i 惠特尼引自Aruna D’Souza,《顏色成就結構:斯坦利·惠特尼繪畫》,《ARTNews》,2017年5月30日,截自網路。 ii 惠特尼引自Pimploy Phongsirivech, 《兩位另類藝術家詮釋自己心中的紐約》, 《Interview Magazine》, 2017年9月29日,截自網路。 iii 瓦西裡·康定斯基,《關於藝術的神性》,Michael Sadler譯,紐約,1977年,第25頁。
來源
維也納, Christine König 畫廊 現藏者購自上述來源
過往展覽
維也納, Christine König 畫廊, 〈斯坦利.惠特尼: 藍話題〉, 2007年3月30日-5月19日
Inspired by Renaissance painting, Minimalist sculpture and jazz music, Stanley Whitney’s oeuvre has become central to the current discourse of abstract painting in the contemporary era. Following recent solo exhibitions at the Modern Art Museum, Fort Worth and the Studio Museum in Harlem, New York, the 72-year-old artist has only just received the critical acclaim he deserves. After moving to New York from Philadelphia at the age of 22, Whitney aligned himself with the Color Field painters, often working in the shadows of his contemporaries including Frank Stella and Kenneth Noland. Throughout the decades that followed, however, the artist soon established himself as a key player in 20th century abstraction, traveling the world and gaining recognition not only in the studio, but also in the classroom, where he has taught Painting and Drawing at the Tyler School of Art for over 30 years. As such, Whitney’s influence extends to a generation of new artists exploring the formal tenants of painting today.
As Lauren Haynes, curator of Whitney’s solo show at the Studio Museum in 2015, aptly wrote, “Whitney’s work interrogates the connections among colors, how they lead to and away from one another, what memories they are associated with…Whitney’s colors take on lives of their own. They evoke memory and nostalgia. This orange takes you back to your favorite childhood t-shirt; that blue reminds you of your grandmother’s kitchen. Whitney’s paintings remind us, on a universal scale, of the ability of color to trigger feelings and sensations.”