框架作品:彼得·阿德塞特近期绘画中的边界和表现的极限

M. Lee
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引用次数: 0

摘要

几乎单色。作为另一位执法官罗孚·托马斯(Rover Thomas)的前助手,Dirrji用红色、黑色和白色颜料绘制平面通道(此处省略黄色)。在第七幅《原住民和非原住民的所有不同语言》中,17个红色或黑色的卵形被白色颜料包围。除此之外,一个红色和黑色的边界遵循帆布边缘。这有一个重要的双重功能:它不仅构成了白色的“地面”,而且还下沉到下面,暗示了一个地下层(见图4)。两个法则,一个大精神系列:Dirrji (Rusty Peters),土著人和非土著人的所有不同语言(左),2000,亚麻上的天然赭石,135122厘米;彼得·阿塞特,第八号(右),2000年,亚麻布上的丙烯酸,135122厘米。Grantpirrie Collection, NSW。图片:Grantpirrie Collection提供。《澳大利亚和新西兰艺术杂志》,第21卷,第2期。2
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Frame-work: Borders and the Limits of Representation in Recent Paintings by Peter Adsett
almost monochrome. As a former assistant to another lawman, Rover Thomas, Dirrji painted flat passages of red, black, and white pigment (omitting the yellow on this occasion). In the seventh painting, All Different Languages for Aboriginal and non-Aboriginal People, seventeen red or black ovoid shapes are surrounded by white pigment. Beyond that, a red and black border follows the canvas edge. This has an important dual function: it not only frames the white ‘ground’ but it also sinks below it to suggest a subterranean layer (see fig. 4). Figure 4. Two Laws, One Big Spirit series: Dirrji (Rusty Peters), All Different Languages for Aboriginal and non-Aboriginal People (left), 2000, natural ochre on linen, 135 122 cm; and Peter Adsett, Number Eight (right), 2000, acrylic on linen, 135 122 cm. Grantpirrie Collection, NSW. Photo: courtesy of Grantpirrie Collection. Australian and New Zealand Journal of Art, vol. 21, no. 2
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