens and pastels of a very young artist [Tom Burckhardt] whose parents are both artists and to whom I am somehow related.He had always made little clay monsters,有一次他喜欢我的水彩画,画上一排花瓶,花瓶里装满了他认为是有眼睛的怪物,我们做了一笔交易。(他给了我一只硬纸板猫头鹰,那只猫头鹰还在我的墙上。)现在他变得很鲁莽,straightforward portraits of truck drivers,汽车撞到树上。There's a bit of [Red] Grooms in them,of [Alex] Katz,博斯曼的所有他个人认识的人。但这一切都是他自己的,有趣而不拘小节,他很清楚自己在做什么。

古斯顿的动画片是悲剧。你的漫画,Jean Michelhave a sense of the inevitable behind them too,of suffering in the streets and ghetto.但是汤姆认为这个世界太生硬了,太滑稽了。他父亲说,让我们希望他保持开放;他指的是这个注视着世界的眼睛,好像是初学者的运气。I don't think it is.当汤姆来参加我的演出时,他笑了,guffawed and looked serious in turn in front of each picture,我有一种预感,他是纽约唯一真正理解的人。

Here's something easy to describe: a woman cuts into Styrofoam — a material so abrasive and hot to the touch,如此不协调的轻-并通过用蛋糕糖衣注射器挤压压克力覆盖巨大的块。因此,大馅饼片的表面有时会被肥大的酒杯隔开,有时只是用刷子刷上油漆。These hunks like nougat or sections of insects are then mounted on long thin black iron rods so they look like candy or sexless bugs on stilts.

她的脸很漂亮,她说话温和,她还提供草莓。但她下巴的棱角却暴露了她的性格。At a dinner party,前些晚上,she and some of her women friends who were also artists put everyone down;比如说,“这个人在欧洲做生意”,而不是说他在那里有演出。他们不喜欢你,我,Guston特姆布利everyone before them.我想听听他们对当前卡拉瓦乔表演的看法,或是马蒂斯画中对他最严厉的人有着奇怪的偏见,最辛苦的工作,or about the Egyptian section of the Met which had just seen – but nothing doing.

大多数老画家,还有一些我认识的年轻人,谈谈技巧,油漆,和其他画家。真的,一些老的,who are not able to get into the tightly closed shop of the fancy operators,get by teaching,and are bitter that they do not get the fair recognition they deserve.But they are interested in the past,现在也一样,除了对“在哪里”感兴趣之外,这些女人就像猎犬,嗅探着快速成功的幽灵,只对这个感兴趣,and gossip.

我听了他们的话,直到我突然听到自己说:“你太好斗了,你说话不像艺术家,你没有什么诗意可言的。”在这篇文章中,一位使用聚苯乙烯泡沫塑料的妇女突然说道:“我们要活下去了。We can't all be ladylike like you!" She meant: (a) You seem to get along somehow and don't need to fight for income,或者(b)你太老了,不能理解我们这些年轻人。但生存是一个严肃的词,sister,and I know a lot of young people who,thank God,think the way I do.

在演播室里,她给我看幻灯片(每个人都让你在纽约遭受幻灯片折磨,even if the original work is all around you).They are in up-to-date colors,橙色,绿色,紫色,黑色,big hunks of material of indeterminate weight,在铁棒上,玩具似的,像显示器一样幼稚,bland.Yes,首先,inoffensive and bland.

She mentions several times she has an assistant,好像她为此感到骄傲。“她是这个纽约州北部的女孩。她是某大学雕塑系的学生,and working as an intern she gets some points.但她已经不在了,她什么都不懂。Her own work is these tiny pieces.她仍然在木头和大理石上工作,像那样的东西。她不看我的工作,她不环顾四周。“她叹了口气,“她现在对纽约没有兴趣。”

And what precisely is "New-York-Now"?

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