|
Cady Noland (born 1956 in Washington, DC.) is a postmodern conceptual sculptor and an internationally exhibited installation artist, whose work deals with the failed promise of the American Dream and the divide between fame and anonymity, among other themes.〔(JOURNAL OF CONTEMPORARY ART, conversation, Cady Noland and Michèle Cone ) Retrieved January 11, 2010.〕〔(【引用サイトリンク】title=Cady Noland - Artist Biography for Cady Noland )〕 Her work has been exhibited in museums and expositions including the Whitney Biennial in 1991 and Documenta 9 in Kassel, Germany.〔(【引用サイトリンク】title=One Art World )〕 She attended Sarah Lawrence College and is the daughter of the Color Field painter Kenneth Noland (1924–2010). ==Style and themes== Noland's work often explores what she calls "The American Nightmare," or aspects of American culture she considers toxic, such as social climbing, glamour, celebrity, violence, and death. She describes these social constructs as a "game." Noland's work has dealt with themes of restrictions, both physical and mental, often using metal in her work to evoke senses of joining or separating. Noland’s central theme in her work retains fear, both personal and cultural. ''Crashed Car'' was brought upon by the fact that she was in a car wreck at a very young age. In ''Plane Crash'' she emphasizes her fear of flying. ''The Family and the SLA that kidnapped Hearst'' is based on her fear of cults. Her newest work has been said to be less aggressive and more friendly to viewers, and more stable and grounded.〔Afterall: A Journal of Art, Context and Enquiry. Issue 11 (Spring/Summer 2005), pp. 3-8. Published by: The University of Chicago Press on behalf of Central Saint Martins College of Art and Design, University of the Arts London. Stable URL: http://www.jstor.org/stable/20711565〕 Noland’s work also studies the American social landscape and shows America’s social identity to be in fragments. On top of that, she makes sculptures that are prompted by the theme of humiliation that in part lives in the American consciousness. It is all in relation to the institution, containment and mobility, and to the American way of life.〔Francis Summers. “Noland, Cady.” Grove Art Online. Oxford Art Online. Oxford University Press. Web. 21 Feb. 2015. Noland’s arrangement of objects have casualness that call into question the status of the art object and its artistic position. Like other fellow artists, such as Mike Scott and Laurie Parsons, Cady Noland’s paintings resist interpretation.〔Star Trek, Neo-Geo: The Next Generation. Olivier Mosset. BOMB. No. 29, Special Issue on New Writing (Fall, 1989), pp. 66-71. Published by: New Art Publications. Stable URL: http://www.jstor.org/stable/40423901〕 Appropriated by Noland, the role of the press photograph expanded in a post-war country that was understanding and exporting itself through images. She is known for reframing the photo that she appropriates through the materiality of the image itself. It is then transferred by silkscreen from source to surface. According to Noland, to reproduce the image is to insert it into a category of knowledge and understanding. One that is transformed by way of a continuous return.〔Korczynski, Jacob. “Pierre Leguillon features Diane Arbus: A Printed Retrospective. 1960–1971 & Cady Noland: The American Dream.” C Magazine Summer 2011: 47-8. Arts & Humanities Full Text. Web. 22 Feb. 2015. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cady Noland」の詳細全文を読む スポンサード リンク
|