「CALIFORNIA,」弗雷德里克

　　弗雷德里克-R-魏斯曼艺术基金会：我们是LA

　　我们是洛杉矶。来自弗雷德里克-R-魏斯曼艺术基金会的当代艺术作品

　　日期。2022年8月1日-2022年10月22日

　　参观时间。周一至周五，中午12:00 - 下午5:00

　　策划人：: 比莉-米拉姆-魏斯曼

　　地点：Ronald H. Silverman Fine Arts Gallery 罗纳德-H-西尔弗曼美术画廊

　　加州州立大学洛杉矶分校

　　5151 State University Drive, LA CA 90032

　　

　　参与的艺术家st:

　　Lita Albuquerque, Peter Alexander, Charles Arnoldi, Larry Bell, Billy Al Bengston, Kelly Berg, Tony Berlant, Beau Bradford, Casper Brindle, Gisela Colon, Mary Corse, Ronald Davis, Guy Dill, Laddie John Dill, Roy Dowell, Doug Edge, Peter Erskine, Ned Evans, Charles Fine, Sam Francis, Jack Goldstein, Joe Goode, Channing Hansen, James Hayward, Scott Heywood, Charles Christopher Hill, David Hockney, Stephen Robert Johns, Craig Kauffman, Edward and Nancy Kienholz, Gary Lang, Peter Lodato, John McCracken, Joel Morrison, Andy Moses, Ed Moses, Manfred Mller, Evan Nesbit, Eric Orr, Helen Pashgian, Ruth Pastine, Ed Ruscha, Paul Rusconi, DeWain Valentine, Vasa, Roger Weik, and Tom Wudl。

　　在比我们大多数人意识到的更久的时间里，洛杉矶一直保持着一种独特的和自我生成的关于艺术创作的话语--这种话语在很大程度上依赖于genius loci的概念，也就是说，艺术发明的源头在这个地方本身。就南加州而言，"地方 "的概念是错综复杂和多层次的：它指的是物理的--地形、生态、气候、光线；社会的--洛杉矶作为美国和世界大都市的相对新颖性和不断蜕变；以及文化的--民族、行业和态度的独特融合--所有这些都有助于保持一种持久的实验精神。

　　

　　Participating Artistst:

　　For longer than most of us realize, Los Angeles has maintained a distinctive and self-generating discourse about artmaking – a discourse that has relied heavily on the concept of genius loci, that is, the sourcing of artistic invention in the place itself. In the case of southern California the very concept of “place” is intricate and multi-layered: it refers to the physical – topography, ecology, climate, light – the social – the relative newness and ongoing metamorphosis of Los Angeles as an American and world metropolis – and the cultural – a unique confluence of peoples, industries, and attitudes – all of which serves to maintain an enduring ethos of experimentation.

　　这种精神充斥着这里的 "藏中藏 "的样本。弗雷德里克-R-魏斯曼并不是从他家乡的艺术品开始他深刻而专注的艺术收藏活动的；但他没有花很长时间就接受了知识和审美的挑战--而且往往是美--他的时间和地点的当代艺术。早在20世纪60年代，魏斯曼就与纽约人和欧洲人一起资助加州艺术家。自从他在1994年去世后，他的基金会一直保持着对本地艺术家的支持，并在非机构手中汇编了最丰富和最多样化的南加州艺术收藏之一。

　　正如一个寻求突出该地区 "典型 "艺术的展览所预期的那样，这个由基金会主任Billie Milam Weisman挑选的近60件作品，展示了孪生的洛杉矶Finish/Fetish和Light & Space运动的痕迹，以及它们的后继趋势Material Abstraction，以及洛杉矶特有的隐秘的、概念性的波普艺术形式。如果说有一种压倒性的感性统一了这些作品，并体现了安吉丽娜艺术家的普遍心态，那就是试图挑战我们和我们如何看到的，或认为我们看到的，甚至是我们通过看到的知道的。这里有欺骗眼睛的奇怪物体。有一些图片并不是真正的 "图片"。这里有各种艺术作品，它们摆脱了我们给它们贴上的标签，有奇怪的漂亮的艺术作品，有避开隐形的艺术作品，或者相反地在你的视网膜上爆炸。

　　

　　"我们是洛杉矶 "首先寻求在我们面前展示本地生产的各种艺术样本--从而论证弗雷德里克-R-魏斯曼基金会对洛杉矶当代艺术的持续回应，以及洛杉矶艺术普遍具有的某些品质，尽管其种类繁多。最重要的是，它论证了洛杉矶艺术界有能力产生并维持一种非常有深度和复杂的话语。知名的艺术家在这里与他们不那么突出的同行分享空间，但每个人都在讨论中拥有合法的利益--以及对天才之地地位的合法要求。

　　As might be expected of an exhibition seeking to highlight “typical” art of the region, this presentation of nearly 60 works, selected by Foundation Director Billie Milam Weisman, displays the earmarks of the twinned Los Angeles Finish/Fetish and Light & Space movements as well as that of their successor tendency, Material Abstraction, and the recondite, conceptual form of Pop art peculiar to L.A. There are more than a few outliers here, however, fitting into no category – except the broad rubric of “perceptualism.” If there is an overriding sensibility that unifies these works, and characterizes the general mindset of Angeleno artists, it is one that seeks to challenge what we and how we see, or think we see, and even what we know by seeing. There are odd objects here that fool the eye. There are pictures that aren’t really “pictures.” There are various artworks that wriggle free of the labels we bring to them, oddly pretty artworks, artworks skirting invisibility or conversely exploding in your retina.

　　

　　“We Are L.A.” seeks first and foremost to put in front of us a varied sampling of locally produced art – arguing thereby both for the continuing responsivity of the Frederick R. Weisman Foundation to contemporary art in Los Angeles, and for certain qualities shared by L.A. art in general, despite its expansive variety. Most of all, it argues for the ability of the Los Angeles art scene to generate as well as maintain a discourse of great depth and sophistication. Well-known artists share space here with their less prominent peers, but everyone has a legitimate stake in the discussion – and a legitimate claim to the status of genius loci.

　　彼得-弗兰克

　　洛杉矶

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