夜是黑的,但天空是蓝的,
冰车在小巷里飞驰,
听到砰的一声,有人尖叫,
你真该听听我看到了什么.
你真该听听我所看到的 借用了博·迪德利1956年的经典之作 “你爱谁??” 这是一首关于胡毒巫术的歌, a folk magic born of the mingling of African traditions with some Native and Latin American customs. Songs, dances, talismans, potions, and idols are the Hoodoo practitioner’s tools. With these, 他成为通往精神世界的通道, 召唤上天的力量来实现目标, healing, or revenge. 人们不禁要问,迪德利诗句的魅力是什么, 因为它充满了黑暗的诗意暗示剥夺公民权, desire, 转型与自由. 这首歌讲述了一个夸张的故事, wherein a mysterious protagonist witnesses what “went bump in the night.”
这种窥探隐藏事物的能力,超感官看东西的能力, hear, 或者感受下面隐藏着什么, above, 在这两者之间, 这也说明了艺术家的角色. The images and objects the artist makes show how he or she sees the world and in turn guide people and cultures towards a deeper understanding of themselves.The artist’s tools are varied: pen, paper, paint, canvas, clay, bronze, camera. 不太明显的是,是什么推动了创造过程. Music, 本次展览的重点, 是一种体验的艺术形式吗, 一种脱离自我的方式, 超越理性走向直觉, 自由联想, 和纯粹的情感. 音乐跨越了许多鸿沟:普遍的和个人的, 团体和个人, 兴高采烈的和沮丧的. Its inherent contradictions and extremes mirror life itself: ever-changing, yet cyclical. 直接或间接, 在表面上或隐藏在内容, 的影响, history, liveliness, and 协作 and improvisatory nature of music binds these artworks together. 你真该听听我所看到的 explores the role music plays in the creative process, 它是如何影响和激励生产的, 并充当思想和形式之间的管道.
马丁的信条, 布莱恩DeGraw, 布伦丹·福勒, Andrew Kuo, Jim Lambie, 和Margaret Lee都是音乐家和视觉艺术家, 乌里·阿兰, 查尔斯长, 尼古拉•方, 斯宾塞·斯威尼用他们的艺术作品将音乐家们聚集在一起. 弗里德里希Kunath, Yoshitomo奈良, 伊丽莎白·佩顿(Elizabeth Peyton)将音乐影响与他们的形象融合在一起, while Dave Muller and Kelley Walker address the history and economy of musical genres and forms.
Andrew Kuo’s 自画像(切片) (2012) derives from the canvas on which he daubs his paintbrush while making other works. The artist suggests his profile by loosely painting a pair of black eyeglasses and a slice of pizza atop the amalgamated blobs. 斯宾塞·斯威尼在 绿色自画像 (2009– 10). Lost in an allegorical mess of creation, he nearly falls off his stool as paint falls on his head. 不在演播室的时候, 斯威尼策划了桑托派对会所, 他每周都会在那里举办一场音乐之夜, DJs, 和被称为斯宾塞动图的表演, and where Andrew Kuo’s band Hex Message and 布莱恩DeGraw’s band Gang Gang Dance have played. DeGraw在纸上的作品, 未命名(Nina Simone + Taliban Trim) (2011), facially morphs the iconic jazz chanteuse with the young UK-based MC. 这位艺术家将两个历史上相距遥远的音乐创新者联系在一起, 愿意他们分享同时期的空间和时间, 并暗示他们各自对他的艺术和音乐的影响. Pizza Slice (2005)吉姆·兰比(Jim Lambie)的书也向方便的主食致敬. Installation instructions on the back of the artwork indicate it is slice six, 因此它以一个角度悬挂, 按照它在传统的八片派中的位置.The shattered glass and constellation of eyes that comprise the piece have the mystical, 协作, 以及某种程度上滑稽的语气,这是兰比作品的标志, 总是在庄严和轻浮之间游走. 他的展览和作品经常以乐队的名字命名, songs, or albums, 这表明他的艺术根源在于格拉斯哥的音乐界, where he was an early member of Teenage Fanclub and roommate to a member of Primal Scream. 布伦丹·福勒 chose to cancel his band BARR’s tour to focus on making artwork for a solo exhibition. 这一决定摒弃了包括 秋季西海岸2008巡演海报取消(2 +花) (2009). Fowler’s practice hinges on his ability to move between and among artistic genres, 彼此互相通知, 当他为自己的想法寻找最好的表达方式时. In the case of this work, the cancellation posters violently collide with flower photographs. Art, music, and life all crash together in one messy, wall-mounted heap.
