Page 211 - 亚洲二十世纪及当代艺术
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˜ί܃ʫdЫ̙˸ஷཀ೿˒ႡЪࠬ౻dɰ̙                  ʕːjνໝή೿ছ࿴ϓٙऎ౻f຅ʕdऎe
        ˸ί຅ʕ೥̤ɓࡈɛٙ೥dא٫Ы̙˸೥                  ˂ၾӍᛉ஗ʱ௲ϓɧɽЍ෯d܃̮ᔊᆎ׼Ҟ
        ɛيdɰ̙˸ʔ೥ɛيnn܃ʫணࠇϓމ                  ٙ࿴ϓၾ܃ʫᐿልϾၚᇘٙༀུࠬࣸҖϓ੶
        əҢਗ਼ʘۃ̈ତהϞʔΝٙᖵஔ࢕ࠬࣸ                   डٙˀࢨd˿ɛҜʔИΎɧᝈૐdઁܞ׵଻
        ፄɝՑᖭ೥ʕٙਿᓾf™                         ۃ་จ፱ᒪٙ၀ऎᔝ˂f
                   {{୶זg;౶€Shara Hughes    йϞݸ˂dҖၾЍٙܛਗ
                                           ˜ݰͩᐟᐟᑊЧೞdඝे᎑ᛓݹྡྷːf୽
        2022 ϋ 5 ˜ 10 ˚d;౶ٙЪۜ๿ɻૅ
        ᔷ‘˸ 2,940,000 ߕʩٙ৷ᄆ௴ɨࡈɛשር           ჀՇ˪ڡ߸ͩdɓցᆕ೅࠽ຬږf™                        ᖵஔ࢕;౶
        ˰ޢা፽fவЗԸІߕ਷ٙϋჀɾᖵஔ࢕d                                     {{ࡥ˾་ɛ֢ͣ׸           “Within an interior, you can
        ˸ዢێᒻ׼ٙЍ੹dΣ˰ɛ࢝ତՉ˜ːᜳʿ                 Ͼ܃ʫٙ౻ᝈۆһйϞݸ˂{{Ϝᇞʹᔌٙ                     make a landscape through
        ˌซʕٙࠬ౻™dးᜑμ࿁ЍΈձҖ࿒ٙઽ                 ήಡeၢϞ౴ᓃ७ٙߎЍಉɿձڀ੪֧ኣe                     a window or you can make
        ቚݸ࿀dʿ࿁ᖵஔ̦ٙଉՍႩᗆf͍νॲ                 ΢ՈʔΝٙᐿልڀ७dҖϓ፹ໝϞߧٙҖၾ                     another  person’s  painting
        ߒ܄‘ᕏႦהܸ̈d;౶ٙ೥ژ༶͜΢၇                 Ѝٙᗲܛfίڀ੪֧ᐍࠦɪdɓ෯ͣЍٙʔ                     within the painting, or you can
        ˓ݬіˏᝈ٫ٙͦΈdШʥί࢝ତɛࡁהᆞ                 ஝ۆிۨٙЍ෯ዑͳՉʕd˵޶೓νɓ༸৪                     paint figures or not… Interiors
        ઄ٙࠬ౻೥Ъʕڌ༺վଟॆᅚٙชઋ™fΪ                 ཥdڐᝈۆԈϤމ˸߰ᒯ߰ତٙලЍٜᇞ࿴                     became the foundation where
                                                                                    I could lay all different artists
        ϤdՉЪঐίפ൥ձՈ൥ٙࠬ౻ʘගזකɓ                 ϓ੶ϾϞɢٙओ̉ൖᙂࣖ؈fৰ̮d˿ɛᝓ                     who have come before me into
        ࣂซ྅ٙɽژdᜫɛঐආɝɓग़।ʘྤϾग़                 ͦٙ݊෥ࣲɪהໄ׳ᅰ෯ɽʃeڀЍʔɓٙ                     and onto the painting.”
