Raymond Saunders: Post No Bills

雷蒙德桑德斯：禁止张贴告示

出版商： David Zwirner Books

出版日期 : ‎ 2025年9月2日

语言 ‏ : 英语

印刷长度 : ‎ 208 页

ISBN-10 ‏: ‎ 1644231654

ISBN-13 ‏: ‎ 978-1644231654

尺寸 : ‎ 9.5 x 1 x 12 英寸

页面参数仅供参考，具体以实物为准

在这本首部专著中，探索雷蒙德·桑德斯充满活力的绘画及其作为艺术家和思想家的非凡遗产。

桑德斯的作品融合了他广泛的正规训练以及自身的观察和生活经验。他的集合风格绘画通常以单色黑色底色为开端，并以白色粉笔进行修饰——这与传统的人物-背景关系截然相反。随后，他添加了一系列其他标记、材料和护身符——从墙纸到广告，从尺子到画笔。表现主义的油彩、极简主义的主题、线条画和鲜艳的色彩段落，与他从国内外城市环境中收集的现成物品、标志和门交织在一起，创造出意想不到的视觉韵律和共鸣，值得细细品味。这些丰富的画面既经过精心构建，又充满即兴，既富有教诲性，又能深刻感受，它们唤起了一系列主题，赋予了其广泛而微妙的多重意义。

本出版物记录了桑德斯2024年在卓纳画廊和安德鲁·克雷普斯画廊举办的两部分展览，探讨了桑德斯如何将社会意义和评论性融入其作品。精选文本包括策展人埃博尼·L·海恩斯的引言，以及海恩斯与哈莱姆工作室博物馆馆长塞尔玛·戈尔登之间的对话，内容涉及她数十年来对桑德斯艺术作品和写作的关注。桑德斯1967年自费出版的小册子《黑色是一种颜色》的复印件——这是他关于艺术家创造性表达的重要论文，在出版近五十年后仍然引发文化讨论，该书连同艺术史学家达比·英格利什的新注释一起复制出版。贾勒特·厄内斯特的一篇文章对桑德斯的两件复杂的黑板作品进行了深入解读。此外，还收录了艺术家与朱迪思·威尔逊在1980年进行的一次从未发表过的访谈，桑德斯在访谈中讨论了他多层次的艺术实践。最后，艺术史学家理查德·J·鲍威尔（Richard J. Powell）1993年发表的一篇重要文本的重印，对桑德斯1968年至1993年的艺术创作进行了全景式审视，尤其关注他的标志性画作《耶稣博士》。这组内容丰富的文本和学术探讨，为探究桑德斯广泛的艺术实践及其持久的影响力提供了引人入胜的视角。

Discover Raymond Saunders's dynamic paintings and his extraordinary legacy as an artist and thinker in this first ever monograph.

Saunders’s work brings together his extensive formal training with his own observations and lived experience. His assemblage-style paintings frequently begin with a monochromatic black ground elaborated with white chalk—a pointed reversal of the traditional figure-ground relationship. He subsequently adds a range of other markings, materials, and talismans—from wallpaper to advertisements, rulers to paintbrushes. Expressionistic swaths of paint, minimalist motifs, line drawings, and passages of vibrant color tangle with found objects, signs, and doors collected from his urban environment at home and abroad, creating unexpected visual rhymes and resonances that reward careful and sustained looking. At once deliberately constructed and improvisatory, didactic and deeply felt, these richly built surfaces conjure a range of themes, allowing for a vast and nuanced multiplicity of meanings.

A record of a two-part exhibition presented at David Zwirner and Andrew Kreps Gallery in 2024, this publication considers Saunders’s ability to infuse his work with social relevance and commentary. Featured texts include an introduction by curator Ebony L. Haynes and a conversation between Haynes and Studio Museum of Harlem director Thelma Golden about her multidecade engagement with Saunders’s artwork and writing. A facsimile of Saunders's self-published pamphlet from 1967, Black Is a Color—his vital essay on the creative expression of the artist, which continues to spark cultural conversation nearly five decades after its appearance, is reproduced along with new annotated commentary by art historian Darby English. An essay by Jarrett Earnest offers an in-depth interpretation of two of Saunders’s complex chalkboard works. Also included is a never before published interview from 1980 between the artist and Judith Wilson in which Saunders discusses his multilayered practice. Lastly, a reprint of a pivotal text from 1993 by art historian Richard J. Powell offers a panoramic examination of Saunders’s art from 1968–1993, with a special focus on his iconic painting Dr. Jesus. This robust group of texts and academic considerations offers a compelling exploration of Saunders’s wide-ranging practice and lasting influence.

