[alert_box类型=”信息”]从Artweek（第20节N.2）1989年1月14日[/ alert_box]
写关于音乐就像是关于建筑的跳舞 - 弗兰克泽帕
事实上，我会怀疑弗兰克泽帕可能也有类似的看法关于绘画写作的主题，至少是他的长期门生唐凡弗利特（他Beefheart船长的艺名更popualarly知道）的。雷竞技ios下载凡弗利特近期石油对亚麻的努力，有七个是目前在现代艺术旧金山博物馆作为制作新的工作正在进行一系列的小规模展览的一部分。现在你可能会问，“为什么博物馆致力于展览空间，一个人，其主要的专长的本质幼稚的画是一种特殊类型的音乐，激发从爱好者和disconcerts门外汉狂热的忠诚度？”一个很好的问题，只能导致反射体制决策过程和名人和时尚的社会经济因素之间的关系。我只想说，巨澜Scnabel和A·R·彭克（两星谁应该不需要介绍到ARTWEEK读者）都采取它在他们自己的冠军范·弗利特的图案努力为自己的热情Beefheart乐队的磨料sonorities的延伸。毫无疑问，他们是通过一些装饰的乐队的专辑封套，并指出他们被凡弗利特，谁也创作并演唱的大部分乐队的歌曲创建的映像的兴趣。
Now I must confess that I, too, am a fan of the Magic Band’s offbeat and bizarrely eclectic tunes, many of which provocatively staked out the territory of “art rock” well before the members of such au courant ensembles as The Germs, Scratch Acid and the Butthole Surfers were extracted from diapers. But the job at hand is an examination of Van Vliet’s paintings, and this job has proven difficult, partly because my involvement with the man’s music militates against my perception of how mediocre his paintings are. And please take my use of the word ‘mediocre’ in the spirit that it is intended. I am not saying that Van Vliet’s paintings are bad; in fact, they have some truly worthwhile qualities. Like the cave paintings that their gestural pictographic imagery alludes to, Van Vliet’s average-sized canvases feature an uncanny blend of the playful and the demonic, all in the service of simplified landscape renditions that have the pictorial syntax of a dream. They seem to hint at the commemoration of some kind of magical event that leads the viewer into recognizing these landscapes as configurations of primordial energies.
如果像一些早期的抽象表现的工作参考此说明的声音，因为他们开始摆脱了超现实主义的影响，这是理所应当的。凡弗利特的画是之流。他们的正规设备用帆布为记录了行动舞台的Rosenbergian观念斗争的说话，但他们的斗争往往在似乎有些明显的方面来解决。显而易见的一个区域规模从较小的形式较大的，这似乎旨在搞活整个画面空间的方式跳跃。由于这些跳跃在这样的一致，几乎formuliac方式使用，反而破坏信仰的悬架，他们mythopoeic借口依赖。类似的评论可以在凡弗利特的特定非调制颜色可预见的用途，这往往是一件小事平坦的指向。平相比呢？Well, installed near Van Vliet’s exhibition is a selection of paintings that includes early works by Jackson Pollock and Philip Guston, as well as a remarkable painting by Joan Mitchell from 1960. When viewed next to Van Vliet’s paintings, these remind us that pseudo-hip celebrity is a poor substitute for works of art produced by artists whose eloquence matches their ambition.
- 马克·范·Proyen，1989年