Painting as Modeling———记Agne-Martin个展和Broad Museum的立面
首先介绍一下主人公艾格尼·马丁（Agnes_Martin）（1912- 2004）她是一位加拿大 - 美国 画家 。马丁认为，她的画关注内心情感世界的表达，有一种完美却不可能实现的满足和平静。
马丁因为她在接近50年的职业生涯中杰出抽象的实践而受到称赞和认同。她出生在加拿大，她是19世纪晚期从苏格兰的斯凯岛迁移到加拿大的苏格兰开拓者的后裔。她1957年搬到了纽约，在那儿她受到了抽象表现主义艺术家作品的影响，在1960s前后，她的职业风格经历过几次转变，从东岸到西部再到她回到纽约，她的作品从一开始的仿生风格慢慢像几何网格风格转变，相比于最初的富于大自然痕迹的作品，后续的作品更加趋于理性和宁静平和，我们将从”平台式画面“和”透明性”这两方面比较Martin's art work 和Broad Museum的外立面，其中，在她的众多作品中，我最欣赏的是她的那幅Blessing。
Blessing的打底是蓝白相间的粗横条，给整幅画面定下了安静的基调，而在画面中央是两条相遇的细线，颜色编程的暖色调，在画面中凸显出来仿佛一个温暖的blessing，被红线条分隔开的两个画面对称布置，没有反差的布局让整个基调很和谐，画面没有用透视而是从顶视的角度工整的描绘细节，因为线条很稳定，所以这种秩序感会让人由衷的觉得宁静。
平面的画之所以能包含那么大的信息量，个人觉得和“平台式画面“概念有关，就像Leo Steinberg在他的《Other Criteria》里说的一样，艺术领域模拟的画面正慢慢从垂直领域向平台水平面转变，你的头对应的位置不一定是上方，你的脚对应的位置不一定是下方，平台式画面可以将自己导向很多细节，换句话说，平台式画面为这幅画注入了大量的信息和可能，又由于这些图画是图像的图像，所以并不是直接的外面的世界，所以更像是扁平化的立体场景，在某种层面上说，平台式画面给了二维图形一个信息量毫不逊色于三维的表达方式，所以在看到Broad Museum的白色多孔外壳立面时，你会想到二维到三维的差别更多的是空间上的，信息量上的差距并不是很大。
去了Broad Museum是在下午，柔和的阳光洒在Museum白色的外表皮上，光线从他那均质的空隙中进入室内，整个建筑物的层次一下子多了很多，从外界到表皮到孔洞到玻璃幕墙再到地面，我们意识到这是一个真正的model，于是想到了Colin Rowe 和Robert Slutzky在Transparency一文中提到的透明性，很多人觉得建筑物的透明性已经只能局限于材料的选择，比如包豪斯的那种大玻璃幕墙，其实不然，两个事物能够相互渗透，同时又能保证视觉上不会彼此破坏，就是一种透明性。而这对于painting和model都是一样的，一幅画里的线条配色笔触可以营造出很多种不同的透视效果，特别当画家力求用平行透视精准表现置身于抽象的浅空间的事物时，现象的透明性就有了用武之地。
所以在创作一幅作品时，我们要知道，如果它有明确的组织结构，具体的赋型和清晰表述的机制，那么它就会有现象透明性，就是一个层次丰富的作品，个人同时觉得这一点也适用于建筑物的设计，透明性将不再局限于材质的选择，而是在空间的使用上做到真正的透明。
附上英文：
First of all, let me introduce Allegrini Martin (1912- 2004) , she is a Canadian - American painter. Martin believes that her paintings focus on the expression of the inner emotional world, which is full of satisfaction and calm.
Martin was praised and recognized for her outstanding contributions in her 50 years careers. She was born in Canada, a descendant of the pioneers of Scotland from the Island of Skye in Scotland in the late nineteenth Century. She moved to New York in 1957, where she was affected by the abstract expressionist artists, her professional style changed several times before and after the 1960s. She moved from the east coast to the West and then she returned to New York, her artwork's style changed from bionic style to a geometric grid style and tends to be more rational and calm, we compared Martin's art work with the broad Museum's facades from two aspects like 'the flatbed picture plane' and 'transparency'. Her artwork which named 'blessing' is my favorite one among her numerous works.
