Willem de Kooning: Endless Painting

威廉·德·库宁：无尽的绘画

出版商：Rizzoli

发布日期： 2026年1月20日

语言： 英语

印刷长度： 144页

ISBN-10： 1968417001

ISBN-13： 978-1968417000

物品重量： 3.4磅

尺寸： 11.33 x 0.69 x 12.85 英寸

页面参数仅供参考，具体以实物为准

本书为配合威廉·德·库宁个展“无尽的绘画”（Willem de Kooning: E​​ndless Painting，纽约西24街555号）而出版。该展览由威廉·德·库宁基金会赞助，并由高线艺术中心总监兼首席策展人塞西莉亚·阿莱马尼（Cecilia Alemani）策划。本书收录了艺术家1944年至1986年间的绘画作品和两件雕塑作品，并设有专门的图版，展示了展览作品、装置照片以及艺术家的相关图片。“无尽的绘画”是高古轩画廊举办的德·库宁第六次个展，第一次个展于1987年举办。

作为战后时代的先锋艺术家，德·库宁探索了色彩、线条和空间的表现力，并不断挑战具象与抽象之间的界限。展览通过精心安排德·库宁晚期绘画作品的布局，突出了贯穿其整个艺术生涯的视觉主题。这种方法体现了阿莱马尼对德·库宁20世纪80年代绘画作品的深入研究。她从中发现了大量人体形态——肘部、膝盖、嘴巴、眼睛——这些形态可以追溯到艺术家20世纪30年代和40年代受立体主义和超现实主义影响的作品。

德·库宁经常修改画布，将早期作品中的元素重新融入画面，方法是将他想要保留的形状描绘在羊皮纸上，甚至在绘画过程中多次改变这些形状的方向。正是通过反复审视和修改他的作品，他发展出一套根植于具象的、既连贯又灵活的色彩和笔触语言。“德·库宁是一位永不停歇的画布探索者，他从未停止过对绘画可能性的探究，”阿莱马尼指出。展览标题“无尽的绘画”指的是这种经久不衰、不断演变的视觉语言，以及艺术家自称“就此停笔”而非正式完成画作的决定。阿莱马尼和约翰·埃尔德菲尔德在书中探讨了这些概念，并扩展了对德·库宁作品的多种解读。

Published on the occasion of Willem de Kooning: Endless Painting, 555 West 24th St, New York, an exhibition organized with the support of the Willem de Kooning Foundation and curated by Cecilia Alemani, Donald R. Mullen, Jr. Director & Chief Curator of High Line Art. The book documents paintings by the artist dating from 1944 through 1986 and two sculptures, with a dedicated plates section featuring the works in the exhibition, installation shots, and contextual images of the artist. Endless Painting is the sixth solo exhibition of de Kooning’s work presented by Gagosian, with the first organized in 1987.

A pioneering figure of the postwar era, de Kooning probed the expressive potential of color, line, and space and continuously challenged the boundaries between figuration and abstraction. Through the considered placement of late paintings the exhibition foregrounds visual motifs that recurred throughout de Kooning’s career. This approach reflects Alemani’s close investigation of paintings from the 1980s in which she identified an expansive repertoire of human forms—elbows, knees, mouths, eyes—that can be traced as far back as the artist’s works of the 1930s and 1940s that drew on Cubism and Surrealism.

De Kooning often reworked canvases, reincorporating passages from earlier compositions by tracing shapes he wanted to preserve onto vellum, and even changing their orientation multiple times during the painting’s gestation. It was through revisiting and revising his compositions that he developed a consistent but flexible vocabulary of color and gesture rooted in figuration. “A restless explorer of the canvas, de Kooning never stopped interrogating the possibilities of what painting could be,” Alemani notes. The exhibition’s title, Endless Painting, references this enduring, ever-evolving visual language and the artist’s professed decision to “just stop” rather than formally finish paintings. Alemani and John Elderfield explore these concepts in the book and expand on the many possible interpretations of de Kooning’s work.

塞西莉亚·阿莱马尼是一位常驻纽约的策展人。自2011年起，她担任纽约高线公园公共艺术项目“高线艺术”（High Line Art）的唐纳德·R·穆伦二世总监兼首席策展人。2022年，她策划了第59届威尼斯双年展的“梦之乳”（The Milk of Dreams）展览；2018年，阿莱马尼担任首届布宜诺斯艾利斯巴塞尔艺术展城市单元的艺术总监；2017年，她策划了威尼斯双年展意大利馆。过去十年间，阿莱马尼在为公共空间和非传统空间委托创作和制作大型艺术作品方面积累了丰富的经验。

约翰·埃尔德菲尔德是纽约现代艺术博物馆绘画与雕塑系的荣誉首席策展人，曾任普林斯顿大学艺术博物馆首位艾伦·R·阿德勒（1967届）杰出策展人和讲师。他于 2012 年加入高古轩画廊，担任特展高级策展人。

Cecilia Alemani is a curator based in New York. Since 2011, she has been the Donald R. Mullen, Jr. Director & Chief Curator of High Line Art, the public-art program presented by the High Line, New York. In 2022, she curated The Milk of Dreams at the 59th Venice Biennale; in 2018, Alemani served as artistic director of the inaugural edition of Art Basel Cities, in Buenos Aires; and in 2017, she curated the Italian Pavilion at the Venice Biennale. Over the past ten years Alemani has developed an expertise in commissioning and producing ambitious artworks for public and unusual spaces.

John Elderfield is chief curator emeritus of painting and sculpture at New York’s Museum of Modern Art and was formerly the inaugural Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer at the Princeton University Art Museum. He joined Gagosian in 2012 as a senior curator for special exhibitions.