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ROSS LEWIS DANCING WITH ROPE 李如侠: 墨绳之舞


ROSS LEWIS DANCING WITH ROPE 李如侠: 墨绳之舞 3


CONTENTS

目录

ROSS LEWIS • ROPE PAINTINGS by Kuiyi Shen

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墨绳之舞:李如侠的艺术 撰文 沈揆一

ROSS LEWIS • SYNTHESIS AND AMALGA M by Elizabeth Reade

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李如侠:合成与熔冶 撰文 Elizabeth Reade

ROPE PAINTINGS

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绳线水墨

SCROLL MACHINE

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卷轴器

SHAN-ZI SERIES

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扇子系列

DANCE CALLIGRAPHIES

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舞蹈书法

LANDSCAPE STUDIES

68

山水画研究

PROFILE

74

画家介绍

BIOGRAPHY

82

画家简历

ACKNOWLEDGMENTS

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鸣谢


ROSS LEWIS • DANCING WITH ROPE BY KUIYI SHEN

墨绳之舞: 李如侠的艺术 沈揆一 Ross Lewis is an American artist, but his work, whether in concept and thought or in form and visual language, shows strong Asian cultural influence. Although communication today has become fast and convenient, and the global village seems increasingly small, artistic communication between East and West is far less easy. Lewis has created a unique artistic vocabulary in recent years that has stimulated my great interest and curiosity. Through the introduction of mutual friends, I visited his studio in Long Island City, New York. Entering the studio, I was greeted by paintings completely covering the walls, and recent works neatly piled on the floor. All his paintings are painted on paper, composed with black lines and bright colors, but when you go close to examine them carefully you will find that the lines from which the images are constructed are not painted with a brush but the ink is pressed on paper with a rope. We know that using rope to create art is not new. Thousands of years ago, craftsmen used rope pressed on earthenware pottery to make various beautiful patterns, which gave their name to Japan’s earliest prehistoric culture, Jomon culture. However, Lewis’ way of using rope to create his ink lines is an innovative technique for painting. His ink rope (as opposed to brushwork) combines the baimiao technique of traditional Chinese ink painting and the formal effects of Western printmaking. Moreover, his strong colors give the images and the spatial composition a strong visual power and emotional impact. The traces on the paper of the ink rope seem to lack the fluidity and calligraphic effect of brushwork, but the interrupted quality of

李如侠是一位美国艺术家,但在他的 作品中,无论是观念意识或形式语言,都 透露出浓厚的东方文化的影响。虽然如今 信息的交流变得迅速方便,地球村也变得 日益紧凑,但是东西方艺术上的自如交融 却并不易见。当听说李如侠近年创造了一 种独特的艺术语言,这不由激起了我极大 的兴趣和好奇心。 去年经朋友介绍,我造访了李如侠在 纽约长岛的画室。一进画室,扑面而来的 即是墙上挂满的画作,转身见地上也堆满 了他近年的画作。李如侠的绘画作品都作 于纸上,画面以黑色的线条和鲜艳强烈的 色块构成。但当你走进仔细观察,却发现 画面上所有线条构成的形象并不是以画笔 描绘的,而是用沾满墨汁的绳索在纸面上 压印而成。 我们知道运用绳索进行艺术创作并不 新奇,数千年前在日本就因为运用绳索在 土陶器上压印纹样图案而构成了他们最早 的史前文化——绳文文化。但李如侠用 绳纹构成的墨线则是完全创新的绘画技 法。他对墨绳的运用融合了中国传统水墨

the ink traces creates an effect similar to the dry brush of Chinese calligraphy and painting and through its intentional imperfection engenders a strong sense of energy. Use of this new technique also allows the artist to expand his intentional anti-perfection to the composition of the work. In his recent series, “Rope Paintings,” which was created with ink and colors on thick watercolor paper, Lewis used paper-cutting, collage, and tearing to intentionally destroy the completeness of the composition and create a very special visual effect. These visual effects perfectly fit his themes—the complications and difficulties of emotional communication among people in modern society and the uncertainty and constant change of our living environment. The intersection of concrete images and abstract lines, plus the drama of unexpected perspectives create a strongly contemporary feeling, while the large negative spaces and fragmented painting surface expose a Zen-like emptiness. This effect is even more strongly evident in several of his abstract works in which the use of lines and dots and the thoughtful insertion of concrete images show the artist’s intuitive understanding of both Western and Eastern art.

画中的白描技法和西方铜版画的画面效 果,并配置以强烈的色块,使得画面的 图像和空间构成产生极强的视觉感染力 和冲击力。绳纹墨线在纸面上留下的痕 迹似乎不象用画笔所描绘的那样流畅或 具有书法性,但正是这种断续的墨迹产 生出中国绘画和书法中的枯笔效果和一 种非完美性,同时也透露出一种蓄势待 发的能量感。这一新技法的运用或许也 使画家将这种非完美性延伸至画面的构 成上。在近年用墨绳和色彩在厚重的水 彩纸创作的《绳画》 系列中, 李如侠采 用剪贴、拼接和撕裂的方法有意识地破 坏构图的完整感,从而创造出一种特殊 的画面效果。这种画面效果很好地切合 了他的主题——现代社会中人们的情感 交流的复杂和困难,以及生活环境的不 安和变幻。 李如侠画面中具象的物体和抽象的 线条的交错并置和强烈的透视构成很强 的现代感,大片的留白和撕裂残破的画 面则富有中国绘画中的空灵感和禅意。 这种感觉更好地反映在他的一些更为抽

THE SUM OF HIS PARTS, detail, 2011 加成, 细 节 4

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Of course, as an American artist, such an understanding of Eastern art does not happen accidentally. Ross Lewis, who can speak fluent Chinese, traces his strong interest in Chinese culture back to 1972 when he was still a high school student in New York. Later he attended Oberlin College and chose East Asian Studies as his major, taking many classes on Chinese history, literature, and language. To strengthen his Chinese language training he participated in an exchange program between Oberlin College and National Taiwan Normal University. While studying in Taipei he was fortunate to serve as the English translator at the National History Museum and studied painting conservation techniques with a master mounter at the National Palace Museum. He also had the chance to study ink painting and calligraphy with several traditional painters and calligraphers including Zhang Daqian, who had just returned from the U.S. to Taiwan. When Mainland China ended the Cultural Revolution and opened its doors, Lewis and his family travelled to Guangzhou in 1978. Since then he has travelled to China many times. During the 1980s, he found an artistic home at the Zhejiang Academy of Fine Arts in Hangzhou. In that period, he met many famous Chinese painters and calligraphers such as Lu Yanshao, Yang Zhiguang, Cheng Shifa, Li Keran, and Zhu Qizhan, learning calligraphy and painting skills from them. In 1983, he went to the Mogao Caves at Dunhuang with the Asian art historian and curator Annette Juliano. These experiences all deepened his understanding and love of Chinese culture and art.

