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两个主要展览,走近生活:绘图和纸上作品在Marieluise Hessel的收藏高兴:图案和装饰在美国艺术1972年至1985年现在,现在在纽约哈德森的Curatorial研究中心,吟游诗人学院(CCS Bard)。距离纽约市仅有很短的车程,这些展览会在CCS Bard Reexamine探索的艺术和媒体上,并向CCS Bard联合创始人Marieluise Hessel的收集历史提供了一瞥,其集合在中心积极使用CCS巴德’s graduate program — and from which many of the works in更贴近生活荣幸绘制。

包括在纸上超过75个作品从收集Hessel的跟踪超过四个十年收集的,更贴近生活探索绘画作为对显著个人和社会意义的问题思考的工具。此次展览展出的许多艺术家,他们在媒体工作的大作品中缺少调查,从威廉·科普利图纸捕捉世纪中期流行文化到最近里克·缪勒作品的收购。其他艺术家包括在许多其他约瑟夫·博伊斯,尼克洞,妮可·艾森曼,拉希德·约翰逊,Toyin Ojih Odutola,格哈德·里希特,洛娜·辛普森,罗斯玛丽·特罗克尔,丹·沃和戴维·沃杰纳罗奇斯。

荣幸那the first large-scale North American survey of the women-led Pattern and Decoration (P&D) movement of the 1970s and ’80s, showcases major works from the Hessel Collection alongside significant loans from museums, private collections, and foundations to trace the movement’s reach in postwar American art. Countering the male-dominated minimalist aesthetics of the day, P&D celebrated color, excess, and the decorative. The exhibition examines the artists at the movement’s core, such as Valerie Jaudon, Robert Kushner, Kim MacConnel, and Barbara Zucker, as well as those whose contributions to P&D have been under-recognized, like Merion Estes, Dee Shapiro, Kendall Shaw, and Takako Yamaguchi; and those who are not normally considered in the context of P&D, such as Emma Amos, Billy Al Bengston, Al Loving, and Betty Woodman.

要了解更多关于CCS巴德的夏季房展,请访问:ccs.bard.edu

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