“我的形狀是幾何的，但它們並不以幾何的方式互動。它們只是存在於各處的形狀，即使你看不見它們。”
埃爾斯沃思·凱利
廣告牌和標誌主宰著美國城市的後街和高速公路。像大多數城市孩子一樣，我在車後座長大，對標誌和霓虹燈高度敏感。堆疊的字母、閃爍的燈光、大膽的色彩和超大圖片的視覺景觀在我年幼時就深深烙印在我的心靈中。二十世紀中葉，許多與色域畫派和紐約學派相關的藝術家受到了城市中建築、廣告和媒體巨大規模的影響。他們的畫布反映了這些超大規模的體驗。參與標誌展覽的當代藝術家們，運用抽象的符號語言、重疊的形狀、獨特的幾何結構和純粹飽和的色彩。他們的選擇，無論是有意識還是無意識，都參考了當代城市環境的垂直性、擁擠感和活力。
喬安妮·弗里曼
Op Art: The Perceptual Ambush and the Art That Refuses to Stand Still
To stand before a major Op Art canvas in the mid-1960s was not merely to look at a picture. It was to experience vision as an active, unstable, bodily process. When the Museum of Modern Art opened ...
閱讀更多
Serious And Not-So-Serious: Paul Landauer in 14 Questions
THE TRACE OF THE UNSEEN At IdeelArt, we believe an artist’s story is told both inside and outside the studio. In this series, we pose 14 questions that bridge the gap between creative vision and ...
閱讀更多
Lyrical Abstraction: The Art That Refuses to Be Cold
Tokyo, 1957. Georges Mathieu, barefoot, wrapped in a kimono, his long body coiled like a spring about to release, stands before an eight-metre canvas. He has been invited by Jiro Yoshihara of the G...
閱讀更多Love it? Add to your wishlist
Your favorites, all in one place. Shop quickly and easily with the wishlist feature!
[title]
[message]
