多萝西娅·坦宁全部影视作品
首发于 qinglite.cn，统计截止日：2024-12-23
 室内画：突然的喜悦 | [In Sedona] where the only electricity was in such thunderous lightning, there were no sounds in the afternoon save the hum of the heat. It was so intense, so lurking, so aged, that we the intruders felt also quiet, intense and strangely tiptoe, as if in peril. It bounced like coiled springs off the burning red rocks and melted the tar on our paper roof. It came inside to sit on my eyes. Breathing was important, an event...Then as now the decibels of nature can crush an artist’s brain. I have seen it happen. So I lock the door and paint interiors. Great events. A white and dark picture would muffle the red world outside. Big bare rooms with the white frozen figures, like Sodom and Gomorrah. There is opalescent light and velvet dark. Isn’t that the artist’s best joy, to control light? To rival the sun and moon, to turn their logic upside down with brushes and paint and monstrous ego? I am here. Arthur Rimbaud, mad poet, is here too, on the blackboard in my canvas. What you see there are notes from his secret notebook. Private, impudent signs. The door is not a door on the wild red garden, just on a little something personal, like the door of a house looking in. - Dorothea Tanning |
| 唐璜的早餐 | - |
| 布拉格三世的游客 | - |
| 还在工作室 | - |
| 在阿瓦隆 | - |
| 门 84 | - |
| 一张非常快乐的图片 | - |
| 蓝色的母亲 | - |
| 狄奥尼索斯的求救 | - |
| 站立的女艺术家的裸体 | - |
| 作为恋物癖的枕形 | - |
| 圣诞 | - |
| 远离 | Carlo McCormick: What effect would you say the passing years have had on your perceptions of the human form in terms of its frailty? You’ve always seemed to have a sense of mortality.None, really. You don’t have to be old and wise to be aware of our dilemma. The shadow of mortality, well, I’ve always had it for a sort of companion. But I’m glad you ask the question, because my work is generally perceived as erotic, period. You see, when I paint drifting nudes, it’s a statement about being human. Some people think it’s a statement about being sexy. It’s an obsession of the whole, not so cultural, establishment, that almost everything we do which is inexplicable must be reduced to sexuality, and that’s absurd. It’s certainly very strong—I would never say it wasn’t—but, after all, there are other yearnings, with names like glory, incandescence, and love and knowledge. I like to think that you feel some of this when you look at my pictures. –from interview with Carlo McCormick, "Dorothea Tanning, " BOMB 33, (Fall 1990), p. |
| 裸卧 | - |
| 探戈生活 | - |
| 罂粟酒店202号房间的悲惨的桌子 | - |
| 罂粟酒店202号房间 | - |
| 表兄弟 | - |
| 雨天沙发 | This terribly non-mainstream piece was, more than anything, a challenge to myself, a bet that I made with myself, and only me, that I would give real physical life to a bunch of tweeds and stuffing. Now, when you look at its triumphant? paroxysmic? despairing? physicality you are not quite sure that materials are only tools, that the inert is the inert, that life is something else. But one thing you know: that like you and me and everyone else, this Rainy-Day Canapé will not live for centuries. But how could we care?- Dorothea Tanning |
| 艾玛 | - |
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