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OUYANG XIU’S “THE PAVILION OF THE DRUNKEN OLD MAN”, detail, 2015

象的作品中,其中对点和线的运用和画 面位置的经营更使人感受到画家对东西 方艺术的领悟。 当然,作为一个美国画家,这种对 东方艺术的领悟并非偶然。说着一口流 利汉语的李如侠对于中國文化的濃厚兴 趣可以追溯至1972年,当他还在纽约高 中就学时。之后李如侠进入奥柏林学 院,选择东亚研究专业,选修了中国历 史、文学和语言课程。期间为了增强汉 语言训练,他还参加了学院与台湾师范 大学的交流项目。在台北学习时,他有 幸在历史博物馆担任英文翻译,跟故宫 博物院的裱画师学习技艺,并随传统书 画家学习水墨画和书法,其中特别得以 机会拜访刚从美国回到台湾的张大千。 中国大陆文革结束并开放后,李如 侠与家人在1978年去广州旅游。其后他 曾多次去中国。在80年代,当时的杭州 浙江美术学院成为了李如侠的艺术天 地,在那里他结识了许多著名的中国书 画家,如陆俨少、杨之光、程十发、李 可染和朱屺瞻等,并向他们讨教书法 和画艺。1983年,他还随亚洲艺术史学 者和策展人安妮特·朱利阿诺(Annette Juliano)率领的一批美国学者参访了敦 煌莫高窟。这些都加深了他对中国文化 和艺术的理解和热爱。 除了绘画之外 李如侠在雕塑、装

Besides painting, Lewis also contributed to many other forms of art, such as sculpture, installation, and performance art. Since the 1980s, he has worked in these fields simultaneously. His “Dance Calligraphy” combines elements of Chinese painting and calligraphy with modern dance. As a contemporary artist, Lewis also has a very strong sense of social engagement. Several of his installations, such as Belvedere Fanscapes (1993), Movement in Space (1995), and Parallel Motion (1989) further extended his “dance calligraphies” to the public art field. In the late 1990s, he created The Shan-zi Series, which more directly reflects his deep understanding of Chinese landscape painting in form and composition. Instead of ink he used acrylic on both sides of the paper to create an effect more like printmaking. Recently, he returned to the theme of landscape, using ink rope to make a series of large works on paper to salute China’s ancient landscape masters. Although he refers to the compositions of these classical masters, his ink rope technique has become more mature in representing the lines, dots, and texture strokes, with collage and tearing giving the traditional landscape a modern interpretation, and letting him explore a realm in which perfection and incompleteness are balanced. This “dance with ink and rope” has opened a fruitful chapter in Lewis’s artistic career, certain to continue to intrigue and move his audiences.

欧阳修的《 醉翁亭记 》, 细 节

置和行为艺术上也都富有造诣。从80年 代起,他就在多个领域齐头探索。他的 《舞蹈书法》将中国的书法绘画元素同 现代舞表演艺术相结合。作为一位当代 艺术家,李如侠具有很强的社会参与意 识。他的一系列装置作品,如《扇景》 (1993)、《空间运动》(1995)和《 平行动作》(1989),更将他的舞蹈书 法拓展至公共艺术领域。 李如侠在90年代后期创作的《扇 子》系列,在形式和构图上更直接地反 映了他对中国传统山水画的了解,但采 用丙烯颜料在麻纸的两面用色,造成一 种更类似版画的效果。最近他又返回山 水的主题,以墨绳创作了一组向中国古 代山水大师致敬的大型纸上作品。虽然 画家采用古代大师的构图,以墨绳的技 法表现勾线和点皴却显然更为成熟,画 家还融入了拼贴和撕扯的技法,对传统 的山水画加以现代的诠释,从而追索 一种在完美和非完美之间寻求平衡的 意境。 李如侠的墨绳之舞无疑将继续下 去,我们期待着他的新篇章。 7


ROSS LEWIS • SYNTHESIS AND AMALGAM BY ELIZABETH REEDE

李如侠: 合成与熔冶 Although American, Ross Lewis’ new work is a rigorous blending of East and West, revealing the essential amalgam that comprises his personal and professional life. Educated primarily in Taiwan and Mainland China, he has been steeped in Chinese culture, art and language. To visit his studio is to witness first-hand an artist who wholly embraces the Eastern philosophy of student and Master. The walls are lined with Lewis’ ink drawings and scroll paintings of mountainous terrains, pagodas tucked away in hillsides and mist-covered horizons. Flat files hold pages of thick white paper with drawings in black and colored inks, gouache and watercolor and this is where the curious merge of East and West is made manifest, albeit in its most nascent aesthetic form. Digging through these pages, I found experiments in form and composition, revealing Lewis’ careful examination of human anatomy, emotion and Daumier like facial expressions. Unusual as they may seem for their subject and theme, Lewis readily acknowledges his source material which includes magazine clippings, newspaper illustrations and icons of the history of art. Careful examination of this vast store of work as well as the array of volumes lining his studio bookshelves reveal that Lewis has been mining myriad landscapes beyond those presented by his Chinese Master. It becomes clear that these works on paper are a quiet signal of Lewis pulling away from his own personal art history. In the realm of ancient Chinese visual culture, landscape painting was considered one of few disciplines that provided an aesthetic space to escape from the stringency of daily life and spiritually commune with nature. Landscape painting offered a sanctuary, a 1 MIT Press, 1973 2 For particularly good visual comparisons, see pp 128-129: Containers for Liquids/Rigid Dams and p.285, fig 11.6: Plane Membrane Loaded by Internal Pressure. 1 麻省理工学院出版社,1973年。 2 典型的视觉比较详见128-129页:液体容器/刚性水坝,以及

285页图11.6:加载内部压力的平面膜。

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身为美国人,李如侠的新作 却有着东方与西方的紧密交融,体 现了他生活与创作之路的本质熔 合。早年在台湾和中国内陆的学习 使他业已沉浸于中国的文化、艺术 与语言。造访他的工作室,便得以 近距离观察这位师承东方哲学的艺 术家。墙上排列着李如侠的水墨画 和卷轴画,只见叠嶂重峦,山隐灵 塔,烟云缥缈。卷宗中厚厚的白纸 上满是黑墨、彩墨、水粉及水彩画 作,显现出东西方巧妙融和的审美 雏形。仔细翻阅,我发现其中形式 与构图的实验,反映出李如侠对人 体解剖学、情感以及杜米埃式面部 表情的深入研究。杂志剪报、报纸 插画以及艺术史图式等别具一格的 主题,都成为李如侠信手拈来的素 材源泉。大量而细心的工作以及画 室书架上的浩繁卷帙,表明李如侠 的胸中丘壑已较乃师别出机杼。显 然,这些纸上作品无声地透露出李 如侠个人艺术轨迹的讯息。 在古代中国的视觉文化中, 山水画作为为数不多的学科之一, 为摆脱日常生活的束缚以及与自然 的精神契合提供了一个审美空间。 山水画是一种寄托,是视觉与哲学 上的回归。文人画的习学者须在名 师指教下研习数载,掌握必需的技 法,以勾染出峰峦秀起孤村寂,亦 或是岩岫巉绝松如盖。这一为学阶 段,首要的是极尽精微地临摹名家 杰作,并且博采众长,假以时日, 从而由学生升格为备受敬重的大 家。线条稍稍地变粗或是烟云微妙