        ֻʘdЪۜ˿ᔛ࢕ᒈʘ߰㊲d஗ൖމ 21 ˰               ֧ͩdʔΝٙ෯ࠦၾᓃeᇞٙϞዚഐΥdί
        ߏ௰աᝓͦٙڡϋᖵஔ࢕ʘɓfڐϋμಀ׵                 ΢Ѝથ݈ɨdҖϓᔮబٙЄଣd೙๻တͦٙ                                     {{Shara Hughes
        ʔˇٝΤᖵஔዚ࿴࢝̈dνίج਷ࠔϐ຅˾                 ᓃၢഹΈ๞ࣲٙࠦdɓνࠪୌɓᅵҖϓৎͿ                     On 10 May 2022, Hughes’ Spins from
        ᖵஔʕːeɪऎЯᅃᘴߕஔ᎜eߕ਷໋༩׸                 ၾܛਗdላᏘഹᝈ٫ٙൖᙂၾᜳ჻fሧͩ˖                     Swiss set a world record for a solo
        ຅˾ᖵஔ௹ي᎜ᑘБࡈ࢝fՉЪۜһᐏॲߒ                 ʷ؇Г˙ՉԸϞІdਿ׵ɓ၇࿁׵І್ٙਫ਼                     sale at US$2,940,000. This young
        ɽேึᖵஔ௹ي᎜e౉त̵ߕ਷ᖵஔ௹ي                  ܰʿؚሧʘઋdᔟ͟ၾͩ࿁༑dҢࡁጕઞ˂                     female artist from the United States,
        ᎜ȅԯ X ߕஔ᎜ഃϗᔛf                                                              with her strong, vivid colours, reveals
                                            ήၾІ್ٙෳѶdʿ཭ɝɓ၇་จٙͳٙ̚                     her keen insight into light and form,
        ;౶ί 1981 ϋ͛׵ԭतᚆɽd2004 ϋ੽ᖯ           փซdϾᖵஔ࢕ɰᔟϤஹഐৎɛ˖ၾІ್ٙ                     as well as her profound knowledge of
        ᅃࢥணࠇኪ৫՟੻ᖵஔ˖ኪɻኪЗଭุܝd                 ዝ̦଱༦d̷ѶήЕஹৎཀ̘eତίe͊Ը                     art history. Her work opens the door
        Ԙ஺˸˜܃ʫซ྅٤ග™€imagined interior       ɧࡈࣛගҏf                                  to the imagination between abstract
        spaceމᕚٙɽۨ೥Ъ௹੻ᖵእ᝔ሧdԨ               ൈྼ΍͛jߧหᎍд̵                              and figurative landscapes, and she is
        ׵ 2007 ϋίॲߒ Rivington Arms ೥఼ᑘ፬     ;౶੽Г˙ᖵஔ̦ӝ՟ᜳชdҪІʉٙ௴Ъ                     regarded as one of the most exciting
        ٙɛ͛࠯ϣࡈ࢝˜ɓʲd֐୞nn™d࢝̈                 ࣬ಔ׵܃ʫ᎑ي೥ٙෂ୕ʕdՉЪ஗ߕ਷                      young contemporary artists of the
        ʘЪਗ਼פ൥eତྼၾྡ྅٤ගʝᛌʹፄd࿴                 ᖵ൙ɛ௹֍ྗॶ€Julie Baumgardner)  Җ࢙          21st century. Hughes’ work can
        ጘৎɓࡈɦɓࡈˏɛɝ௷ٙ೥ྤdɽᐏλ൙                 މ˜ᎍд̵€David Hockneyছٙࠬࣸ™d              be found in numerous prestigious
                                                                                    museum collections, including
        ʿᄿع৙ᚤf݊ϣ߇שҢࡁяତٙ֧ͩϗ                 ɓν֧ͩϗᔛ‘d;౶˸޶Чర੬ٙႧྤd                    The Metropolitan Museum of Art,
        ᔛ‘уމϤࡈ࢝ʕٙ˾ڌЪd࿁ᖵஔ࢕ϾԊ                 ίΝɓ̻ࠦʕ࢝ତ̈࿚್ʔΝٙՇ၇ࠬ౻d                     New York; The Whitney Museum of
        จ່ڢɭf                                                                       American Art, New York; and The X
                                            ᆽྼ̷ѶխᏐəᎍд̵ԟʔς੬஝eِբɤ
        ၀ऎᔝ˂ٙ৛ర                             ԑٙ܃ʫ೥fμ࠾п̻ࠦձͭ᜗ٙҖ࿒d̻                     Museum, Beijing.
