希瑟-詹姆斯-杰克逊霍尔3D虚拟之旅--2021年夏季

刊登在:画廊之旅

我们很高兴与大家分享今年夏天在我们位于怀俄明州杰克逊霍尔的画廊所展出的奇妙的艺术作品集。我们的怀俄明州画廊位于中心街172号小镇广场附近,展示了各种类型的蓝筹艺术品,包括Frida Kahlo, Joan Miro, Alexander Calder, 和Mary Corse。在我们的3D虚拟旅游中发现完整的收藏。

Jim Dine 是一位美国流行歌手,他的作品以具有童趣的物体来沉思,以找到一种普遍和怀旧的语言。迪恩的长袍是他漫长而辉煌的职业生涯中最广为人知的形象之一。它们于1964年秋天首次在西德尼·贾尼斯画廊展出——就是这样一个例子。双银点罗伯斯是一个大型的混合媒体组合。这项工作以银点执行 - 一种利用一块银作为绘图仪器在一个特别准备好的地面上的技术,通过它氧化了几个月,形成温暖的棕色色调。两个连接的画布以木块代替头部应位于何处,以及一个悬挂的木质元素,可响应气流。

吉姆·丁

FERNANDO BOTERO - Autoretrato a la manera de Velázquez - 纸板上的红色和蜡笔 - 60 1/2 x 47 1/2 in.

费尔南多·博特罗

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.

玛丽·科罗斯

"Ray Gun became a catch title for all sorts of things. Looking down on the street, I would find this angle in the shape of a ray gun everywhere. And I would collect the ray guns. They became quite an obsession."<br>-Claes Oldenburg<br><br>"Two Ray Guns" (1964) was initially sold through the venerable Sidney Janis Gallery. The work draws upon Oldenburg's keen observational sense and fascination with science fiction and popular American culture. The fascination with Ray Guns became a conceptual art practice for Oldenburg; he would not construct them in the traditional sense but instead, find objects that could be reduced into the form. Ray Gun Examples exist in plastic, bronze, plaster, and many different media.  <br><br>Our example from the Ray Gun series has been in the same important American collection for many years. Several examples from this series are in prominent museum collections worldwide, including the Museum of Modern Art, New York.

克莱斯·奥尔登堡

CARLOS LUNA - La Mia (1225 OC) - 布面油画 - 47 x 58 in.

卡洛斯·卢纳

OLAF WIEGHORST - 阿帕奇 - 布面油画 - 20 x 24 in.

OLAF WIEGHORST

Signed, titled and dated ‘81 verso<br>JR-198-81

杰克·罗斯

ARNE HIERSOUX - Mem Sahib - 丙烯酸和画布上的纸张 - 70 1/2 x 120 1/2 in.

ARNE 希尔苏克斯

ARNE HIERSOUX - Yonder 思科 - 丙烯酸和画布上的纸张 - 59 x 93 3/4 in.

ARNE 希尔苏克斯

Robert Rauschenberg, along with Jasper Johns, Andy Warhol, and Roy Lichtenstein, started the revolution of Pop Art in the 1960s. Rauschenberg's later career was a time for the artist to work on experimental and innovative projects, including the 1993 "Prime Pump from ROCI USA (Wax Fire Works Series)." This series comes from the artist's philanthropic project, "ROCI USA," demonstrating "Rauschenberg's belief in the power of art as a catalyst for positive social change."  The reference to "wax fire" in the title is Rauschenberg's term for encaustic - hot wax with colored pigments - which he used in other works from the series. <br><br>Executed in a small edition of just 17 examples, this piece incorporates printmaking, a medium to which he often returned to explore new modes for layering imagery. Rauschenberg worked on editions since the early 1960s when he was a fixture at the ULAE and Gemini G.E.L. printshops.  Rauschenberg's printmaking and editioned works were an extension of the creative act for the artist; he could achieve sculptural and 3D effects through his editions.

罗伯特·劳森伯格

FRANK TENNEY JOHNSON - 童子军 - 布面油画 - 13 1/2 x 17 英寸。

弗兰克-滕尼-约翰逊

HASSEL SMITH - 9000 和 9 夜 - 画布上的丙烯酸和石墨 - 68 x 68 1/8 in.

哈塞尔·史密斯

ROBERTO MATTA - L'Epreuve - 油画 - 29 1/2 x 25 1/2 in.

罗伯托·马塔

The Arts and Crafts Movement in Great Britain and the corresponding ripples that made their way across the Atlantic Ocean were felt in the work of Jesse Arms Botke (1883-1971).  Botke was born in Chicago, Illinois but found her home in California, where she had a successful career working first in Carmel and later in Southern California. <br><br>Rich textures, extensive use of gold leaf, and highly stylized birds would become synonymous with Botke's mature work as she established herself as one of the West Coast’s leading decorative mural painters of the 20th century.<br><br>"The White Peacock" (1922) shows an idyllic landscape with Botke's signature bird subject matter; the white peacock and cockatoos were among her favorite aviary subjects. Her work today can be found in countless museum collections, including the Art Institute, Chicago.

杰西·阿姆斯·博特克

ROBERT NATKIN - 伯尔尼系列 - 布面丙烯 - 48 x 53 英寸。

罗伯特·纳特金