尼古拉•方的彩绘岩石雕塑, 布莱克姆之石(柠檬)和(青柠) (both 2012), were previously parts of an elaborately composed stage design. 艺术家的雕塑, paintings, 绘画既是艺术品又是道具, 音乐家在其上或周围表演. The static objects are placed in dialogue with dynamic bodies and sounds, 联合起来创造一个全新的艺术作品的美德 我在现场. Uri Aran similarly brings music and performance together in his video works, 在他的 Untitled (2012)芝麻街角色厄尼的照片. 阿兰经常在他的作品中使用简单的童年歌曲和游戏. He implies that the fun and repetition of music and play helps in adapting and adopting cultural norms; however, he also hints at the frustration and exhaustion that learning curve may cause, 表现出镇定自若的厄尼似乎陷入了绝望.
改变我们的想法 (1995), 查尔斯·朗, deploys sculpture in service of a band—or one could argue that Long deploys the band Stereolab in service of his sculpture. The headphones extruding from the purple “blob” emit the band’s music from within. Stereolab, artist, sculpture, 听众们共同引出一种参与式的体验, during which heterogeneous types of expression and interpretation meld into a single experience. 马丁·克里德是一位音乐家、作曲家、演奏家和指挥家. 他简单的歌曲和雕塑的基本音乐工具-like Work No. 223, of three metronomes beating three different rhythms— carry the weight of poetry, 尽管有一种模糊的对抗效果. Creed’s deceptively simple works suggest they are born of struggle; that art, like life, is complex, confusing, 令人失望的, 和奖励.
Margaret Lee的照片 无题(米歇尔·阿贝尔斯) (2010), hang together with Potato (2008–10), derives from direct 协作 exhibition with Abeles, the parenthetical artist. 李把石膏土豆给了阿贝尔, 并指导她在自己的艺术作品中使用它. In turn, 李盗用了阿贝尔的一张照片, shown here, 供她自己在展览之外使用.这些作品部分是独立的, 协作, 以及重新混合的艺术品, 和抽样作曲的音乐没有什么不同, 剪切和粘贴, 文件共享. 凯利沃克的 无题(回收标志) (2003)是一个超大的金质奖章的标志性“减少, reuse, 回收”图标, calling to mind the“bling”of hip-hop street style as well as the methods by which rap music is composed. 比如玛格丽特·李拍摄照片的过程, 沃克在他的作品中引用了采样, 更重要的是, the central position that sampling and appropriation holds in his practice. 沃克的作品, sculptures, 装置作品通常是建立在其他艺术家的形象之上, whether those of his frequent collaborator Wade Guyton or blatantly lifted from Andy Warhol.
戴夫·缪勒 这是一个起起落落 (2005)改编并重组了Reebee Garofalo的图表, 第一次制作于1977年,名为“流行/摇滚音乐的谱系”,就像茫茫大地上的群山. Muller, a life-long, 狂热的唱片收藏家和音乐爱好者, 常常近似于音乐和生活, 记录和人. He constitutes a portrait by asking his “sitter” for their top ten albums, 然后他画了一个侧面, 他们的脊柱代表了他们的个性, 精神状态, 或者说角色的整体感觉. 伊丽莎白·佩顿最出名的是肖像画家, taking friends and celebrities as subjects and subtly but deftly rendering them softened, 使用历史资料, 脱离自我. Her print Andre Hat (2004)是衣冠楚楚的Outkast歌手Andre 3000的肖像. Andre is a fitting subject for an artist so agile at collapsing historical time, 日常生活和名人, 他的音乐打破了嘻哈和摇滚之间的界限, synthesizing the disparate genres and creating the hybridized musical style that now dominates pop music.
Yoshitomo奈良的 Untitled (1999) work on paper of a young girl pounding away at an autoharp is typical within the artist’s repertoire of drawings, paintings, 还有卡通的雕塑, 叛逆的小孩子. Their world is seemingly devoid of adult authority and their activities indicate they’ve been let loose in the big world to play, create, 找麻烦. 比如戴夫·穆勒, 奈良是一个忠实的音乐迷, and its influence can be witnessed throughout many artworks over many years, 在图片本身或标题中.
The power of music to shape and transform is perhaps most romantically delivered by German artist 弗里德里希Kunath’s photograph 无题(吉他) (2005)艺术家将一把电吉他发射到空中, 只能不可避免地让它掉到地上,被摧毁. 库纳特拼接了最叛逆的摇滚比喻, 砸碎你的吉他, 德国最具代表性的艺术历史传统, most famously attributed to the romantic painter Caspar David Friedrich. 孤独的个体, diminished by the vastness of his surroundings—the night sky full of darkening clouds— reconstitutes his power through destruction. 最重要的是,库纳特的照片象征着自由.