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布萊斯·馬登 | 《巴塞爾素描(窗戶習作第1、2、4、5號)》
描述
- 《巴塞爾素描(窗戶習作第1、2、4、5號)》
- 款識:藝術家簽名、紀年83並各自標記#1、#2、#4、#5
- 墨紙本,共四部分
- 每部分:76.2 x 55.9公分,30 x 22英寸
來源
傑森·麥科伊畫廊,紐約
達里爾·Y·哈尼施,紐約
私人收藏,紐約
瑪麗·布恩畫廊,紐約
現藏家1998年購自上述畫廊
展覽
倫敦,安東尼·多菲畫廊,〈布萊斯·馬登:油畫及素描近作〉,1988年4-5月,頁碼不詳,品號26-29,載圖
洛桑,FAE當代藝術博物館,〈館藏精選〉,1991年6-10月,99頁載彩圖
出版
Condition
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拍品資料及來源
Marden’s style resides in the uncanny interstice between the mechanical and the expressive; each facet serving as a perfect foil for the other. An apparently depersonalised formalism is rendered via ink blots, irregularities and haptic traces. If Donald Judd made a point of rejecting Minimalism’s claim to spirituality, Marden identified a poignancy precisely in the failure of minimal art to remain devoid of it: “the rectangle, the plane, the structure, the picture”, he explains, “are but sounding boards for a spirit” (Brice Marden cited in: Exh. Cat., London, Anthony d’Offay Gallery, Brice Marden: Recent Paintings & Drawings, 1988, np). Enacting neither the reproduction of visual reality, nor the expression of emotion, nor the delivery of pure abstraction, Marden’s work effectively achieves all three of these functions. Indeed, in certain of his monochromes such as The Dylan Painting (1966), Marden deliberately leaves a small strip of the work unpainted. Drips of the paint from the surface above accumulate in this space, left bare to remind the viewer of abstraction’s bodily, human origin.
The present work was immediately followed by a series of Window Paintings, which also formed part of the Basel Cathedral commission. Part of the power of these works, as well as of Basel Drawings (Window Studies: #1, 2, 4, 5), derives from their realising the intellectual human urge – never quite understood, never quite satiated – to represent the transcendent. As John Yau expresses, the works “suggest a movement from the earthly to the spiritual, without arriving at an image of immateriality… From the outset of his career, Marden accepted the inevitability of being continuously thwarted, of never being able to arrive at a purely spiritual realisation. His response was to make fully considered proposals, which remain open and incomplete. It is this incompleteness, the ache of it, that haunts the paintings, the artist, and the viewer” (John Yau cited in: Ibid., n.p.).