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托尼·德·洛斯·雷耶斯

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Tony de los Reyes’ 2006-2011 series Chasing Moby Dick analyzes the intersection of politics and culture through the lens of Herman Melville’s masterpiece (1851). Much like Captain Ahab’s hunt for Moby Dick, de los Reyes invasions America as “highly contentious and monomaniacal,” especially in light of former President George Bush’s singular hunt for Osama bin Laden. According to de los Reyes, "Melville knew that America, being ever-hungry, would not/could not stop at the ocean's edge. Part of the American spirit is to continue expanding, even to our detriment."<br><br>This painting is named after the fictitious whaling ship, imagined by Melville, that Captain Ahab commands and leads on a three-year expedition while chasing Moby Dick. de los Reyes’ method creates a delicate balance between abstraction and realism that makes the ship appear almost ghostly. This quality may be a physical manifestation of the monomaniacal intention of Captain Ahab, and thus America, that cannot end, even after its own destruction.
Pequod200843 1/2 x 73 in.(110.49 x 185.42厘米)红纸
种源
私有集合，CA
托尼·德洛斯·雷耶斯的2006-2011年系列《追逐莫比·迪克》通过赫尔曼·梅尔维尔的杰作（1851年）的镜头分析了政治与文化的交集。就像亚哈上尉对莫比·迪克的追捕一样，德洛斯·雷耶斯入侵美国是"极具争议和一种疯狂"的，特别是鉴于前总统乔治·布什对奥萨马·本·拉登的单独追捕。根据德洛斯雷耶斯的说法，"梅尔维尔知道，美国，一直渴望，不会/不能停在海洋的边缘。美国精神的一部分是继续扩大，甚至对我们不利。

这幅画以一艘虚构的捕鲸船命名，由梅尔维尔想象，亚哈船长在追逐莫比·迪克时指挥并领导了为期三年的探险。de los Reyes 的方法在抽象和现实主义之间创造了一种微妙的平衡，使船几乎幽灵般地出现。这种品质可能是亚哈上尉一意一妻制意图的有形表现，因此，美国，即使在它自己的毁灭之后，也无法结束。
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