美国艺术家雷蒙德·桑德斯（生于1934年）在其集合画作中，将他丰富的正规训练与自身的观察和生活经验融为一体。表现主义的油彩、极简主义的图案、线条画以及鲜艳的色彩片段，与他从城市环境中收集到的物品、标志和门交织在一起，创造出意想不到的视觉韵律和共鸣，值得细心而持久的观察，并赋予其广阔而微妙的多重意义。

贾勒特·欧内斯特 (Jarrett Earnest) 是《写作艺术意味着什么：艺术评论家访谈》(2018) 和《有效至日落》(2023) 的作者，也是《年轻与邪恶：1930-1955 年纽约酷儿现代主义》(2020)、《绘画是至高无上的虚构：杰西·默里的作品，1980-1993》(2021) 和《奉献：今天的未来成为明天档案》(2022) 的编辑。他的评论文章发表在世界各地的杂志和展览目录中，并定期出现在《纽约书评》中。

达比·英格利什 (Darby English) 是芝加哥大学卡尔·达林·巴克艺术史教授。

塞尔玛·戈尔登 (Thelma Golden) 是一位美国艺术策展人，也是纽约哈莱姆工作室博物馆的馆长兼首席策展人。

埃博尼·L·海恩斯 (Ebony L. Haynes) 是一位来自多伦多的作家和策展人。她现居纽约，担任卓纳画廊的总监。海恩斯是耶鲁大学艺术学院2021届绘画与版画班的客座策展人和评论家。她还创办了一所在线“学校”，为全球黑人学生提供免费的专业实践课程。

理查德·J·鲍威尔是杜克大学约翰·斯宾塞·巴塞特杰出艺术与艺术史教授。除了教授美国艺术和非洲裔移民艺术课程外，他还著有《黑人艺术：文化史》（1997年、2002年、2021年），并组织过许多展览。

朱迪思·威尔逊是加州旧金山的非裔美国艺术史学家。她的教学生涯包括在弗吉尼亚大学、耶鲁大学和加州大学欧文分校担任全职艺术史教授，以及在其他几所学校担任兼职和客座教授。

In his assemblage-style paintings, American artist Raymond Saunders (b. 1934) brings together his extensive formal training with his own observations and lived experience. Expressionistic swaths of paint, minimalist motifs, line drawings, and passages of vibrant color tangle with found objects, signs, and doors collected from his urban environment, creating unexpected visual rhymes and resonances that reward careful and sustained looking and allow for a vast and nuanced multiplicity of meanings.

Jarrett Earnest is the author of What It Means to Write About Art: Interviews with Art Critics (2018) and Valid Until Sunset (2023) as well as editor of The Young and Evil: Queer Modernism in New York, 1930–1955 (2020), Painting Is a Supreme Fiction: Writings by Jesse Murry, 1980–1993 (2021), and Devotion: today’s future becomes tomorrow archive (2022). His criticism has been published in magazines and exhibition catalogues around the world, and appears regularly in the New York Review of Books.

Darby English is the Carl Darling Buck Professor of Art History at the University of Chicago.

Thelma Golden is an American art curator and Director and Chief Curator of The Studio Museum in Harlem, New York

Ebony L. Haynes is a writer and curator from Toronto. She is based in New York, where she is a director at David Zwirner. Haynes is a visiting curator and critic at the Yale School of Art in the painting and printmaking class of 2021. She also runs an online “school” that offers free professional practice classes to Black students worldwide.

Richard J. Powell is John Spencer Bassett Distinguished Professor of Art & Art History at Duke University. In addition to teaching courses in American art and the arts of the African Diaspora, he is author of Black Art: A Cultural History (1997, 2002, 2021) and has organized numerous exhibitions.

Judith Wilson is an African American art historian in San Francisco, California. Her teaching career included full-time positions in art history at University of Virginia, Yale, and the University of California, Irvine, as well as part-time and visiting professorships at several other schools.