The background of 'Blessing' is a picture filled up with several blue coarse bars and white coarse bars, it sets a quiet tone for the whole picture, two warm tone thread meets together in the center of the picture and separates the image into two symmetrically parts, the whole tone is harmonious without contrast layout, artist depicted details of the picture from top view point rather than perspective point, the line she drawed is clean and stable, so this order just makes people sincerely feel relaxing.
It might have some relationships with ‘flatbed picture plan’ since this picture contains such a large amount of information. Just like what Leo Steinburg said, the picture of the art field is changing slowly from the vertical field to the horizontal plane of the platform. The position your head corresponds to is not necessarily above, the position of your feet is not necessarily below, the platform can have a lot of directions.Put it another way, the platform has a lot of information and possibilities for the painting. So it is more like a flat three-dimensional scene rather than just a platform picture. To a certain extent, 'the flatbed picture plan enlightens the 2D image's world. So when you see the white Museum Broad facade, you will come up with that there are only some differences of space between two-dimensional and three-dimensional staff, not too much of the amount of information they received.
We went to the Broad Museum in the afternoon, the soft sunlight sprinkled on the white facade and came into the interior room through the homogeneous holes and then poured on the floor, the building was filled with sunshine which made the museum a hierarchical place. And then we thought of the word 'Transparency' which was mentioned in Colin Rowen and Robert Slutzky's article. Many people believe that the building's transparency has only limited to material selection, such as the large glass curtain wall in Bauhaus' buildings. in fact, otherwise, if the two things could have mutual penetration and guarantee the visual effects not be destroyed, then this is a kind of transparent, and it will also make sense for both painting and model. Since the different lines we use on a picture could create a variety of perspective outcoming, in particular, when the artist seeks to use a parellel perspective for the expression of some staffs in the abstract space, then Transparency phenomennon comes into play.
So in the creation of the work, we need to know that if it has a clear organizational structure, specific type and the mechanism with clear expression, then it will have phenomenal transparency, and it will be a work with rich hierarchy. Personally speaking, I think it will be also applicable to the building design at the same time, transparency will no longer be limited to the choice of materials, but plays an important role in the truly use of space.
马丁因为她在接近50年的职业生涯中杰出抽象的实践而受到称赞和认同。她出生在加拿大，她是19世纪晚期从苏格兰的斯凯岛迁移到加拿大的苏格兰开拓者的后裔。她1957年搬到了纽约，在那儿她受到了抽象表现主义艺术家作品的影响，在1960s前后，她的职业风格经历过几次转变，从东岸到西部再到她回到纽约，她的作品从一开始的仿生风格慢慢像几何网格风格转变，相比于最初的富于大自然痕迹的作品，后续的作品更加趋于理性和宁静平和，我们将从”平台式画面“和”透明性”这两方面比较Martin's art work 和Broad Museum的外立面，其中，在她的众多作品中，我最欣赏的是她的那幅Blessing。
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Blessing的打底是蓝白相间的粗横条，给整幅画面定下了安静的基调，而在画面中央是两条相遇的细线，颜色编程的暖色调，在画面中凸显出来仿佛一个温暖的blessing，被红线条分隔开的两个画面对称布置，没有反差的布局让整个基调很和谐，画面没有用透视而是从顶视的角度工整的描绘细节，因为线条很稳定，所以这种秩序感会让人由衷的觉得宁静。
 |
平面的画之所以能包含那么大的信息量，个人觉得和“平台式画面“概念有关，就像Leo Steinberg在他的《Other Criteria》里说的一样，艺术领域模拟的画面正慢慢从垂直领域向平台水平面转变，你的头对应的位置不一定是上方，你的脚对应的位置不一定是下方，平台式画面可以将自己导向很多细节，换句话说，平台式画面为这幅画注入了大量的信息和可能，又由于这些图画是图像的图像，所以并不是直接的外面的世界，所以更像是扁平化的立体场景，在某种层面上说，平台式画面给了二维图形一个信息量毫不逊色于三维的表达方式，所以在看到Broad Museum的白色多孔外壳立面时，你会想到二维到三维的差别更多的是空间上的，信息量上的差距并不是很大。
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去了Broad Museum是在下午，柔和的阳光洒在Museum白色的外表皮上，光线从他那均质的空隙中进入室内，整个建筑物的层次一下子多了很多，从外界到表皮到孔洞到玻璃幕墙再到地面，我们意识到这是一个真正的model，于是想到了Colin Rowe 和Robert Slutzky在Transparency一文中提到的透明性，很多人觉得建筑物的透明性已经只能局限于材料的选择，比如包豪斯的那种大玻璃幕墙，其实不然，两个事物能够相互渗透，同时又能保证视觉上不会彼此破坏，就是一种透明性。而这对于painting和model都是一样的，一幅画里的线条配色笔触可以营造出很多种不同的透视效果，特别当画家力求用平行透视精准表现置身于抽象的浅空间的事物时，现象的透明性就有了用武之地。
