g*******x
发帖数: 2158 | | T*******t
发帖数: 9274 | 2 学习了
【在 g*******x 的大作中提到】
: 学习吧
| I***8
发帖数: 2462 | | g*******x
发帖数: 2158 | 4 是contemporary photography派
【在 I***8 的大作中提到】
: 学习了，
: 顺便求教是哪派大师作品？
| S*M
发帖数: 10832 | 5 天生一个。。。
【在 g*******x 的大作中提到】
: 学习吧
| b**n
发帖数: 289 | | l**********r
发帖数: 1125 | | h*********u
发帖数: 10868 | 8 你呀
【在 S*M 的大作中提到】
: 天生一个。。。
| g********r
发帖数: 8017 | 9 给讲解下呗？
【在 g*******x 的大作中提到】
: 学习吧
| l*******b
发帖数: 2586 | | | | a*f
发帖数: 5682 | 11
你的态度好. 你觉得他是废片, 那它对你就是废片. 没什么好学习的.
【在 l*******b 的大作中提到】
: 既然是大师的片，我就来砸一砖：
: 废片！！
| g*******x
发帖数: 2158 | 12 看来当代艺术还不是每个人都能接受的
【在 l*******b 的大作中提到】
: 既然是大师的片，我就来砸一砖：
: 废片！！
| p*******s
发帖数: 339 | 13 废话, 除了钱, 我还没见过每个人都能接受的东西
【在 g*******x 的大作中提到】
: 看来当代艺术还不是每个人都能接受的
| g********d
发帖数: 506 | | a*********x
发帖数: 7174 | 15 当代艺术得附上一篇artist statement啊，光给图谁知道是想表达什么~=0=
【在 g*******x 的大作中提到】
: 看来当代艺术还不是每个人都能接受的
| b***e
发帖数: 15201 | | l***t
发帖数: 35 | | t***e
发帖数: 2138 | 18 我觉得吧，艺术修养这个东西，是一个自然生长的过程。不要拔苗助长，也不要妄自诽
薄。
以绘画为例，从古典油画到印象派，到现代艺术，是一个不断发展的过程。每一个人，
有自己的认知和喜好。并不断发展变化。喜欢符合自己当前审美情趣的，符合当前审美
水平的。体现真实的自我。这样的审美，是真实的，健康的。作为二十一世纪的人，可
能我们的审美目前还停留在几个世纪以前。比如，我目前还主要欣赏印象派的东西。对
于现代的一些艺术，还缺乏足够的认知能力。毕加索，大师吧，他的很多东西我还欣赏
不了。我想，这没关系。我就欣赏我能理解的，另外再花点时间看看现代派大师的作品
，一点一点的学习嘛。水到渠成。但是呢，现在给我看这些现代派大师的作品，除非你
告诉我这是某某大师的作品，我会抱着学习的态度去看看，确实说不上欣赏了，因为还
不懂嘛。
现代艺术发展很快的，一些艺术天才，在不断的改变自己，引领着艺术的最前沿。但这
样的人，少之又少。大多数人，都是品味着前人留下的艺术思想，如果能在一个小小的
领域內，多有些心得，做得能比大多数的其它人好些，就已经难能可贵了。 | I***8
发帖数: 2462 | | g*******x
发帖数: 2158 | 20 其实作者并没有给出太多的statement。
作者是Eirik Johnson.这个主题是一组名为animal holes的组片。下面是一点说明
There is something sad about these landscapes. They are, after all, located
in the neglected empty space which exists between public and private land.
Yet, these spaces also offer a constant reminder of the resilience of nature
. This theme of ecology adapting to change was what inspired my next
project, Animal Holes. It was on one of my urban expeditions along an old
landfill in California that I came upon a warren of feral jack rabbit holes.
What caught my eye was that in burrowing their holes, the rabbits had also
unearthed piles of jewel-like treasures from the landfill below. Bits of
rusted metal, rubber hose, and iridescent glass sat like offerings in front
of each black hole. The animal holes embodied the idea of the makeshift
landscape on a micro-scale, a sort of intimate epilogue to the Borderlands
project.
