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艾歷克·菲施爾 | 《輪胎商店》
描述
- Eric Fischl
- 《輪胎商店》
- 款識:藝術家簽名、書題目並紀年1989(背面)
- 油彩亞麻布
- 277 x 191.1公分,109 x 75 1/4英寸
來源
現藏家1999年購自上述畫廊
展覽
慕尼黑,現代藝術國立美術館,〈七位美國畫家〉,1991年4-6月,53頁,品號16,載彩圖
紐約,布魯克林藝術博物館,〈家庭相簿:布魯克林收藏〉,2001年3-7月
狼堡,狼堡藝術博物館,〈艾歷克·菲施爾:油畫及素描1979-2001年〉,2003年9月-2004年1月,41頁載彩圖
出版
G·羅傑·登森,〈艾歷克·菲施爾〉,《Flash Art》雙月刊,1991年3月,132頁載彩圖
霍蘭·科特,〈後現代遊客〉,《美國藝術》,1991年4月,156頁載彩圖
琵拉爾·維拉達斯,〈雅趣〉,《紐約時報》,2000年10月29日,82頁載彩圖
亞瑟∙C∙丹托、羅伯特·恩賴特、史蒂夫·馬丁,《艾歷克·菲施爾1970-2007年》,紐約2008年,199頁載彩圖
Condition
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拍品資料及來源
The absence of any explanation of the monkey’s presence, or indeed of the relationship between the two characters, consolidates the picture’s status as a dream: we find ourselves, as viewers, privy to something we simply do not know how to explain. Well documented and widely exhibited – at Mary Boone Gallery, New York in 1990; the Brooklyn Museum of Art in 2001; and the Kunstmuseum, Wolfsburg in 2003 – this painting is a standout example of the artist’s melding of traditional figuration with an uncanny glimpse into the strangeness of contemporary life.
Born in New York in 1948, Fischl graduated from the California Institute of Arts – also attended by his friend and peer David Salle – in 1972. Teaching at Nova Scotia College of Art and Design in Halifax from 1974-78, Fischl’s first solo exhibition took place at the Dalhousie Gallery in Nova Scotia in 1975 and was curated by Bruce W. Ferguson. It was in 1980s New York, however, where Fischl moved in 1978, that the artist acquired his reputation for producing large-scale scenes of middle-class suburban life into which the viewer, in spite of themselves, is transported as an unseen voyeur. The pictures thus possess a thrilling, illicit nature; as though we are witness to something ordinarily off limits. The powerful undercurrent of sexuality that pervades much of Fischl’s painting serves as an extended metaphor for the sinister machinations behind much of the American dream. While Fischl’s work has debts – undoubtedly to filmmakers David Lynch, Alfred Hitchcock and Edward Hopper – his is a remarkably original strain of figurative art. Indeed, Fischl’s descriptions of his own suburban childhood recall the famous cherry trees of Lynch’s: “The dysfunction behind freshly painted doors across perfectly manicured lawns mocked my feelings of chaos beneath… Would everything be OK? Was I safe? I looked hard for clues… I paid close attention to body language – to gesture. Tensions held in the body are disclosed through shifting weight, turning, twisting. I see a lot and I try to capture it in paint” (Eric Fischl in conversation with Amy Abrams, ‘The View from Sag Harbor: Q+A with Eric Fischl’, Art in America, 2012, online).