所以在创作一幅作品时，我们要知道，如果它有明确的组织结构，具体的赋型和清晰表述的机制，那么它就会有现象透明性，就是一个层次丰富的作品，个人同时觉得这一点也适用于建筑物的设计，透明性将不再局限于材质的选择，而是在空间的使用上做到真正的透明。
附上英文：
First of all, let me introduce Allegrini Martin (1912- 2004) , she is a Canadian - American painter. Martin believes that her paintings focus on the expression of the inner emotional world, which is full of satisfaction and calm.
Martin was praised and recognized for her outstanding contributions in her 50 years careers. She was born in Canada, a descendant of the pioneers of Scotland from the Island of Skye in Scotland in the late nineteenth Century. She moved to New York in 1957, where she was affected by the abstract expressionist artists, her professional style changed several times before and after the 1960s. She moved from the east coast to the West and then she returned to New York, her artwork's style changed from bionic style to a geometric grid style and tends to be more rational and calm, we compared Martin's art work with the broad Museum's facades from two aspects like 'the flatbed picture plane' and 'transparency'. Her artwork which named 'blessing' is my favorite one among her numerous works.
The background of 'Blessing' is a picture filled up with several blue coarse bars and white coarse bars, it sets a quiet tone for the whole picture, two warm tone thread meets together in the center of the picture and separates the image into two symmetrically parts, the whole tone is harmonious without contrast layout, artist depicted details of the picture from top view point rather than perspective point, the line she drawed is clean and stable, so this order just makes people sincerely feel relaxing.
It might have some relationships with ‘flatbed picture plan’ since this picture contains such a large amount of information. Just like what Leo Steinburg said, the picture of the art field is changing slowly from the vertical field to the horizontal plane of the platform. The position your head corresponds to is not necessarily above, the position of your feet is not necessarily below, the platform can have a lot of directions.Put it another way, the platform has a lot of information and possibilities for the painting. So it is more like a flat three-dimensional scene rather than just a platform picture. To a certain extent, 'the flatbed picture plan enlightens the 2D image's world. So when you see the white Museum Broad facade, you will come up with that there are only some differences of space between two-dimensional and three-dimensional staff, not too much of the amount of information they received.
We went to the Broad Museum in the afternoon, the soft sunlight sprinkled on the white facade and came into the interior room through the homogeneous holes and then poured on the floor, the building was filled with sunshine which made the museum a hierarchical place. And then we thought of the word 'Transparency' which was mentioned in Colin Rowen and Robert Slutzky's article. Many people believe that the building's transparency has only limited to material selection, such as the large glass curtain wall in Bauhaus' buildings. in fact, otherwise, if the two things could have mutual penetration and guarantee the visual effects not be destroyed, then this is a kind of transparent, and it will also make sense for both painting and model. Since the different lines we use on a picture could create a variety of perspective outcoming, in particular, when the artist seeks to use a parellel perspective for the expression of some staffs in the abstract space, then Transparency phenomennon comes into play.
So in the creation of the work, we need to know that if it has a clear organizational structure, specific type and the mechanism with clear expression, then it will have phenomenal transparency, and it will be a work with rich hierarchy. Personally speaking, I think it will be also applicable to the building design at the same time, transparency will no longer be limited to the choice of materials, but plays an important role in the truly use of space.
