当前位置: X-MOL 学术Australian and New Zealand Journal of Art › 论文详情
Our official English website, www.x-mol.net, welcomes your feedback! (Note: you will need to create a separate account there.)
John Baldessari’s Punishment Piece
Australian and New Zealand Journal of Art Pub Date : 2019-01-02 , DOI: 10.1080/14434318.2019.1609314
Tara McDowell

I. Scapegoats Here is an image of a photograph (Figure 1). Black and white, aged, it is a document from another time. We see two young men, one fair and bearded, crouching, elbow on knee. The other is thin and tall, with a terrific mop of dark hair, white shirt tucked into jeans, a document jutting out of his back pocket. Their backs are towards us, so we do not see their faces, but we see the wall on which they labour. A white wall, the blank white of the white cube, is being covered in handwriting set down in imperfect columns, some of which belongs to the two men. We instantly register the labour made visible here and its repetition, and that the same line repeats over and over and over. While difficult to read – the camera’s flash has bleached the image – that line is most legible in the thick, dark lines between the two men: ‘I will not make any more boring art.’ One need not have atoned for one’s sins at the blackboard to recognise the connotations of this task, so deeply embedded is it in a Western cultural imaginary. The two men are writing lines, punishment for some misdeed, most likely named in the line itself and most likely undertaken at the site at which this sort of punishment is usually doled out, which is school. I will not make any more boring art. It is as if the two men at the wall had made boring art, and now repeatedly pledge never to do so again in an act that is both punishment and cure. But they are not being punished, at least not on the face of it. They are making art – not their own, but John Baldessari’s. In September 1970, Charlotte Townsend, the young director of the Mezzanine Gallery at the Nova Scotia College of Art and Design (NSCAD), wrote a letter to Baldessari inviting him to have a solo exhibition at the gallery. The Mezzanine could only offer $50 and a flier, not enough to bring the artist or his work from Los Angeles, where he lived. But necessity is the mother of invention, and a few months later Baldessari responded with a proposal of his own. ‘I’ve got a Punishment Piece for you’, he wrote to Townsend.

中文翻译:

约翰·巴尔德萨里的惩罚片

I. 替罪羊 这是一张照片的图像(图 1)。黑白,陈旧,是另一个时代的文件。我们看到两个年轻人,一个白皙留着胡子,蹲着,手肘撑在膝盖上。另一个又瘦又高,留着一头漂亮的黑发,白衬衫塞进牛仔裤里,后口袋里露出一份文件。他们的背对着我们,所以我们看不到他们的脸,但我们看到了他们工作的墙壁。一堵白墙,也就是白色立方体的空白,上面写满了写在不完美的柱子上的笔迹,其中一些是属于两个男人的。我们立即记录了此处可见的劳动及其重复,并且同一行一遍又一遍地重复。虽然难以阅读——相机的闪光灯已经漂白了图像——但在两人之间的粗黑线中,这条线最清晰:“我不会再创作任何无聊的艺术了。” 人们不必在黑板上赎罪就可以认识到这项任务的内涵,它深深植根于西方文化想象中。这两个人正在写台词,对一些不端行为的惩罚,最有可能以台词本身命名,最有可能在通常进行这种惩罚的地点进行,也就是学校。我不会再做无聊的艺术了。就好像墙边的两个人做了无聊的艺术,现在又一次次发誓不再这样做,既是惩罚又是治疗。但他们没有受到惩罚,至少从表面上看没有。他们在创作艺术——不是他们自己的,而是 John Baldessari 的。1970年9月,新斯科舍艺术与设计学院(NSCAD)夹层画廊的年轻总监夏洛特·汤森德(Charlotte Townsend),给巴尔德萨里写了一封信,邀请他在画廊举办个展。Mezzanine 只能提供 50 美元和一张传单,不足以将艺术家或他的作品从他居住的洛杉矶带来。但需求是发明之母,几个月后,巴尔德萨里提出了自己的建议。“我有一个惩罚片给你”,他写信给汤森。
更新日期:2019-01-02
down
wechat
bug