هيذر جيمس جاكسون هول - مختارات فنية لصيف 2025 مع سارة فيشل

نشرت في: أشرطة فيديو

 

 

 

 

العمل الفني المعروض حاليا في هيذر جيمس جاكسون هول

 

 

اندرو WYETH--ستار الطريق--ألوان المائية علي الورق--21 1/4 × 29 في.

أندرو وايث

ريتشارد سيرا - كيب بريتون أفقية معكوسة رقم 16 - طباعة ليثوغرافية على ورقتين من الورق المصنوع يدوياً - 19 3/4 × 55 7/8 بوصة.

ريتشارد سيرا

<div><font face=Lato size=3>Andy Warhol’s "Marilyn #30" (1967) is part of the artist’s landmark Marilyn portfolio, one of his most celebrated and sought-after series. From an edition of 250 (this work numbered 138/250, with 26 artist’s proofs), the portfolio is represented in major institutions including the Museum of Modern Art, New York. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Based on a publicity still from the 1953 film Niagara, Warhol’s Marilyns epitomize his fascination with celebrity, mass media, and the power of the reproduced image. Each print in the series was created with five screens—one carrying the photographic likeness and four for areas of color—deliberately layered with bold hues that are at times slightly off-register. This misalignment heightens the tension between glamour and artifice, echoing the fragile brilliance of Marilyn Monroe’s own persona. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>As one of Warhol’s defining bodies of work, the "Marilyn" prints remain icons of Pop Art, merging Hollywood stardom with silkscreen’s mechanical repetition to create a timeless meditation on fame, desire, and image. </font></div>

أندي وارهول

يتميز فيلم Rouge Mouille (Wet Red) لألكسندر كالدر بخلفية من الدوائر الحمراء ، بعضها يتفرق مثل الانفجارات ، مما يخلق إحساسا بالتوسع النشط ، والبعض الآخر يركض لأسفل كما لو كان يتدفق مسارات عرض الألعاب النارية. تم تزيين هذه الخلفية المتحركة بالعديد من الكرات المستديرة غير الشفافة ، والتي يغلب عليها اللون الأسود ، ولكنها تتخللها كرات زرقاء وحمراء وصفراء مذهلة. يجسد الموقع الاستراتيجي للكرات الملونة مقابل اللون الأحمر المتفجر رهبة ومشهد عرض الألعاب النارية ، مما يحول اللوحة إلى استعارة بصرية لهذا الحدث المبهر والاحتفالي. يتردد صدى العمل الفني بالإثارة والحيوية ، ويغلف جماله سريع الزوال في وسط ثابت.

ألكسندر كالدر

"Wigwam rouge et jaune" ، لوحة غواش آسرة لألكسندر كالدر ، هي استكشاف نابض بالحياة للتصميم واللون. تهيمن عليها شبكة من الخطوط القطرية التي تتقاطع بالقرب من ذروتها ، ينضح التكوين بتوازن ديناميكي. يقدم كالدر عنصرا من النزوة بأشكال الماس الأحمر والأصفر ، مما يضفي على القطعة المرح ويخلق جوا احتفاليا. تثير الكرات الحمراء في قمة الخطوط المائلة إلى اليمين انطباعا غريب الأطوار ، بينما توفر الكرات الرمادية الأصغر فوق الخطوط المائلة إلى اليسار تباينا وتوازنا. إن اندماج Calder البارع بين البساطة وعناصر التصميم الحيوية يجعل Wigwam rouge et jaune متعة بصرية.

ألكسندر كالدر

© 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك

ألكسندر كالدر

الكسندر كالدر -- دوامة البيضاوي -- الغواش والحبر على الورق -- 43 × 29 1 / 2 في.

ألكسندر كالدر

هاري بيرتويا - منحوتة بدون عنوان (منحوتة صوتية) - نحاس بريليوم وبرونز مع قاعدة خشبية - 36 1/2 × 8 × 8 × 8 بوصة.