作者本人
EIRIK JOHNSON
EDUCATION
2003 M.F.A. San Francisco Art Institute, CA
1997 B.F.A. Photography & B.A. History, University of Washington
ACADEMIC POSITIONS
2008-Present Assistant Professor of Photography, Massachusetts College of
Art and Design, Boston, MA
GRANTS AND AWARDS
1999 - 2000 William J. Fulbright Grant, Peru
2001 Artist Trust Grant for Artist Project (GAP), Washington State Arts
Council
2001 - 2003 San Francisco Art Institute Graduate Artistic Merit Fellowship
2003 Brooks Award to Anderson Ranch Arts Center, Snowmass, Colorado
2003 Artist Book Competition, San Francisco Art Institute
2005 Santa Fe Prize for Photography
2008 Kelner Faculty Travel Fellowship, Massachusetts College of Art and
Design
SELECTED SOLO EXHIBITIONS
2009 Eirik Johnson: Sawdust Mountain, Rena Bransten Gallery, San Francisco,
CA
2009 Eirik Johnson: Sawdust Mountain, Henry Art Gallery, University of
Washington, Seattle, WA
2009 Eirik Johnson: Sawdust Mountain, G. Gibson Gallery, Seattle, WA
2007 Eirik Johnson: Animal Holes, G. Gibson Gallery, Seattle, WA
2006 Eirik Johnson: Borderlands, Yossi Milo Gallery, New York, NY
2005 Rena Bransten Gallery, San Francisco, CA2004 Landscape, Rena Bransten
Gallery, San Francisco, CA.
2004 Oculus, ASA Gallery, University of New Mexico, Albuquerque NM.
2004 Residency Finalist Exhibition, Headlands Center for the Arts, Sausalito
, CA.
2003 Intervals, Artist Television Access, San Francisco, CA.
2003 Stanford Art Spaces, Stanford University, Palo Alto, CA.
2003 Bay Area Currents, Oakland Art Gallery, Oakland, CA. juried by James
Elaine, curator of Hammer Projects, UCLA Hammer Museum.
2003 Vernissage, SFAI Master of Fine Arts Exhibition, Fort Mason, San
Francisco, CA.
2003 New California Masters, Works/San José, San José, CA.
2002 Repurpose, Southern Exposure, San Francisco, CA; juried by Nicolas
Bourriaud, director of the Palais de Tokyo, Paris.
2002 Reclaiming the Hollow, site-specific installation, San Francisco, CA.
2002 Lucite, Longitude and Joe Namath, collaboration with Toban Nichols,
Diego Rivera Gallery, San Francisco, CA.
2002 Solo Exhibition, Diego Rivera Gallery, San Francisco, CA.
2001 Re-Imaging the West: a New History, SF Camerawork, San Francisco, CA.
2000 Tawantinsuyo: un viaje fotográfico, Museum of Contemporary Art, Cusco,
Peru.
2000 Eirik Johnson: Estonopeica y Estereoscópicas, Ojo Ajeno Galería,
Centro de la Fotografía, Lima, Peru.