的晕染变化,皆须仔细观察与仿 效。画家对空间的透视与经营布 局,经过了深思熟虑与再创造。这 是一种对视觉的和谐平衡、审美的 至臻至善的研究。这要求学生清心 自律,沉毅谦和,或许还需要坚定 地相信,精心摹仿他人的过程将蓄 积和滋养自身的创作泉源,最终得 以抒发于作品之中。 自然而然地,在此文脉中,人 们可以看到李如侠对他以往艺术历 程的第一次突破。1999年,他创作 的一系列作品以“扇子”命名。作 品绘制于麻纸上,画面裁成扁圆 形,使人联想到夜空中一轮形影流 转的朗月。题材以山水为主,行云 流水的形式与线条间仿佛真有碧水 迥波。李如侠将遮蔽胶带直接粘贴 在生麻纸上勾勒出基础构图。随 后,他用一种从斯坦利·海特版画技 术中学习到的方法,如同用印刷机 套色一般,将丙烯颜料涂抹在纸的 两面,铺满整张纸和胶带区域。李 如侠的丙烯媒材要么施色厚密,要 么涂层稀薄而半透明,最终突出的 是揭去胶带后,画面基底边缘山水 元素中的反向空间,以及四周弥漫 的浓厚如天鹅绒般的气氛。

sort of visual and philosophical retreat. A student of Chinese Scholar painting would study for years working under a Master’s tutelage, developing the skills required to render the quiet solitude of rolling hills and countrysides or towering mountains with stands of stalk-like trees. This apprenticeship focused primarily on copying the Master’s work, in excruciating detail, as well as that of others whose skills over the course of time had elevated them from student to respected Master. The imperceptible thickening of a line or slightest variation in rendering a cloud, was closely observed and replicated. The artist’s use of perspective and organization of compositional space was thoroughly analyzed and recreated. It was a study of visual harmony and balance, aesthetic perfection. The student required self-discipline, patience, humility, and I imagine, an unwavering belief that the process of rendering with exactitude another’s creative ideas would prepare and nurture one’s own creative well to be ultimately expressed in original work. Not surprisingly, then, it is within this context that one can observe Lewis’ initial rupture with his artistic past. In 1999, he produced a series of paintings which he titled Shan-zi, meaning ‘fan’. The works were made on hemp paper which Lewis cut into forms neither round nor elliptical but something in-between, evoking images of the moon as it appears hanging in a night sky with its surface irregularities and gentle undulations. The subjects were primarily landscapes of mountains and water with forms and lines that flow as if made of water themselves. Lewis drew the underlying composition with masking tape applied directly to the vir-

SHAN-ZI SERIES 扇子系列 9


gin hemp paper. He then applied acrylic paint to both sides of the support, pushing it through the paper and tape drawing, as if putting it through a press, a method he learned while studying the printmaking techniques of Stanley Hayter. Lewis’ acrylic medium was either densely applied or thinned to a semi-transparent wash ultimately highlighting both the negative space of the earth-bound landscape elements as well as the surrounding thick, velvet-like atmosphere. When I first saw the Shan-zi Series, the linearity of the elements caught my attention as much as the moon-shaped support and white negative space. I was then intrigued to note that Lewis had a copy of Frei Otto’s Tensile Structures 1 on the shelf next to his desk. The volume has several images of dams, plane membranes and containers for liquids which in their design and structure, have a direct visual relationship with Lewis’ depiction of the natural world 2. Within the Shan-zi construct, Lewis has reinterpreted the landscape by merging subjects, forms, and lines from the man-made and natural realms. The moon-shaped support, tape stenciling and heightened linearity

ROPE PAINTINGS 绳画 10

初见“扇子系列”,我被画面中 的线性元素、月亮状的形制以及空白 的反向空间所吸引。路易斯桌旁书架 上的一册弗雷·奥托所著的《张力结 构》 引起我的兴趣。书卷中有几张 图片是采用此种设计与结构的水坝、 平面膜和液体容器,与路易斯对自然 世界的表现有着直接的视觉关联 。 在“扇子”的构想中,李如侠开始糅 合来自人造物与自然领域的题材、形 式与线条,对山水进行重新诠释。组 成这些图像的月状形制、胶带模印以 及高度提炼的线条性,形成视觉的张 力与构造的简约,引发思古之幽情。

绳画 如果说扇子系列预示着路易斯创 作的首次重要突破,“绳画”(2012 -2013年)对李如侠来说则标志着一 次根本性的转变与经过深图远虑的创

造性飞跃。仿佛历经多年来对大师的 潜心观察、习学与临摹,李如侠的艺 术之泉喷薄而出,并且被引导着创作 出这一系列的绘画。在他的工作室里 悬挂着成卷的9英尺山度士·获多福牌 水彩纸,一直卷垂到地上,未安装画 轴。这些画卷被运用各种方式撕裂、 裁剪、拼贴、涂绘和着色。残留的黑 色墨迹像是来自往昔的坚守。然而这 里运用的并非是中国毛笔而是一条条 的绳索。李如侠有着成包的不同材质 与粗细、结节与纹理的绳索碎料。他 并非预先在画卷上起稿,而后以浸着 墨汁的绳索沿底稿完成。相反地,每 一道痕迹的操作都决定于那一具体时 刻。以浸湿的绳索作画是缓慢而耗时 的,并且似乎会阻碍一个艺术家的进 程。但是对于李如侠来说,他用来以 墨汁浸润绳索的时间是创作中至关 重要的过程,它本身即是作品的一 部分。 除了李如侠在新技法与形式发展 开拓方面的意义,人们不由得对这些 画作中人文主题的充分探索感到既惊 讶又欣喜。这些画卷中充满了人物、 情感,以及汲取自李如侠个人生活与 流行文化之间的互动。“绳画”是思 想观念与视觉图像的一次升华,是深 刻的个人记忆与虚拟现实的一次本质 熔合,营造出一组共通的经验与情 境。李如侠的作品是多重维度和多重 透视的。人们也许会提出,他所收集 的杜米埃版画以及杂志剪报多年来已 被消耗和消化,被小心翼翼地涓滴转 化为画作,存储于工作室的卷宗中, 混合于李如侠多年的学院派艺术训练 中。如同炼金术士的琼浆玉液,这些 不同凡响的画卷已将他的世界中的片 断凝铸为坚如磐石的整体——既是个 体的也是集体的。它们融会了东方与 西方的传统,充盈了艺术家本人。仿 佛在“绳画”之前的一切,都是李如 侠在潜意识当中为这一形态的作品所 进行的准备。

comprising these images create a visual tension and architectonic leanness that belies everything that we think of as ancient and traditional.