هاري بيرتويا

HARRY BERTOIA - منحوتة صفصاف - ستانلس ستيل - 61 1/2 × 39 × 39 بوصة

هاري بيرتويا

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

هاري بيرتويا

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.<br><br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

ماري كورس

<div><font face=Lato size=3>Andy Warhol’s <em>Mao</em> (1972) is one of the artist’s most iconic and provocative screenprints, reflecting his fascination with the intersection of political power and celebrity culture. This impression, numbered 244/250, comes from the regular edition of 250, in addition to 50 artist’s proofs. Warhol based the image on the widely circulated official portrait of Chairman Mao Zedong, a figure whose likeness was omnipresent in China during the Cultural Revolution. By reimagining the image through his vivid Pop palette, Warhol transformed a symbol of political authority into a mass-produced cultural icon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>In this version, Mao’s face is rendered in a striking deep blue, offset by a green shirt and set against a turquoise background. The bold chromatic choices infuse the portrait with both drama and irony, destabilizing the original propagandistic authority of the image. Warhol further heightens this tension by juxtaposing flat, mechanical silkscreen layers with painterly flourishes, blurring the line between mass production and individual expression. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>The <em>Mao </em>series marked a new chapter in Warhol’s career in the 1970s, shifting from Hollywood stars to figures of global influence. Today, these works are regarded as essential statements on the nature of power, fame, and the pervasive reach of the image in contemporary culture. </font></div>

أندي وارهول

من أواخر خمسينيات القرن العشرين حتى منتصف ستينيات القرن العشرين ، مساهمات راي باركر في وقت مبكر للوحة حقل اللون تبرز بشكل ملحوظ لجودتها نابضة بالحياة وجديدة. رتب باركر كتلتين أو أكثر من كتل الألوان القوية ذات الحواف الخشنة باستخدام تقنية قوية وفرشاة على لوحات كبيرة معدة بجيسو. تظهر هذه الكتل ، المقدمة بألوان مشبعة ولكنها نابضة بالحياة بمهارة ، طاقة مميزة. في حين أن مؤلفات باركر قد تذكر أحد روثكو ، فإن كيفية توصيل اللون - بقوة وقوة - تميزهما. مع الحفاظ على النطاق الكبير والديناميكية لمدرسة نيويورك ، يتباعد عمل باركر من خلال التخلي عن الكثافة العاطفية المرتبطة غالبا بالتعبيرية التجريدية ويحتضن رؤية للحركة خالية من رثائها النموذجي.

راي باركر

راسل يونغ - Elvis Heartbreak Hotel (Diptych) - طباعة يدوية على قماش الكتان باستخدام حبر أكريليك وزيتي وغبار الماس - 63 × 94 بوصة.

راسل يونغ

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java. <br><br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

جنوب شرق آسيا

<div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Breakfast</em>, from an edition of 50, demonstrates the artist’s signature blend of Pop-inflected realism and painterly intimacy. Executed in colored drypoint, the work captures the simple subject of a morning meal with a remarkable freshness: hatching lines soften and blur the composition, creating a pastel-like effect that distinguishes it from the crispness of commercial print design. Though slightly faded, the impression retains the playful chromatic sensibility and softly modeled shadowing that became hallmarks of Thiebaud’s style.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Since the early 1960s, Thiebaud has been celebrated for his depictions of food—cakes, pies, gumball machines, and diner counters—rendered not as literal meals but as cultural icons, at once nostalgic and idealized. In <em>Breakfast</em>, the modest meal is transformed into a subject of contemplation and delight, celebrating the pleasures of everyday American life while evoking memory and desire. The combination of precision and informality speaks to Thiebaud’s ability to merge the immediacy of drawing with the enduring resonance of painting.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Institutional recognition of the work’s importance is reflected in its inclusion within the National Gallery of Art, Washington, affirming its role within Thiebaud’s larger project of elevating common objects into images of enduring cultural significance.</font></div>

واين ثيبود

ELLSWORTH KELLY - بدون عنوان، (من مجموعة ثمانية في ثمانية للاحتفال بالمعاصر المؤقت) - طباعة حجرية على ورق مقوس - 28 3/4 × 40 3/4 بوصة.

إلسوورث كيلي

أليكس كاتز - فيفيان - شاشة حريرية على لوح متحف - 39 × 41 بوصة.

أليكس كاتز

ELLSWORTH KELLY - المنحنى الأحمر - طباعة حجرية ملونة - 10 × 7 1/2 بوصة.

إلسوورث كيلي

ELLSWORTH KELLY - المنحنى الأحمر (الولاية السوداء) - طباعة حجرية ملونة - 10 × 7 1/2 بوصة.

إلسوورث كيلي

جوزيف الحلاقين-صياغة: المفصلي-سكريبرينت-اليسار: 10 × 17 1/2 في. الحق: 6 × 10 1/2 في.

جوزيف ألبرس

جوزيف ALBERS - صياغة: صياغة - طباعة الشاشة - 12 × 11 3/4 في.

جوزيف ألبرس

لورانس شيلر -- نهاية اليوم ، مارلين مونرو ، "شيء ما حصلت على إعطاء" -- الفضة الجيلاتين المطبوعة -- 20 × 24 في.

لورنس شيلر