发布日期 2019-12-30

美籍匈牙利裔艺术家丽塔·亚克曼

原标题:美籍匈牙利裔艺术家丽塔·亚克曼

丽塔·亚克曼(匈牙利语:Rita Ackermann,1968年04月19日-),出生于匈牙利,美籍匈牙利裔的艺术家。

丽塔·阿克曼(Rita Ackermann)最初以脱衣状态中闲散的杏仁眼女孩形象而闻名,这是对1990年代纽约市中心文化的一种类似高更的看法。阿克曼的绘画,素描和拼贴画将新表现主义与人物素描相结合,将圆珠笔墨水和喷漆涂在油和丙烯上,以产生拥挤,明亮的彩色表面。阿克曼(Ackermann)2008年的系列作品《不要给我沙拉(护士)》引用了理查德·普林斯(Richard Prince)的著名画作,但她自己的纸浆小说却使女性跨越了脆弱和暴力

艺术家Rita Ackermann引用Bertolt Brecht的口号:“艺术不是一面镜子,而是一把锤子。”自从1990年代初她从家乡布达佩斯到达纽约街头以来,她一直在用锤子-就像抚摸着市中心青年文化的偏远哨所和曼哈顿艺术世界的死胡同一样。Ackermann的流动性几乎立即引起了人们的注意,但野蛮的大型油画作品有时与杏仁眼的年轻女性的形象并列,形成了分层的色块。

阿克曼本可以简单地从保持一种独特风格中获益。相反,她做了真正的艺术家,然后去探索。她一直是视觉上的旅行家,创作各种作品,从木偶戏和精心制作的表演作品到设计瑟斯顿·摩尔专辑的封面,以及与Gang Gang Dance的Lizzi Bougatsos组成短暂的摇滚乐队Angelblood。一路走来,她从未停止使用画笔作为锤子,竖立或拆除图像,从暴力到色情,从神话到原始,从叛逆和年轻到母亲,富有同情心和内敛。在她的画作中,她利用了报纸剪报,战争照片,时尚社论,碳素描,甚至在最近,去年在瑞士研究所联合展上的《垃圾桶》(Trash Humpers,2009年)。最近的画作对人像的关注与对抽象的关注一样多。在新的系列作品《天火》中,她甚至雇用了重工业材料(搪瓷,喷漆,机油和凡士林)来完成油漆工作。

Artist Rita Ackermann has been known to reference Bertolt Brecht’s slogan, “Art is not a mirror, but a hammer.” Ever since she arrived on the streets of New York from her native Budapest in the early 1990s, she has been applying her hammer-like strokes to both the remote outposts of downtown youth culture and the dead-center of the Manhattan art world. Ackermann received almost instantaneous attention for her fluid, yet savage large-scale oil paintings of layered color blocks sometimes juxtaposed with the figures of almond-eyed young women.

Ackermann could have simply reaped the benefits of maintaining one distinctive style. Instead, she did what real artists do and went exploring. She has always been a visual journeywoman, creating polymorphic work ranging from puppet shows and elaborate performance pieces to designing the cover of a Thurston Moore album and forming the short-lived rock band Angelblood with Gang Gang Dance’s Lizzi Bougatsos. Along the way, she has never stopped using her paint brush as a hammer, erecting-or demolishing-imagery and surfaces that range from the violent to the erotic, from the mythological to the primitive, from rebellious and youthful to maternal, compassionate, and restrained. In her paintings, she has utilized newspaper clippings, war photographs, fashion editorials, carbon sketchings, and even, more recently, film stills from collaborator Harmony Korine’s Trash Humpers (2009) at a joint show last year at the Swiss Institute. Recent paintings have included as much attention to the human figure as to abstraction. In a new series, “Fire by Days,” she has even employed heavy industrial materials-enamel, spray paint, motor oil, and petroleum jelly-to do the work of paint.

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