The Rope Paintings

As the Shan-zi series indicated an initial and important break with Lewis’ previous work, the Rope Paintings (2012-2013) mark a radical change and fully considered creative leap forward for Lewis. It is as if after years of patiently watching, learning and copying the Master, Lewis’ artistic well erupted and was harnessed to create this series of paintings. Hanging on the walls of his studio, 9-foot scrolls of Saunders Waterford watercolor paper roll onto the floor, unspooled. The scrolls have been torn, cut, collaged, painted and colored in various ways. The black ink remains as a hold out from the past. Yet here it is not applied with a Chinese brush but rather with pieces of rope. Lewis has bags of rope scraps of various material and widths, knot and texture. He does not draw on the scroll beforehand and then follow up with the inked rope. Rather, each act of mark-making is decided at that moment. To paint with the saturated rope is slow and time consuming and would seem to hinder an artist’s process. But for Lewis, the time he takes to soak the rope with ink is crucial to his process which in itself is a part of the work. Beyond the importance of Lewis’ development of a new technique and format, one cannot help but be equally surprised and pleased by the full-blown exploration of human subjects in these paintings. The scrolls are replete with people, emotions, and interactions drawn as much from Lewis’ personal life as from popular culture. The Rope Paintings are a distillation of ideas and visual images, an essential amalgam of deeply personal memories and invented realities, offering a shared set of experiences and situations. Lewis’ renderings are multi-dimensional and multi-perspectival. One might suggest that his stockpile of Daumier prints and magazine clippings had been consumed and digested over the years, dribbled out in the drawings so carefully stored in the studio’s flat files, and mixed with the glue of Lewis’ years of academic artistic training. An alchemist’s brew at its most potent, these extraordinary scrolls have conjoined pieces of his world into rocksolid compositions--at once personal and collective. They synthesize the Eastern and Western traditions that swell within the artist himself. It is as if everything that preceded the Rope Paintings was Lewis’ subconscious preparation for this body of work. 11


ROPE PAINTINGS 绳线水墨 13


IMPASSE, 2012

INK ON PAPER, COLLAGE, 9 X 5 FT.

僵 局 , 2012

纸 、 墨 、 拼 贴 ,274.32 X 152.4 CM 14


DETAIL

细节

LEBEN LIED , 2012

INK ON PAPER, COLLAGE, 9 X 5 FT.

人 生 之 歌 , 2012

纸、 墨 、 拼贴, 274.32 X 152.4 CM 16


DETAIL

细节

È NULLA, 2012

INK ON PAPER, COLLAGE 9 X 5 FT.

还 好 , 2012

纸 、 墨、 拼贴, 274.32 X 152.4 CM 18


DETAIL

细节

TARGET, 2011

INK ON PAPER, COLLAGE, 8 X 5 FT.

目 标 , 2011

纸、 墨、 拼贴, 243.8 X 152.4 CM 20


DETAIL

细节

3 MONKEYS, 2012

INK ON PAPER, COLLAGE, 9 X 5 FT.

三 只 猴 子 , 2012

纸、 墨、 拼贴,274.32 X 152.4 CM 22


DETAIL

细节

TOTEM, 2012

INK ON PAPER, COLLAGE, 9 X 5 FT.

图 腾 , 2012

纸、 墨、 拼贴,274.32 X 152.4 CM 24


ENDLESS WINE MAKES A HAPPY HEART, 2014 INK AND COLLAGE ON PAPER, 90 X 45 IN.

乐 得 之 心 而 寓 之 酒 也 , 2014

纸,墨,拼贴 228.6 X 114.3 CM

26


PLUNGE, 2014

INK AND COLLAGE ON PAPER, 8 FT. 7 IN. X 44 IN.

一 纵 , 2014

纸、墨、拼贴 262 X 112 CM 28


TRISTAN, 2013

INK ON PAPER, COLLAGE 8 FT. 8 IN. x 21 IN.

崔 斯 坦 , 2013

纸 、 墨 、 拼 贴 269 X 55 CM

JING, 2013

INK ON PAPER, COLLAGE, 8 ft. 9 in. x 21.5 in.

静 , 2013

纸 、 墨 、 拼 贴 , 267 X 55 CM


SCROLL MACHINE , 2015,

DIGITALLY PRINTED PAINTING. WOOD SCROLL, WELDED STEEL FRAME, 7 X 29 FT.

卷轴器 , 2015, 数字印刷画 ,

结 构 : 木 制 卷 轴 和 焊 铁 钢 架 , 213.4 x 884 cm


OUYANG XIU’S “THE PAVILION OF THE DRUNKEN OLD MAN”, 2015, INK ON PAPER, COLLAGE, 3 FT. 6.5 IN. X 30 FT.

欧阳修的《 醉翁亭记 》, 2015,

纸 本 水 墨 、 拼 贴 , 108 x 914.4CM

SCROLL PAINTING, 2015, INK ON PAPER, COLLAGE, 3 FT. 6.5 IN. X 30 FT.

原作, 2015,

34

纸 本 水 墨 、 拼 贴 , 108 x 914.4 CM

35


36

MANIFESTATION, 2010, INK ON PAPER, COLLAGE, 8 X 5 FT.

出现, 2010, 纸、墨、拼贴, 243.8

X 152.4 CM

PEONY, 2010, INK ON PAPER, COLLAGE, 8 X 5 FT.

牡丹, 2010, 纸、墨、拼贴, 243.8

X 152.4 CM

37


38

SOUL JAR, 2010, INK ON PAPER, COLLAGE, 8 X 5 FT.

魂瓶,2010, 纸、墨、拼贴, 243.8

X 152.4 CM

THE SUM OF HIS PARTS 2011, INK ON PAPER, COLLAGE, 8 X 5 FT.

加成,

2011, 纸 、 墨 、 拼 贴 , 243.8 x 152.4 CM

39


40

MOVING ON, 2011, INK ON PAPER, COLLAGE, 8 X 5 FT.

前进,2011, 纸、墨、拼贴, 243.8 x 152.4 CM

THING ONE AND THING TWO, 2010, INK ON PAPER, COLLAGE, 8 X 5 FT ,2010, 纸、墨、拼贴, 243.8 X 152.4 CM

THING 1 AND THING 2, 2011, INK ON PAPER, COLLAGE, 8 X 5 FT.

东西一和东西二, 2011, 纸、墨、拼贴, 243.8 x 152.4 CM

41


SIMPLY THIS 2010

INK ON PAPER, COLLAGE TOTAL SIZE 59 X 83.25 IN.

就像这样, 2010

纸 、墨 、拼 贴

150 X 211.5 CM

QUESTION OF MOTIVES, 2011, INK ON PAPER, COLLAGE, 7 X 5 FT. 42

动机问题, 2011, 纸、墨、拼贴, 213.4 x152.4 CM

43


VINE, 2010

INK ON PAPER, COLLAGE, 5 X 6 FT.

