發霉水果表現腐爛美感 打倒假掰文化

美國藝術家Kathleen Ryan 的系列作品，不崇尚完美無暇反而表現出有機物長霉流湯的狼狽樣，但這些霉菌無論是成片的白霉或是點狀的黑霉都是由無機礦物密集表現出來，有種反差的意味。作品雖然看起來簡單，但其實是在諷剌歐洲虛榮的藝術表現形式。

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Late nights in the studio getting ready for Basel Miami with @_joshlilley! Love my team, seriously could not do it without you @nickylesser @miaardito @rmanson @crabgal @fresherika

Kathleen Ryan（@katieryankatieryan）分享的貼文 於 PST 2019 年 11月 月 22 日 下午 4:13 張貼

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Some new work! Repost from @karmakarma9 • Karma is pleased to announce our inaugural project with NY-based sculptor Kathleen Ryan. The online presentation will feature three new works titled, Bad Lemon (Persephone), Bad Lemon (Tart), and Bad Cherries (BFF), accompanied by a commissioned text from Jenelle Porter, titled "Kathleen Ryan: Rot". The conceptual operation of these sculptures is deceptively simple. Ryan’s fading fruit evokes the tradition of European vanitas painting and its representational systems that relied so much on a purportedly shared lexicon of culture, economy, and human nature. I am one of those art history students of a certain age whose worldview was vastly enlarged when I learned, courtesy of Jan van Eyck’s Arnolfini Portrait (1434), that oranges symbolized vitality and wealth in 15th century Holland. There it was: wealth, privilege, gender roles, all in an arrangement of oranges. At the other end of this timeline—now—lemons and cherries are oft-used emojis representing sour and/or sexually suggestive sentiments. In other words, what Ryan attempts in this body of work isn’t simple by half. Fruit represents. A lemon might symbolize longevity, friendship, purity, bitterness, disappointment—or a persistently defective car. The dark red flesh and juice of a cherry symbolize sex and virginity; in Japanese culture, it is the warrior’s blood and self-sacrifice. In Christianity, cherries represent, in the hands of baby Jesus, paradise. —excerpt from Jenelle Porter, "Kathleen Ryan: Rot"

Kathleen Ryan（@katieryankatieryan）分享的貼文 於 PDT 2020 年 7月 月 9 日 上午 11:33 張貼