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Magdalena Abakanowicz

為了解決work作品的問題，作者Coxon, Ann,Jacob, Mary Jane 這樣論述：

A stunning exploration of an extraordinary and unique body of work Magdalena Abakanowicz (1930-2017) was a Polish sculptor and fiber artist, most notable for her use of textiles as a sculptural medium. In the 1960s and 1970s she wove sisal in intense colors to create towering, hanging pieces that

radically expanded the field of sculpture and installation art and catapulted the international fiber art movement. Known as Abakans, these ＂organic environments＂ carried many meanings and were often large in size, containing entanglements of ropes or dividing spaces. They were spaces to contemplat

e, to immerse oneself, to experience. Lavishly illustrated with immersive photography and stunning details, this beautiful book explores the unique nature of these monumental works and their impact as environmental sculpture. Considering the relationships between the Abakans and their forest-like a

tmosphere, as well as other key works, it reveals the artist’s broad interest in natural phenomena and folk-art traditions from different cultural backgrounds, and the mastery and determination of a woman artist who, despite the restrictions of living in Poland under an oppressive Communist regime,

established a career as an international artist. Drawing on themes such as shamanism, female energy and power, pregnancy, and insights on human nature, the book highlights Abakanowicz’s pioneering contribution to installation art and the role of collaboration in her practice, while also contextualiz

ing her work within the Polish art world and wider postwar Europe.

work作品進入發燒排行的影片

繁瑣元素的佈署邏輯：再思形式主義

為了解決work作品的問題，作者林育聖 這樣論述：

「形式主義」（formalism）作為現代主義時期重要的美學理論之一，在當代已極少作為觀看作品的方法論。此現象導因於形式主義代表性藝評家克萊蒙‧葛林柏格（Clement Greenberg, 1909~1994）的美學觀；他重視媒介（media）自身、強調繪畫之平面性（flatness）而反再現（represent）、不重視符號意義，因而對於1970年代後的藝術發展中所充斥的，具有複雜符號、後設（meta-）史觀的作品較無力進行討論。 筆者認為自身的創作模式，特別關注「繁瑣元素的佈署邏輯」，並具體呈現為「以繁就簡」（From Complexity to Simplification）此

創作邏輯。「以繁就簡」和葛林柏格所談的「形式主義」有密切的親緣性；同樣具有關注自身創作方法的態度，也同樣重視媒介自身，但「以繁就簡」則進一步以製造悖論（paradox）的方式，將再現、符號意義的運用、後設的歷史觀納入成為作品的重要內涵，同時藉此回返媒介自身。因此，「以繁就簡」形成了當代藝術中「形式主義」的一種可能轉向。總結而言，本研究是筆者自省「以繁就簡」創作方法之後，藉著與「形式主義」交叉論辯，對於自身在當代藝術位置中所做的一種自我標舉，同時也對「形式主義」進行重估，讓其在當代的重新開啟進行想像。

Marianne Eigenheer: A Lifelong Search Along the Lines

為了解決work作品的問題，作者 這樣論述：

A fascinating and long-overdue study of theartist’s work spanning five decades of her diverse practice, thiscomprehensive and thought-provoking book providesan overview of Marianne’s oeuvre. It also creates dialogues between differentperiods of her work by presenting them alongside one another -

many shownthis way for the first time in print. From her spontaneous, gesturally abstractdrawings of the 1970s, to her bolder, more defined, large-scale drawings that gained public attention at the 1980Venice Biennale, to her lesser-known sculptural and photographic works, to the wall painting creat

ed for Kunstmuseum Basel in 2018 - this book spansthe artist’s creative scope.The characteristic linear forms thatunderscore Marianne’s practice come from the meditative process ofdrawing she developed in her lifetime, whereby she externalised her personalexperiences onto paper. Marianne Eigenheerdo

cuments beautifully how theartist created a highly distinctive and recognisable visual language by working in this way throughout hercareer. The book also features aselection of essays by a diverse group of writers that discuss and explore thedifferent aspects of Marianne’s practice, shining a light

on her work asartist, writer, curator and teacher.