藤, 2010 纸 、墨 、拼 贴 , 152.4 X 182.8 CM

44

PRECIPICE, 2010

INK ON PAPER, COLLAGE, 5 X 6 FT.

断崖, 2010 纸 、墨 、拼 贴 , 152.4 X 182.8 CM

45


FIRST ROPE PAINTING, 2010 DIPTYCH INK AND COLLAGE ON PAPER EACH SHEET 26 X 40 IN.

第一幅绳画, 2010 双联画

纸、墨、拼贴 单幅 66 X 101.6 CM

46

47


SHAN-ZI SERIES 扇子系列 48

49


MOUNTAIN VIEWS, 1999, ACRYLIC ON HEMP PAPER, 27 X 27 IN. 山景,1999, 麻 纸 、 丙 烯 , 68.6 x 68.6 CM

50

EIGHT VIEWS: PINK MOUNTAIN, 1999, ACRYLIC ON HEMP PAPER, 27 X 27 IN. 八景: 粉红山, 1999, 麻 纸 、 丙 烯 , 68.6 x 68.6 CM

51


CATCHING A COOL BREEZE, 1999, ACRYLIC ON HEMP PAPER, 27 X 27 IN. 追逐清风, 1999, 麻 纸 、 丙 烯 , 68.6 x 68.6 CM

52

EIGHT VIEWS: WINDING ROAD, 1999, ACRYLIC ON HEMP PAPER, 27 X 27 IN. 八景:曲径, 1999, 麻 纸 、 丙 烯 , 68.6 x 68.6 CM

53


LIAN, 1997, ACRYLIC ON HEMP PAPER, 42 X 42 IN.

脸, 1997, 麻 纸 、 丙 烯 , 106.7 x 106.7 CM

54

JIAO, 1997, ACRYLIC ON HEMP PAPER, 42 X 42 IN.

脚, 1997, 麻 纸 、 丙 烯 ,

106.7 x 106.7 CM

55


XIONGBU, 1997, ACRYLIC ON HEMP PAPER, 42 X 42 IN.

胸部, 1997, 麻 纸 、 丙 烯 , 106.7 x 106.7 CM

56

QUGAN, 1997, ACRYLIC ON HEMP PAPER, 42 X 42 IN.

躯干, 1997, 麻 纸 、 丙 烯 ,

106.7 x 106.7 CM

57


SHOU, 1997, ACRYLIC ON HEMP PAPER, 42 X 42 IN.

手, 1997, 麻 纸 、 丙 烯 ,

58

106.7 x 106.7 CM

59


DANCE CALLIGRAPHIES 舞蹈书法 60

61


DANCE CALLIGRAPHY, 1980S INK ON PAPER, 13 7/8 X 27 9/16 IN.

舞蹈书法,1980年代 纸本水墨,33 X 68 CM

62

63


ACCORDION BOOK, 1985

SCROLL MACHINE, 1990, INK ON XUAN PAPER, WOOD FRAME

PAINTING: 26 3/4 IN. 57 1/2 FT. PAINTING DISPLAY VIEW: 45 IN. FRAME: 3 X 6 FT.

1990, 宣纸水墨,木架 画作: 0.68 x 17.5米 展示绘画长度: 1.14 米 木架: 0.9 x 1.83 米

卷轴器,

INK ON PAPER, 11 1/4 X 7 IN. PAGE DISPLAY LENGTH: 78 IN.

舞蹈书法折页,1985

纸本水墨,单页 28.6 x 17.8 CM 展示折页长度: 198 CM

PARALLEL MOTION, 1989

INK AND COLOR ON PAPER, 10 X 60 IN.

平行运动, 1989

设色纸墨,25.4 x 152.4 CM 64


INSTALLATION STUDIES FOR “DANGER! DANGER! WILL ROBINSON”, 1994 INK ON PAPER, 8.5 X 11 IN.

危险!危险!威尔∙罗宾森系列,1994 纸 本 水 墨 , 21.6 x 28 CM

66

67


LANDSCAPE STUDIES 山水画研究 68

69


GUO XI STUDY

INK ON PAPER, 17 X 40 ¼ IN.

郭熙研究

纸本水墨, 43 x 102.2 CM

GONG XIAN STUDY, EARLY 1980S INK ON PAPER, 60 X 27 IN.

80年代初 临摹龚贤

纸 本 水 墨 , 152.4 x 68.6 CM

STUDY OF DONG QICHANG’S COPY OF NI ZAN1983 COLOPHON BY LU YANSHAO, INSCRIBED BY C. C. WANG INK ON PAPER SCROLL: 71 1/2 X 15 1/8 IN. PAINTING: 26 1/4 X 11 1/4 IN.

董其昌临倪瓒研究,1983

70

陆俨少题跋,王己千款识 纸本水墨 立轴: 181.2 x 38.4 CM 画作: 66.7 x 28.6 CM

71


DETAIL

细节

THE ROAD LESS TRAVELLED, 2013

INK ON PAPER, COLLAGE, 8 X 5 FT.

72

曲径通幽, 2013 纸、 墨、 拼贴, 243.8 X 152.4 CM


Artist in his New York studio, 1983 艺术家在工作室,纽约,1983

PROFILE 画家介绍

Early Influences I feel that I must be part Chinese, as Chinese culture has been such a dominant presence in my artwork and personal life for so many years. My study of Chinese calligraphy and landscape painting has influenced my perception of space and movement, the cornerstones of my work. I trained in traditional landscape painting and calligraphy in China and Taiwan. In New York, I studied landscape painting privately with C.C. Wang and Zhang Shoucheng. Calligraphy lessons were with Professor Leon Zhang. Also, I had the opportunity to work from some original master paintings in Professor Wang’s collection. Both my installations and paintings reflect this influence in my continuing exploration of Eastern and Western artistic traditions.

与中国文化和中国人的不解之缘 我想我一定是半个中国人,因为中国文化一直在我的创作 和生活中占有主导地位如此多年。对中国书法和山水画的 研究已经深刻影响了我的感知空间和运动,成为我工作的 基石。早期,我分别在中国大陆和台湾学习了传统山水画 和书法。在纽约,我师从 C. C. Wang(王己千)和张守成 学习山水。书法课是张隆延教授指导我。值得一提的是, 王老师挑选出自己收藏的名家作品给我研习。而其影响便 可以从我后期探索东西方艺术传统中创作的装置和水墨作 品得以体现。 75


Chinese Language and Art Study My first serious introduction to Chinese culture began in high school at Columbia Grammar and Preparatory School in New York City where I took beginning language class in Mandarin in 1972. At Oberlin College from 1974-78 I continued my studies with courses in Chinese literature, history and language and received a BA in East Asian studies.

