20100214

2013.5.3 筆記
Joan Jonas

American. born 1936

http://www.moma.org/collection/artist.php?artist_id=2930

Organic Honey's Visual Telepathy 1972

Video (black and white sound) 23 min.

影片的開始有一個很有靈的人聲，一位女生開始戴面具。那個面具，非常細緻，表面光滑，似乎有她自己的生命。我覺得這女人，一戴上好像變成另一個女生，這個女生像是住在這女人的軀殼裡，她蹦出來，搖頭晃腦。直視，斜視，眨眼，看穿全部。

一幕是面具女人，非常接近一個玻璃瓶子，光，一個一個硬幣投進水瓶中。聲音清晰，咚，咚。好多鏡子，投影，是或不是。眼神，有無呼吸。

喜歡。

Howardena Pindell

 American born 1943

http://www.moma.org/collection/artist.php?artist_id=4625

Howardena Pindell, born in Philadelphia, Pennsylvania, on April 14, 1943, to Howard and Mildred (Lewis) Douglas, is an American abstract artist. Her work explores texture, color, structures, and the process of making art; it is often political, addressing the issues of racism, feminism, violence, slavery, and exploitation. She is known for her use of unconventional materials in her paintingsincluding string, perfume, glitter, and postcards. Education: Howardena Pindell is a graduate of the Philadelphia High School for Girls. She received her BFA from Boston University in 1965 and her MFA from Yale University in 1967. After graduating from Yale she became a curatorial assistant at the Museum of Modern Art (MOMA) in New York City and began to establish herself as anartist. Art: Howardena had known she wanted to be an artist since age 12, but it wasn't until the late sixties that, working at MOMA, she was able to produce her first accepted works. He earliest paintings had been mostly urban scenes, but in the 1970s undergoing a radical transformation as an artist, she began developing a unique style rooted in minimalism and pointillism. As she experimented with the process of creating her paintings, Howardena began making use of the scrap circles that resulted from the production of her pointillist works. As David Bourdon writes, "By 1974, Pindell developed a more three-dimensional and more personal form of pointillism, wielding a paper punch to cut out multitudes of confetti-like disks, which she dispersed with varying degrees of premeditation and randomness over the surfaces of her pictures." Pindell's first important exhibition was at Spelman College, Atlanta, in 1972 and she has exhibited in almost every following year for over 30 years, either as a solo artist, or in a group exhibition. In the 1970s and 1980s she was often aware that she had been selected for exhibition as a token black among a group of other artists, and she spent a great deal of time researching and analyzing the status of black painters in the mainstream art world. In the 1990s she painted a series of "word" paintings, in which her body in silhouette is overlaid with words such as "slave trade," while an earlier work about South Africa features a slashed canvas roughly stitched back together and the word "INTERROGATION" laid on top. In 1980 she made a video called Free White and 21, in which she appears in a blonde wig, dark glasses, and with a pale stocking over her head as a caricature of a white woman.

Free，White and21 1980

Video (color sound) 12:15min.

一個黑皮膚女子，在講述她的經歷，從小開始，似乎不公，因為顏色而遭遇到的對待。之後她開始用白色紗布將自己的頭包起來，邊包邊講。

其中還在臉上撕起一片片透明的膜。

畫面不時的穿插一位白色女性，紅紅的嘴唇，戴了黑色墨鏡。說一些刺刺的話。似乎事不關己的態度，又想稱讚些什麼吧。