2000 "Eirik Johnson: Redefining the Western Landscape," Saddleback College
Art Gallery, Mission Viejo, CA
1999 Commotion, SF Camerawork, San Francisco, CA.
1999 Western Ground, RayKo South, San Francisco, CA.
1998 Selected Contemporary Work, Robert Koch Gallery, San Francisco, CA.
1998 Western Ground, G. Gibson Gallery, Seattle, WA.
1997 The Camera Obscured, FotoCircle Gallery, Seattle, WA.
1997 Intrusion: the Contemporary Landscape, G. Gibson Gallery, Seattle, WA.
SELECTED GROUP EXHIBITIONS
2008 "Cavallo Point Photography Program," Cavallo Point Lodge, Sausalito, CA
2008 "Animal Intelligence," Gallery Project, Ann Arbor, MI
2007 "Utopian Mirage: Social Metaphors in Contemporary Photographs and Film,
" Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY
2007 "On the Wall: Aperture '05/'06," Aperture Foundation Gallery, New York,
NY
2007 "Selections '07," Stephen Paine Gallery, Massachusetts College of Art,
Boston, MA
2005 "Vital Signs," George Eastman House, Internatinal Museum of Photography
and Film, Rochester, NY
2004 "Boundaries," Angie Newman Johnson Gallery, Episcopal Academy,
Alexandria, VA
2004 "Oculus," ASA Gallery, University of New Mexico, Albuquerque, NM
2004 "Landscape," Rena Bransten Gallery, San Francisco, CA
2004 "Close Calls," Headlands Center for the Arts, Sausalito, CA
2003 "Intervals," Artist Television Access, San Francisco, CA
2003 "Stanford Art Spaces," Stanford University, Palo Alto, CA
2003 "Bay Area Currents," Oakland Art Gallery, Oakland, CA
2003 "Vernissage," SFAI Master of Fine Arts Exibition, Fort Mason, San
Francisco, CA
2003 "New California Masters," Works/San Jose, San Jose, CA
2002 "Repurpose," Southern Exposure, San Francisco, CA
2002 "Reclaiming the Hollow," Site-specific installation, San Francisco, CA
2002 "Lucite, Longitude and Joe Namath," collaboration iwth Toban Nichols,
Diego Rivera Gallery, San Francisco, CA
2002 "Solo Exhibition," Diego Rivera Gallery, San Francisco, CA
2001 "Re-Imaging the West: a New History," SF Camerawork, San Francisco, CA
2000 "Tawantinsuyo: un viaje fotografico," Museum of Contemporary Art, Cusco
, Peru
1999 "Commotion," SF Camerawork, San Francisco, CA
1999 "Western Ground," RayKo South, San Francisco, CA
1998 "Selected Contemporary Work," Robert Koch Gallery, San Francisco, CA
1998 "Western Ground," G. Gibson Gallery, Seattle, WA
1997 "The Camera Obscured," FotoCircle Gallery, Seattle, WA
1997 "Intrusion: the Contemporary Landscape," G. Gibson Gallery, Seattle, WA
COLLECTIONS
Seattle Art Museum, Seattle, WA
George Eastman House, Rochester, NY
Museum of COntemporary Photography, Chicago, IL
Fidelity Investments, Boston, MA
The National Fulbright Organization
National Institute of Culture, Peru
Centro de la Fotografia, Lima, Peru
Paul Sack Collection, San Francisco, CA
Joseph and Elaine Monsen Collection, Seattle, WA
Artist and Special Book Collection, University of Washington, Seattle, WA
Collection of the President of the University of Washington, Seattle, WA
【在 a*********x 的大作中提到】
: 当代艺术得附上一篇artist statement啊，光给图谁知道是想表达什么~=0=
| | | b***e
发帖数: 15201 | 21 the pics look like shit to me, the statement might be meaningful, but still,
the pics look like shit. | g*******x
发帖数: 2158 | 22 hahahaha
这也是我的第一印象
前两年的Aperture杂志重点介绍了这位大师，看得我一头雾水
still,
【在 b***e 的大作中提到】
: the pics look like shit to me, the statement might be meaningful, but still,
: the pics look like shit.
| b***e
发帖数: 15201 | 23 这年头，大师和美女这两个头衔是等价的....
【在 g*******x 的大作中提到】
: hahahaha
: 这也是我的第一印象
: 前两年的Aperture杂志重点介绍了这位大师，看得我一头雾水
:
: still,
| C***l
发帖数: 2625 | 24 说起环保类的照片，容许我再次介绍Chris Jordan（上次好像是3年前了吧），也许跟
老忽悠介绍的这位大师比起来，他的片子可能容易接受点吧。
http://www.chrisjordan.com/gallery/epu/#e-pluribus-unum
下面这几张是他03年到05年的课题Intolerable Beauty：
Crushed cars #2, Tacoma 2004 44x62"
Cell phones, Orlando 2004 44 x 82"
Chassis Yard #2, Tacoma 2004 44x70"
Drums, Seattle 2004 40x50"
Container yard #2, Seattle 2004 44x56"
如果说Intolerable Beauty算是在抽耳光，2006-09的课题Running the Numbers也许就
有点像恶搞了。这个课题里的网页照片都是动态的，点进去会一直放大到最细微部分，
效果很牛，一定要点进去放大看。
Cans Seurat, 2007 60x92"
Depicts 106,000 aluminum cans, the number used in the US every thirty
seconds.