中文与艺术的学习之旅

First Trip to Mainland China

首次深入的了解中国文化是从我1972年在哥伦比亚文理预备学校学习初级汉语开 始。随后从1974年到1978年的四年里,我继续在奥柏林学院学习中国文学、历史、 中文,并且获得了东亚研究的学士学位。大学的第四年,我加入了一个奥柏林学院 在台湾的教学项目,来到国立台湾师范大学深造中文。期间曾经在台北的国家历史 博物馆做过中译英的翻译工作。国画装裱是后来师从台湾故宫博物院的首席装裱 师,也由于对这门技艺浓厚的兴趣写了许多文章。除此之外,我还私下同几位德高 望重的国画书法大师学艺。李义弘老师便是其中一位。和张大千这样的大师们屡屡 相见也是我在台湾的不凡经历。

My first experience in China was when I traveled with my family to Guangzhou on holiday in 1978. For the next couple of years, I was able to visit more of China as a tour guide. On some of these trips I was fortunate to meet several well-known artists at the Zhejiang Art Academy in Hangzhou including Lu Yanshao and Yang Zhiguang. Cheng Shifa, Li Keran, and Zhu Qizhan were among other artists with whom I was in contact. Over the ensuing years, I would continue to visit these artists and show them the development of my own work. In 1983, I was part of a group of American scholars who visited the caves at Dunhuang led by Annette Juliano acclaimed curator, author and professor of Asian art history.

In my fourth year in college I was accepted into the Oberlin in Taiwan program to advance my language studies at the National Taiwan Normal University. While in Taiwan I worked as a Chinese-to-English translator at the National Museum of History in Taipei. I studied the art of scroll mounting with the chief scroll mounter at the National Palace Museum and wrote articles on the subject. In addition, I studied privately with a number of Taiwan's masters of traditional painting and calligraphy including Li Yihong. I also had an opportunity to meet some of the older generation of artists such as the master Zhang Daqian.

Artist with Professor Lu Yanshao at the Zhejiang Art Academy in Hangzhou, 1980 艺术家与陆俨少合影,浙江美院,杭州,1980

初次造访中国

Ross Lewis wins 2nd Prize in Overseas Student’s Mandarin Language Competition, Taipei, Taiwan, 1978 (above) 李如侠获得外国学生中文 大赛二等奖,台北,1978

第一次来到中国是在1978年与我的家人前往广州 度假。在接下来的几年里,我以导游的身份得以 多次造访。在这些旅行中,我很幸运地结识了几 位知名的中国浙江美术学院艺术家,包括陆俨 少、杨之光、程十发、李可染和朱屺瞻等等。在 随后的几年里,我曾经继续访问这些艺术家向他 们展示我自己的创作进程。1983年,我同一队美 国学者访问了敦煌的莫高窟。那时的领队是安 妮特利亚诺-著名的策展人、作家和亚洲艺术 史教授。

Artist with Professor Zhu Qizhan in his studio, 1980 艺术家在朱屺瞻工作室,1980

In Master Zhang Daqian’s garden (far left) 于张大千家中花园

Artist's portrait of his teacher Li Yihong with inscription by Professor Li (left) 艺术家画老师李義弘, 由李老师题款

Artist with Professor Cheng Shifa in his Shanghai studio, 1980 艺术家与程十发在上海工作室,1980

Album Leaf by Professor Li Keran inscribed to Ross Lewis (Li Ruxia) 李可染作册页、并附题跋于李如侠

77


Artist with Professor Lu and Department Heads at the Zhejiang Art Academy in Hangzhou 艺术家与陆老师和浙江美院系 领导合影,杭州

Curator and Director of Chinese Art In early 80's I was one of first people in New York to curate art exhibits of contemporary Chinese art. I was appointed Director of the Chinese Art Department at Hammerquist Gallery where I organized exhibits, lectures and demonstrations on Chinese Art.

中国艺术策展人和总监 八十年代早期,我是纽约第一个中国当代艺术的 策展人。当时我上任哈莫怀斯特画廊的中国艺术 部总监,组织了很多展览、讲座和中国艺术的现 场演示。

Curating “Recent Directions” show, 1983 策展“近期方向”展览,1983

Artist with Professors of the Central Art Academy, Beijing Opera, New York, 1974 艺术家和中央美院教授, 纽约, 1974

With artists C. C. Wang and Zhang Shoucheng at gallery demonstration, 1983 同艺术家王已千和张守成在画廊做现场演示,1983

National Day Guests of Chinese Government In 1984, my family was invited by the government of the People’s Republic of China to participate in the celebration of the Chinese National Holiday. As part of this tour I displayed my recent ink paintings and lectured in Mandarin on the convergence of contemporary Chinese and Western art at the Central Art Academy in Beijing and in other cities.

应中国政府之邀请参加国庆 节活动 1984年,我的家人应中国政府之邀参加国庆 节的庆祝活动。作为这次巡演的一部分,我 展示了当时最新创作的水墨作品,并且用中 文在中央美术学院和其他城市讲授了当代中 国和西方艺术的趋同。 Exhibition Invitations 展览请柬

With artists Zhang Hongtu and Chen Yifei at “New Generation” show, 1983 同艺术家张宏图和陈逸飞在“新一代”展览留影,1983

79


Synthesis of East and West: Installation

东方与西方的合成:装置艺术

Although I began with works on paper, another aspect of my art focuses on works in space, as attested to by my public art pieces. Space and movement are only implied on paper, but both can be realized in more three dimensional projects. In particular, I am interested in developing work which goes beyond the two dimensional image, but which is always connected to it.

尽管我的创作起始于平面的纸上艺术,在空间内 创作立体的作品也是我不能自已的另一个方向。 我认为空间和运动不仅可以表达于纸上,在更加 趋向三维的作品中他们仍可以被实现。我对游离 于二维图像和三维空间的创作十分入迷。

Joint performance with dancer and flutist, Dia Art Foundation, New York, 1987 同舞蹈演员和长笛艺术家联合表演,迪亚艺术基金会,纽约,1987

Dance Calligraphy, Ink on Xuan Paper, 63 x 33 1/2 IN., 1984 《舞扬书法》,宣纸水墨, 160 x 85 CM,1984

FANSCAPES

Belvedere Castle, Central Park, New York, NY, 1993 9 wind-activated 5' diameter painted nylon fans projecting from the castle walls

MOVEMENT IN SPACE Interbay-Glover YMCA, Tampa, FL, 1995 Laser-cut painted aluminum figures: 12’ x 54’ x 8”

扇面风景

空间中的运动

眺望台城堡,中央公园,纽约,1993

格洛弗基督教青年会平台间 公共艺术计划,坦帕,佛罗里达州,1995

Bill T. Jones/Arnie Zane Rehearsal Dance Calligraphy, Ink on antique music paper, 9 x 12 IN. 1998 受比尔T·琼斯/阿尼赞恩舞蹈彩排启发的书法作品,古乐谱纸上书法, 22.9 x 30.5 CM, 1998

Dance Calligraphies

舞蹈书法

In the early 80's, looking to create my own language incorporating elements of the brushwork and concepts of Chinese calligraphy. I developed ink on Xuan paper “dance calligraphies” from my observations of dancers’ movements at several of the leading modern dance companies including Merce Cunningham and Bill T. Jones/Arnie Zane. The Joyce Theater in New York City commissioned a series of twelve “dance calligraphies” in 1991. In these works I sought a calligraphic line to express the sensuality of the human figure in motion.

