ISBN：9783897903944  

书名/Title：保罗·埃文斯：跨越边界打造现代主义 | Paul Evans:  Crossing Boundaries and Crafting Modernism

作者/Author：Constance Kimmerle

出版/Publisher：Arnoldsche, 2014

装帧/Binding：精装, 216页 | Hardcover, 216 pages

尺寸/Dimensions：31 × 24 cm

语种/Language：英语 | English

内容提要：  

1955年，保罗·埃文斯（Paul Evans）与菲利普·劳埃德·鲍威尔（Phillip Lloyd Powell）合作，在宾夕法尼亚州的New Hope小镇共用一个展示空间。他们的展厅铺设着鹅卵石，每周六晚上开放，一直持续到午夜过后。一般在这个时间段内，巴克斯郡剧院的观众会在镇上闲逛。这时，一些顾客会在店里停留并与工匠主交谈，其中一些人想要的不仅仅是二战后工厂制造的流水线式家具。这些顾客有兴趣、也有财力去定制单件作品或全屋的家具装饰设计。

埃文斯和鲍威尔很快就开始共同创作作品。在1957年，鲍威尔和埃文斯创作了一个装饰有金属雕刻面的箱子，并被纳入当代工艺博物馆的开创性展览《匠人的家具》中。这次展览展出了沃顿·埃舍里克、山姆·马卢夫、中岛乔治等工作室家具运动的代表性人物的作品。

保罗·埃文斯是特拉华河谷地区的工作室家具手工艺人群体中的一员。他与其他人一起，在20世纪60年代末使费城地区成为工作室家具和工作室手工艺的中心。像他那一代的许多家具制造者一样，埃文斯通过大学艺术课程和独立探索新材料、新技术来不断掌握生产技能。他熟练地使用传统的组合工具和现代电力设备，并雇佣了专业人员来制作独特的、富有表现力的、可定制的功能性家具。到了60年代中期，埃文斯扩大了业务范围，进入到一个新的发展阶段。正如爱德华·库克指出的那样，这个阶段他将注意力从纽约工艺界转移到了全美设计界。在过去的十年里，埃文斯极具创新性及实验性的家具制作方法吸引了一批国际上的追随者。

保罗·埃文斯以其独树一帜的家具设计、对新技术的热忱、对新材料的应用而享誉世界。此书配合2014年先后在多伊尔斯敦米切纳艺术博物馆和布卢姆菲尔山克兰布鲁克艺术博物馆举办的展览出版，收录了大量埃文斯作品，以及对它们的分析。

本书作者康斯坦斯·金默尔毕业于宾夕法尼亚大学，先后获得硕士和博士学位。她曾在费城艺术博物馆、罗伯特·L·麦克尼尔美国收藏、罗森巴赫博物馆和图书馆以及詹姆斯·A·米切纳艺术博物馆从事策展工作。

In 1955 Paul Evans teamed up with Phillip Lloyd Powell to share a showroom in New Hope, Pennsylvania. Carpeted with pebbles, their showroom was open on Saturday evenings until   well after midnight when the Bucks County Playhouse crowd was wandering about town. The patrons who stopped in the shop to talk with the craftsmen owners included individuals who wanted more than bland post-World War II factory-made furniture. Receptive to innovative design and prepared to bring new materials and novel finishes into their homes, these patrons had the interest and financial resources to commission individual works or entire room settings specifically designed for their personal spaces.

Evans and Powell soon started collaborating on works, and by 1957 a Powell and Evans chest embellished with a sculptured metal front was included in the Museum of Contemporary Crafts’ seminal exhibition Furniture by Craftsmen, which showcased works by such leading participants in the studio furniture movement as Wharton Esherick, Sam Maloof, and George Nakashima.

Paul Evans was among the community of Delaware Valley studio furniture craftsmen who with others made the Philadelphia region a center for studio furniture and studio craft during the late 1960s. Like a number of furniture makers of his generation, Evans learned his skills in college art programs and by independently exploring new materials and techniques. Skilled in the use of traditional band tools as well as modern power equipment, he employed a specialized workforce to produce unique, expressive, custom-designed, functional furniture. By the mid-sixties, Evans had expanded his operations and was entering a new career phase, a phase that, as Edward Cooke notes, shifted his focus from the New York craft world to the national world of design. Over the past decade, Evans’s highly innovative experimental approaches to furniture making have attracted an international following.