约瑟芬·盖尔贝尔全部影视作品
首发于 qinglite.cn,统计截止日:2024-12-24
玻璃拖鞋 | - |
安弗拉·弗里泽 | - |
弓形虫 | Jo Baer was one of the few women able to make her way on the male-dominated New York art scene in the 1960s. Baer studied biology and perceptual psychology before doing an art course in Los Angeles from 1953-60. Baer defended the importance of pictures in the context of Minimal Art, though the Minimal artists campaigned vehemently against painting as a relevant art form. By asserting that a painting is an object, and developing an anti-illusionistic style, Jo Baer gave her pictures a powerful physical presence. H. Arcuata (the botanical name for a kind of orchid) is one of a group of pictures dating from around 1970 that were intended to be hung low and viewed from a number of angles. The works become accessible only when the individual areas and the way they develop over the sides of the picture are investigated. Jo Baer felt her pictures contributed to the discussion on "the sovereignty of the subject and associated questions about the nature of self-determination"(J.B.). |
性别符号 | - |
飞车 | - |
卡丁车 | - |
主要光组: 红色、绿色、蓝色 | These three paintings belong to a series of twelve that vary in color, luminosity, size, and shape. A product of the 1960s impulse to create art from predetermined systems, the works in this series can be arranged in 831,753,600 combinations, Baer has calculated. These three large square paintings are bordered with intense “Mach bands,” rendering, according to the artist, “primary colors of light: a red (magenta), a green, and a blue.” Baer, who was trained in physiological psychology and is interested in optical phenomena, has said that the paintings in this triptych—installed, according to her specifications, “one foot or a little less apart”—were “constructed equivalent to one another as a color presence.” |
连续地打嗝 | - |
无题 | - |
无题(薰衣草环绕) | - |
无题(唇膏) | 1977年,一位名叫露丝·范·赫本的妇女在牛津现代艺术博物馆欣赏乔·贝尔的这幅白色单色画时,亲吻了它。她在工作上留下了口红印记和红色涂片。在随后的法庭听证会上,她解释说:“看起来很冷。我只是吻了一下,让它振作起来。” |
无题(垂直侧翼双页-红色) | - |
无题(双条橙色) | - |
卡德摩斯的灌木丛 | - |
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