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Ingrid Calame Drawings
Mark Strand Collages Madrid & New York
英格丽•卡兰 & 马克•斯特兰德
享有国际性声誉的美国诗人马克•斯特兰德，于20世纪50年代后期在耶鲁大学建筑与设计学院学习时曾师从约瑟夫•亚伯斯与伯纳德•切特。亚伯斯的作品具有艺术性与教育性，在欧洲与美国均奠定了20世纪最有影响力与意义深远的一些艺术教育项目的基础。在切特的《绘画的艺术》与亚伯斯的《色彩的构成》中均能发现马克•斯特兰德的一些早期作品。斯特兰德一生都对视觉艺术抱有很大的兴趣，在发行诗集、论文与艺术评论的同时，偶尔也会进行版画与油画的创作。去年一年里，他一半时间在纽约，一半时间在马德里，运用手工制作与染色的纸创作了一系列抽象拼贴作品。根据曾与斯特兰德密切合作，纽约法国角工作室的大师级造纸家苏•高森所说，这些纸是用100%亚麻地毯纸浆与麻蕉纸浆（源于菲律宾香蕉中常见的植物纤维）混合而成。斯特兰德运用其作为纸浆涂料的基础或媒介。他使用颜料混合颜色，再弄到纸浆上。在工作室的每个进程中，斯特兰德创造出一批10到15种新鲜的颜色。与高森合作时，他们创造出很薄的纸片，这样斯特兰德在使用彩色纸浆到表面或者称为“画布”上时依然是湿的。据高森说，斯特兰德有时用刷子或直接用手对彩色纸浆进行操作，有时也用小喷壶，这就是成品有种即刻的活力感的原因，融合了多种色彩的细腻平衡与冥想抒情。纸变干后，斯特兰德再将它们撕开或剪开用来创作拼贴，以大概的轮廓形成纸片并不光滑的表面，并在每个组成部分中留下宽敞的白色空间。虽然尺寸不大，但每件拼贴作品都能抓住我们的注意力。从5x7英寸(12.7 x 17.78 厘米)到7x7英寸(17.78 x 17.78 厘米)，我们很快通过一个个人化的窗户，被吸引到一个色彩与形状、表面与透明性的结合里去。精确而独特的组合表面看上去自然而无意识，甚至显得随意。马克•斯特兰德拼贴作品的画册将由巴黎VIF出版社预计于明年出版。对艺术家的专访将收录在画册中，同时也会包含在我们此次展览提供的宣传图册中。
更多信息或图片，请联系 周冰心 email@example.com或 +86-21-54660825。画廊工作时间：周二至周六，早10点至晚6点，周日中午12点至晚6点，周一请预约。
November 24, 2012 through January 24, 2013
VIP opening reception: November 24, 2012, Saturday, 6-8 pm
: James Cohan Gallery Shanghai
: 1F, Building 1, No.170 Yueyang Road, by Yongjia Road
James Cohan Gallery Shanghai is pleased to present an exhibition featuring drawings by Ingrid Calame
and collages by Mark Strand
. The exhibition opens on Saturday, November 24, 2012, and continues through January 24, 2013.
The exhibition’s premise centers on abstraction and process by two artists who share distinctive but contrasting positions or guiding principles in which to create their works. Throughout her career, Ingrid Calame
has generated images for her drawings and painting through a close examination of the world around her, using as her source material the detritus left by people in passing. She focuses on common stains found on sidewalks, or graffiti along a river bank, or skid marks of a car tire along a roadway. In tracing theses random marks, and combining them by overlaying one set of drawings with another, Calame uses this ‘representational’—and yet not readily recognizable—information to generate abstractions. This documentary information of Calame’s stain-tracings becomes a stepping off point in the creation of formal compositions that engage the movement from line to shape, layering, and fragmentation. Her rigorous conceptual methodology results in complex and densely contoured compositions advancing toward a freedom to play, particularly with Calame’s use of color. The drawings in this exhibition include works from several of the artist’s key projects, including “Tracings up to the L.A. River placed in the Clark Telescope Dome, Lowell Observatory, Flagstaff, Arizona
”, "Traces of the Indianapolis Motor Speedway
(commissioned by the Indianapolis Museum of Art and exhibited at the museum in 2008), and more recent drawings generated at a former Bethlehem Steel Plant in Buffalo, New York, and surrounding locations, during an artist residency at the Albright Knox Art Gallery in Buffalo, NY in 2009. Calame has often referred to her process as a ‘representation of loss’ and thus her drawings and paintings are in some ways a history or ‘micro-histories’ of the forgotten and overlooked.Mark Strand
, the internationally acclaimed and widely admired American poet, studied with Josef Albers and Bernard Chaet at Yale University’s School of Architecture and Design during the late 1950s. Albers’ work as an artist and educator, both in Europe and in the United States, formed the basis of some of the most influential and far-reaching art education programs of the 20th century. Some of Mark Strand’s early works appear in both Chaet’s The Art of Drawing
and in Albers’ seminal book The Interaction of Color
. Strand’s lifelong interest in visual art continues, making prints on occasion and paintings, while also publishing books of poetry, essays, and art criticism. During the exhibitions year, splitting his time between New York and Madrid, Strand started making a series of abstract collages using hand-made and hand-colored papers. According to Sue Gosin, a master papermaker at Dieu Donné studios in New York, who collaborated closely with Strand, the papers are a blend of 100% linen rag pulp and Abaca pulp (derived from a plant fiber commonly found in the Philippines from the banana family) that Strand uses as a base or medium for a pulp paint. He mixes colors using pigments which he then adds to the paper pulp. During each session in the studio Strand creates a fresh batch of ten to fifteen colors. While working with Gosin they make the sheets of paper that Strand uses while still wet as his surface or ‘canvas’ for painting with the colored pulp. The colored liquid pulp is sometimes applied using a brush or directly by hand, or sometimes from small squirt bottles, which is why the finished collages have a feeling of immediate vitality, as Gosin has stated, combining an exquisite balance of dynamic color and contemplative lyricism. When the paper has dried Strand then tears or cuts the paper to create the collages which are mounted to sheets of matte board with broad borders, leaving ample white space around each composition. While modest in scale each collage commands our attention. Ranging from 5 x 7 (12.7 x 17.78 cm) and 7 x 7 (17.78 x 17.78 cm) inches, we are drawn into them immediately like intimate, personal windows through which we experience a fusion of color and shape, surface and transparency. Seemingly spontaneous, even casual, each coalesce as precise and singular compositions. A book of Mark Strand’s collages is scheduled to be published by Vif Editions, Paris in the coming year. An interview with the artist that will appear in this volume is also included in our illustrated brochure on the occasion of this exhibition.
For further information or additional images, please contact Ms. Ivy Zhou at firstname.lastname@example.org
or +86 - 21 - 54660825 *602. Gallery hours: Tuesday - Saturday, 10-6 p.m., Sunday 12-6 p.m., and Monday by appointment.
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