http://www.chrisjordan.com/gallery/rtn/#cans-seurat
Dog and Cat Collars, 2009 60x67"
Depicts ten thousand dog and cat collars, equal to the average number of
unwanted dogs and cats euthanized in the United States every day.
http://www.chrisjordan.com/gallery/rtn/#dog-and-cat-collars
Skull With Cigarette, 2007 98x72"
Depicts 200,000 packs of cigarettes, equal to the number of Americans who
die from cigarette smoking every six months. Based on a painting by Van Gogh.
http://www.chrisjordan.com/gallery/rtn/#skull-with-cigarette
然后2009年的Midway课题，又开始抽人的耳光：
These photographs of albatross chicks were made in September, 2009, on
Midway Atoll, a tiny stretch of sand and coral near the middle of the North
Pacific. The nesting babies are fed bellies-full of plastic by their parents
, who soar out over the vast polluted ocean collecting what looks to them
like food to bring back to their young. On this diet of human trash, every
year tens of thousands of albatross chicks die on Midway from starvation,
toxicity, and choking.
To document this phenomenon as faithfully as possible, not a single piece of
plastic in any of these photographs was moved, placed, manipulated,
arranged, or altered in any way. These images depict the actual stomach
contents of baby birds in one of the world's most remote marine sanctuaries,
more than 2000 miles from the nearest continent.
个人感觉：可以看出Chris Jordan的表现手法非常赤裸裸，有种直接把观众放倒的气势
。如果是作为环保宣传，在我的感觉，简直是秒杀。而老忽悠介绍的这位，对于大多数
人来说，他的主题显得非常隐晦，不看说明的话我也没明白其用心。至少在视觉上来讲
，可能要放到一面墙那么大才能引起观众的注意。我认为就他想表达的主题来说，不见
得是最有效的方法。 | e***M
发帖数: 16 | 25 很深 。。。
【在 g*******x 的大作中提到】
: 学习吧
| M********n
发帖数: 4650 | 26 我看到的也是废片....
这种 有特殊主题的照片，主要不是欣赏其艺术性吧。必须放到相关的上下文环境中才
有意义，否则可能真的没什么好看的。
【在 g*******x 的大作中提到】
: 看来当代艺术还不是每个人都能接受的
| g*******x
发帖数: 2158 | 27 这位大师的作品还是好接收多了，起码还有pattern之类的，也比较美感
我说的那位的作品，就是那么一摆，挂在博物馆里展出
【在 C***l 的大作中提到】
: 说起环保类的照片，容许我再次介绍Chris Jordan（上次好像是3年前了吧），也许跟
: 老忽悠介绍的这位大师比起来，他的片子可能容易接受点吧。
: http://www.chrisjordan.com/gallery/epu/#e-pluribus-unum
: 下面这几张是他03年到05年的课题Intolerable Beauty：
: Crushed cars #2, Tacoma 2004 44x62"
: Cell phones, Orlando 2004 44 x 82"
: Chassis Yard #2, Tacoma 2004 44x70"
: Drums, Seattle 2004 40x50"
: Container yard #2, Seattle 2004 44x56"
: 如果说Intolerable Beauty算是在抽耳光，2006-09的课题Running the Numbers也许就
| y******n
发帖数: 277 | | C***l
发帖数: 2625 | 29
Are those works blown up to wall size? I imagine they are gonna be eye-
catching if they are big enough.
A few years ago my wife and I were in a gallery in SoHo. We loved a wall
size painting of an apple. Yes, nothing else, just a green apple as big as a
mid-size tent. We would not even look at it if the picture is 14x11 :DDD
【在 g*******x 的大作中提到】
: 这位大师的作品还是好接收多了，起码还有pattern之类的，也比较美感
: 我说的那位的作品，就是那么一摆，挂在博物馆里展出
| a*******a
发帖数: 747 | |
|
