杰克逊霍尔画廊漫步2021年

刊登在:画廊之旅

目前在希瑟·詹姆斯·杰克逊洞展出的艺术品

IRVING NORMAN - How Come - 布面油画 - 90 x 60 英寸。

欧文·诺曼

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

欧文·诺曼

<div><font face=Calibri size=3 color=black>Harry Bertoia’s “Sonambient” sculptures are a mesmerizing blend of art, sound, and science, and this 36-tine piece is a quintessential example of his innovative genius. Meticulously crafted with 36 rods aligned in a precise six-by-six configuration on a square base, this 77-inch-tall work embodies the harmonious intersection of visual beauty and auditory wonder.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Made from beryllium copper, a material favored by Bertoia for its superior acoustic properties and aesthetic appeal, the rods have developed a rich walnut-like patina over time. This patina adds to the sculpture’s visual allure, enhancing its historical and artistic value, and reflects a natural aging process that the artist himself, a naturalist, would have admired. When activated by touch or the movement of air, the rods produce a perceptible, fixed note accompanied by a range of ethereal tones, transforming the sculpture from a static object into a dynamic, multisensory experience. The long, swaying motion of the tall rods, reminiscent of the undulating desert grasses that inspired the artist initially, adds a captivating visual dimension. The cattail-like finials further evoke natural forms, underscoring Bertoia’s inspiration derived from the natural world.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Bertoia’s 36-tine “Sonambient” sculpture is more than a visual masterpiece; it profoundly explores sound, material, and participatory interaction. It exemplifies Bertoia’s belief in art as an immersive and evolving experience, where each encounter offers discoveries and sensations. Through this work, Bertoia has created a timeless piece that continues to captivate and inspire, highlighting his artistic vision's enduring power and deep connection to nature’s spiritual qualities.</font></div>

哈里·贝托亚

IRVING NORMAN - Snapshots - 布面油画 - 40 x 90 英寸。

欧文·诺曼

奥利维拉的存在主义人物形象传达出一种令人不安的情绪，让人想起贾科梅蒂的风格，这一特点贯穿了奥利维拉漫长的艺术生涯。但他也探索鸟类和动物的内在本质，并研究感知的短暂性，即记忆重构短暂的体验。晚年，他专注于遗址绘画和专著，唤起人们对古代文明或部落被遗忘的名字的记忆，就像在考古发掘中出土的一样。在《面具》这幅作品中，神秘的蛋形被抬高，仿佛被放置在一个墓葬平台上，其低调、柔和的陶土色调指向部落关联，可能反映了他作为土著面具收藏家的兴趣，这些面具大多来自墨西哥。

内森·奥利维拉

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

欧文·诺曼

IRVING NORMAN - 人与时间 - 布面油画 - 58 x 30 英寸。

欧文·诺曼

NATHAN OLIVEIRA - 第5号石碑 - 布面油画 - 66 x 54 1/8 英寸。

内森·奥利维拉

格雷戈里苏米达 - 布鲁克的弯曲 - 水彩 - 10 1/2 x 14 1/2 in

格雷戈里·苏米达