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曾光智

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<br>In the 1980’s Chi did a series of studio set group portraits consisting of the artists that lived in the East Village at the time. Most of the artists appear in costume and are playfully posed. A notable shift occurs in Chi’s work during this period of drug-induced performance-portraiture. In<br>one sense, the portraits mimic tableaux d’histoire, 19th century photography in which each person represented an allegorical figure through the use of costume and affected dramatic expression. In these portraits, Chi is no longer impassive and solitary. Instead he seems the<br>ebullient master of ceremonies, holding the shutter release aloft. However, in another sense, these images document a community, which at the time was ravaged by AIDS. Also during the 1980’s Chi documented the nightlife in the East Village dance clubs and the New York art world with an anthropological zeal.<br>Image size (without black border): 17 5/8 x 17 1/2 in.
让-米歇尔-巴斯奇亚1987年，印刷在224 x 20 in.(60.96 x 50.8 cm)希伯来语印刷品

在20世纪80年代，Chi做了一系列工作室设置的集体肖像，由当时住在东村的艺术家组成。大多数艺术家穿着服装，摆着俏皮的姿势出现。在这一时期，池的作品出现了一个明显的转变，即由毒品引起的表演式肖像画。在
，从某种意义上说，这些肖像画模仿了tableaux d'histoire，19世纪的摄影作品，其中每个人通过使用服装和受影响的戏剧性表达来代表一个寓言人物。在这些肖像画中，阿芝不再是无动于衷和孤独的。相反，他似乎是
，高举着快门释放器，是一个热情洋溢的司仪。 然而，从另一种意义上说，这些照片记录了一个社区，当时这个社区正受到艾滋病的蹂躏。此外，在20世纪80年代，阿芝以人类学的热情记录了东村舞厅的夜生活和纽约的艺术世界。
图片尺寸（不含黑边）：17 5/8 x 17 1/2英寸。
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