       ˜ҢҎૐᝈ଺ึʔ͟І˴ήӐऍՑҢٙ೥                   ፅՈ൥ձפ൥ഃʩ९dϾίϤ೥ࠦʕd܃̮                     Born in 1981 in Atlanta, Georgia,
        ʕfʘۃٙ௴ЪɽεேϞɓࡈɝ೥ٙᗙ                   ᆓϬৎͿٙऎ˥ၾ᎑Ꮀٙ܃ʫ٤ගҖϓ࿁                      Hughes studied Fine Art at the
        ޢאɝɹfɓ༸ᝅ२eɓࡈݸິeɓಋዓ                  ܋dίਗැၾ᎑࿒ගז፷̈ੵɢdစᖫ̈ɓ                     Rhode Island School of Design. After
        א٫ɓᓉᙺ˝dίʔ຾จٙᐑᚥʕdɛࡁ                  ࡈԱኯॆྼ˰ޢϾ͛ٙൈ࿴٤ගdϾࣲɪԟ                     graduating in 2004, she had her first
        ఱʊ຾ආɝ೥ࠦdޟЇʔึจᗆՑІʉʊ                  Ѝ੹౴ᙴ֧ٙͩd                                 solo exhibition at the Rivington Arms
        ຾ת༺Ңٙ˰ޢf™                           Чಀ޴ᗆۍɦЧॆ                                 Gallery in New York in 2007, which
                                            ͵ˌήਗ਼܊̮ٙe                                 was widely acclaimed. The Rock
                                    {{;౶                                             Collection, which we present at this
                                            ᗫ׵І್݂ٙԫࢉ                                 autumn auction, is a representative
        ၝᝈ;౶ϘಂʘЪdμ˸ᒻݺ׼ҞٙЍ੹ձ                 ࢉ༸Ըfᖵஔ࢕ί                                 work from this exhibition and is of
        ༷୅eεࠠٙீൖd቗௓̈˿ɛވͦٙ೥                  Ϟ̻ࠢٙࠦ٤ග                                  great significance to the artist.
        ࠦf֧ͩϗᔛ‘᜗ତəவՊۨतЍfЪۜ                 ɪd࿴ጘৎ൴൳ࣛ
        ੭ഹዢێٙ൴ତྼ˴່؟ఖdீཀʱ༆ɦࠠ                 ٤ʘژdਗ਼֧ͩϗ                                 The Pursuit of the Blue Sea and
                                                                                     Sky
        ଡ଼٤ගdݖ࿴̈ɓࡈ͟܃ʫૐΣ܃̮ٙІ್                 ᔛdਗ਼Ϋኳवπd
        ᐑྤdᐄி̈٤ගʫ̮ٙᑌഐf˝Ⴁٙ̚ᖯ                 ৪ᘴ׵ᄿ⁞ೌ۩ٙ         ᎍд̵̋ψ܃ʫ‘dᏀдɢ੹೥̺d       “ I ’ ve  a l w a y s  w a nte d  to
        ৵ό̒෥ܹۨژ̈ତί೥ࠦٙ௰̸ᗙdၾ̛                 াኳ݋ئʘʕf          91.4 x 91.4 cmd1985 Ї 1986 ϋЪf;  immerse the viewers in my
                                                                                     paintings without them having
        ਉڀ੪֧ᐍࠦҖϓխᏐd˿ᝈ٫ၳೊ׵೥ࠦ                                  ౶ਗ਼܃ʫ̮ࠬ౻Ԩ௓ʘЪၾᎍд̵Ϟମ
                                                             ϜΝʈʘѶdШί೥ࠦʩ९һމᔮబၚѶ
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