八十年代初期,我试图创造可以同中国书法笔触 和概念相结合的独特艺术语言。通过对几个领 先的现代舞团(包括著名艺术家简宁汉和比尔·T· 琼斯/阿尼赞恩)的舞蹈表演者的舞步动作之观 察,我创作了宣纸水墨作品《舞扬书法》。纽约 的乔伊斯剧院于1991年请我创作了十二幅“舞蹈 书法”。在这些作品中,我追求以书法线条来表 现人体在运动中的感知性。

ROTO-SPHERE

New York Hall of Science, Queens, NY, 1996 Kinetic installation with 22' diameter outer ring and holographic foil brush strokes.

罗托球 纽约科学大厅,纽约皇后区,动力装置,1996

PARALLEL MOTION

P.S./I.S. 89, New York, NY, 1998 12 panels acrylic paint on hemp paper, 4' x 96'

并联动作 P.S/ I.S 89大堂永久装置作品,纽约,1998

81


ROSS LEWIS

82

E D U C AT I O N

1983-1985 1982-1984 1981-1983 1977-1980 1978

Brooklyn College, MFA Painting/Printmaking: advisor Professor Philip Pearlstein New York University, MFA Printmaking: advisor Professor Krishna Reddy Professor C.C.Wang,Chinese landscape painting; Professor Leon Zhang, Chinese calligraphy National Taiwan Normal University, Chinese Painting/Calligraphy, Fine Arts Department Chinese Language and Literature, Mandarin Training Center Professor Li Yihong, Chinese landscape painting Oberlin College, BA East Asian Studies

2008 2003 2000 1998 1996 1995 1993 1991 1989

New York City Department of Education, Sites for Students Program, Corona, NY “Urban Intersections” 80' x 24' lobby wall installation, mosaic and metal, Pioneer Academy- PS 307 New York City Board of Education, Sites for Students Program, Staten Island, NY “Achieve Believe Create Dream”, Suspended art work for a 40' atrium, P.S.6 Public Art Office of the City of Philadelphia Percent for Art Program, Philadelphia, PA. “Deep Water”, 500 SF terrazzo floor painting, Holmesburg Recreation Center Battery Park City Authority and Board of Education of the City of New York, Battery Park City, NY. “Parallel Motion”, 96' long mural, permanently installed in lobby of P.S./I.S. 89 New York Hall of Science, Queens, NY. “Roto-Sphere”, 22' kinetic steel sculpture with spinning interior rings City of Tampa Art in Public Places, Interbay-Glover YMCA, Tampa, FL. “Movement in Space”, 62' long painted metal wall relief New York City Department of Parks & Recreation Public Art Program, Central Park, NY. “Belvedere Castle Fanscapes”, 9 wind-activated painted nylon and steel fans 5' in diameter mounted on steel poles projecting from the castle walls Connemara Conservancy Foundation, Dallas, TX. “Windwheels”, 7 wind-activated painted plexiglass and aluminum wheels suspended over a river Jacob’s Pillow Dance Festival, Becket, MA. “Fanscapes”, 10 wind-activated painted nylon fans 5' in diameter mounted on 6' galvanized steel poles Metropolitan Transit Authority, NYC Arts for Transit, Creative Stations Program, New York, NY. “Parallel Motion” 96' long mural installed at the 14th Street and 8th Avenue subway station

2015 2014 2007 2006 2005 2001 1999 1998 1995 1994 1993 1990 1989 1988 1987

Today Art Museum, Beijing, China.“Dancing with Rope” solo exhibition Front Line Cotemporary Gallery, Shanghai, China.“Cracks and Ropes”Joint Exhibition with artist Qiu Deshu The Arsenal Gallery, Central Park, New York, NY. “The Outdoor Gallery: 40 Years of Public Art in NYC Parks” Walter Wickiser Gallery, New York, NY. “Confluence of Cultures: Collection of Small Works, East & West” Walter Wickiser Gallery, New York, NY. “Summer Group Show” Shan-zi Series paintings Tangyun Art Museum, Hangzhou, China. “International Group Show” Shan-zi Series paintings Ground Space Gallery, Dry Goods Arts Association, Livingston Manor, NY. “Shan-zi Series” 2001 French Designer Showhouse, New York, NY. “Black & White Shan-zi series” paintings The National Arts Club, New York, NY. “Black & White Shan-zi series and calligraphic works” Walter Wickiser Gallery, New York, NY “Black & White shan-zi series” paintings Ethan Cohen Fine Arts, New York, NY. “Language Non Language” group show The Art Exchange Show, DeChiara/Stewart, New York, NY. group show Lincoln Center Galleries, Fort Collins, CO. “Calligraphic Works 1988-1991” solo exhibition Prospect Park Memorial Arch, Brooklyn, NY “Trophies from the Civil/(Wars)” group show Michelle Miller Fine Art, New York, NY. “Screens: Functional Art”group show Dancespace, New York, NY. “Dance Motion”, joint exhibition with photographer Lynn Saville Sokolosky Gallery, Miami, FL. Exhibition of Scroll Machine and Dance Calligraphies/performance piece Edward Williams Gallery, Fairleigh Dickinson University, NJ. “The Kai He Series” paintings Exit Art Gallery, New York, NY. “Concrete Crisis: Urban Images of the ’80s”group show

SELECTED PUBLIC ART COMMISSIONS

SELECTED EXHIBITIONS


S E L E C T E D I N S TA L L AT I O N S

2001 1998 1997 1996 1994

Elaine Benson Gallery, Bridgehampton, NY. “Five Viscera”-outdoor kinetic sculpture installation Im stall, Berlin, Germany “dancing in pink snow”, installation in a 19th century horse stable Robeson Center Art Gallery, Rutgers University, Newark, NJ. “Hidden Meanings: An Installation” Elaine Benson Gallery, Bridgehampton, NY. “fanscapes”-outdoor kinetic sculpture installation PBCC Museum of Art, Lakeworth, FL. “The Banner Project: Danger! Danger! Will Robinson”-installation & studies

1996-7 1989 1988 1987

The Town Hall, New York, NY. Artwork for hanging banners in front of theater The Joyce Theater, New York, NY. Set and costume design: World Premiere “The Sky Is Falling (so bury me standing)”, Doug Elkins Dance Company Miami Light Performance, Inc., Miami, FL. Collaborative performance: Randy Warshaw Dance Company Merce Cunningham Dance Studio, New York, NY. Set design: Changing Dance Theatre and Brenda Daniels Dance Company DIA Art Foundation, New York, NY. “The Salon Project” performance: dancer Bill Douglas & flutist Craig Goodman

