[alert_box TYPE =”信息”]本文从展览书唐凡弗利特采取 - 起立接受停产。它介绍了他在布赖顿的同名展览，英格兰的1994年。[/ alert_box]
30年前，唐凡弗利特和他的朋友弗兰克泽帕写了一个电影剧本和伴音轨道的标题Beefheart船长会见咕噜人。雷竞技ios下载虽然声音轨的方面进行了记录电影从未实现，但Beefheart船长的名字和角色通过了唐凡弗利特推出的“6OS和70年代的流行音乐先入为主一个非常肥沃的和创新的突击。雷竞技ios下载当音乐世界的其余协调有关爱与和平，记录安全牛奶，鳟鱼面具副本，舔我的贴花关婴儿通过三个不同的元素融合提供了一个完整的背离音乐的连贯性和可接受性的所有以前的概念: the vocal and rhythmic style of urban blues practitioners such as Howlin’ Wolf and Jimmy Read; free form jazz of such as Coleman Hawkins and Cecil Taylor in which the traditional popular precept of there being only one lead instrument at any one time is radically subverted; and finally the astonishingly febrile imagination, personality and vocal presence of Don Van Vliet. These three records stand as landmarks of psychedelic extremism and, in retrospect can be seen as musical counterpoints to the American abstract expressionist tradition of the previous generation. Charles Olsen’s declaration of his poetry as being an ‘open field of energy’ and the mark-making techniques of such as Pollock and Krasner to create a total expanse of image integrally incorporating extremes of texture all have resonances in Van Vliet’s ability to unite discordant musical, literary and visionary elements to create a unsettling whole.
Contractual and production complications caused Van V1iet’s musical career to stutter somewhat in the ‘70s, and although he eventually re-emerged in the early ’80s to startle a new post-punk generation with the bleak minimalism of the records Doc at The Radar Station and Ice Cream for Crow, he had by then already settled on fine art as being the most suitable way of directly articulating his unique vision and interpreting his interior landscape. The preoccupations remain the same but the means of expression are more absolutely personal and hence more satisfactory as a creative vehicle. Those approaching Van Vliet’s work for the first time may well be puzzled and struggle to make sense of what seem an inchoate set of colour splashes, frenzied brushmarks and scratches freely applied and occasional soft washes. The struggle becomes less arduous when his art is assessed in relation to his profound sense of place and natural environment, his intuitive and highly emotional creative spirit and, above all, to his playfulness and delight in free association and absurdist wordplay. Van Vliet has often claimed that two of his favourite painters are van Gogh and Franz Kline and Van Vliet’s use of colour, distortion and intense brush and textural variations to impart a vivid and primordial emotional force certainly has parallels in the work of these two very different predecessors. For many years Van Vliet lived in the Mohave Desert before moving more recently to the Northern Californian coast and his palette, with its heavy greens, blues and ochres, is entirely reminiscent of the landscape he inhabits and his concerns for that environment, while his strong use of thick washes of black and white serve to delineate his own interior sensibilities. Finally, in much of his work, there is a puckish sense of humour at play driven by his fondness for word association and absurdity. In earlier works such as Cats Got His Tail (1985) the humour is blatant but more recent works such as Circles Don’t Fly They Float, 1990) show a more satisfactory unification of his various creative processes, the picture making manifest and tangible the thought that prompted the title which in itself is a line from a poem made into a song.
本次展览庆祝奇异和不妥协的贡献者战后艺术精神的发展，并与科隆和纽约的迈克尔·沃纳画廊合作已协调布莱顿博物馆和艺术画廊大卫布鲁尔。展览负责人：尼古拉Coleby。助理展览员：路易斯Tythacott。
- 杰西卡·卢瑟福，博物馆负责人，主任皇家馆，布莱顿