2008 2005 2001 1997 1996 1995 1993 1991 1989 1987 1986

Dan Miller, “P.S. 307 Opens in Corona”, The Queens Gazette, September 3rd Issue Steve Israel, “Bold landscapes fill Ground Space”, Times Herald-Record, August 12th Issue Jay Pateakos, “Art Meets Science in New Bedford”, The Standard-Times, July 30th Issue Grace Yen, “Spinning Wheel”, Queens Resident, January 29th-February 4th Issue M.A.Lazaro, “The Science of Technology”, Bayside Times, November 21st Issue Rebecca Cooney, “Where Science and Art Converge”, The New York Times, November15th Issue Jennifer Dunning, “Behind a Clowning Exterior”, The New York Times, January 11th Issue Joanne Milani, “Outdoor Art”, The Tampa Tribune, June 28th Issue Kris Porto, “YMCA Gets Some ‘Relief’ with Public Art”, The Tampa Tribune, June 17th Issue Ruby Washington, “How Are They Doing?” The New York Times, July 31st Issue HotLine. . .The Tops in Town This Week, New York Magazine, July 12th Issue “Wind Structures Enhance Pillow Grounds”, The Advocate, September 4th Edition Katy Matheson, Dancescape, Dance Magazine, December Issue Joan Shepard, The Arts, New York Daily News, June 4th Issue Ann Sargent Wooster, “The Writing on the Wall”, 7 Days, May 31st Issue Wesley Weissberg, “Charting Art in the Subway”, Chelsea Clinton News, May 18th Issue Philip Greenberg (photographer), “Underground Art”, New York Observer, May 15th Issue “Artist’s Tunnel Vision”, New York Post, May 10th Issue Ron Alexander, “Stylemakers: Ross Lewis Subway Muralist”, The New York Times, May 7th Issue “Li Ru Xia (Ross Lewis) Ink Paintings & Calligraphic Works to be Displayed in May in Midtown Manhattan”, Centre Daily News, April 16th Issue Jennifer Dunning, “Salon Projects by Workwith Troupe”, The New York Times, November 9th Issue

2013 2008 2007 2006 1992 1986-1987

Inspired by Dunhuang: Re-creation in Contemporary Chinese Art, China Institute in America, exhibition catalogue Public Art/ A World's Eye View, ICO Publishers, Japan The Outdoor Gallery: 40 Years of Public Art in New York City Parks, City of New York Parks & Recreation Intersections: Art at the New York Hall of Science, New York Hall of Science The Joyce Theater 1991-1992 Fall/Spring Brochures, 12 paintings commissioned Oxfam America, New York, NY. “Empower Triptych” painting published cover art for event materials Concrete Crisis: Urban Images of the ’80s, UPFRONT, (Political Art Documentation/Distribution), Winter Issue

1982-1984

Hammerquist Gallery, New York, NY. Director/Curator of Chinese Fine Arts Department; Organizer and moderator of weekly Lecture Series on “The Chinese Artist in New York” Curated: “Zhang Hong-Tu: Recent New York Works”; “Recent Directions: Contemporary Chinese Painting”; “The New Generation(Chinese Painting)”; "Artist Eric Quah Solo Exhibition"

T H E AT E R D E S I G N A N D P E R F O R M A N C E P R O J E C T S

ARTICLES AND REVIEWS ABOUT ARTIST'S WORK

A R T W O R K S P U B L I S H E D I N C ATA L O G U E S A N D B O O K S

C U R AT O R I A L

1984

Asian Arts Institute, New York, NY. “In the Spirit of Dunhuang: Studies by Zhang Hongtu” curator “Journey to Dunhuang” lecture given in conjunction with exhibition, organizer and moderator

2014 2013 2006 1997 1995 1986 1984 1982

China Institute in America, New York, NY. “Line: From Brush to Rope” Lecture on own artwork Christie's, New York, NY. “Transplanting the Tradition: Chinese Paintings, Artists, Collectors, and Connoisseurs in New York (1930s-1950s) Panel Discussion ” panelist China Institute in America, New York, NY. "Installations, Calligraphy and Painting: From the Upper West Side to the Great Wall” Lecture on own artwork The National Arts Club, New York, NY. New York Hall of Science Arts and Science talks; “The World in Motion: From Calligraphy to Installations” Lecture on own artwork The Metropolitan Museum of Art, New York, NY. Lecture on own artwork for museum interns Tampa Museum of Art, Tampa, FL Lecture in conjunction with public art commission “Movement in Space” Hunter College, New York, NY. “A Forum with Artists and Scholars from China and America: Training of Artists in Chinese and American Universities” organizer and moderator U.S.-China Friendship Association, Beijing, Shanghai, Guangzhou, Hangzhou, Suzhou, Guilin and Xian, invited to lecture (in Mandarin) on American and Chinese art and exhibit artwork at national art academies Brooklyn College Art Department, NY. Lecture and calligraphy demonstration Drew University, NJ. Lecture on contemporary Chinese Art Beijing International Society, Beijing, China. Lecture

20013-14 1985-2011 2002-2003 1997-2003 1995-2002 1996 1992-1995 1992-1994

Rutgers University, NJ. Lecture and demonstration for classes on Chinese Art NYC private schools: Chinese calligraphy and painting workshops: The Collegiate School, The Town School, The Allen-Stevenson School, The Hewitt School, The Birch Wathen School, Columbia Grammar & Preparatory School,The Calhoun School, St. Bernards School The Wooster School, Danbury, CT. “Chinese Culture Day” Chinese calligraphy & painting workshops NYC public schools , 3-13 week art residencies, Chinese calligraphy & landscape painting; collage; clay sculpture; kites: The NY Chinese Cultural Center, Nai-Ni Chen Dance Co., Isamu Noguchi Garden Museum, Young Audiences/NY, ArtsConnection, Studio In A School & Symphony Space. American Museum of Natural History, New York, NY. “The Kinetic Skeleton” and “Chinese Brush Painting” The Metropolitan Museum of Art, Trenton City Museum, Jersey City Museum, Camden Art Center and NYC/NJ public schools Chinese calligraphy workshops: The NY Chinese Cultural Center, “Forms in Motion” with Nai-Ni Chen Dance Company, and Chinatown Manpower Project. The Metropolitan Museum of Art, New York, NY. “A First Look: The Chinese Brush” workshop The New School, New York, NY. “Calligraphy from the Traditional to the Contemporary” workshop

2014 2006 1996 1995 1993 1989

Sinovision Journal, New York, NY. “Tying Traditions Together:The Rope Paintings of Ross Lewis”, May 2nd Sino Television, New York, NY. “In the Spotlight”, Artist Interview in Mandarin, April 25th ABC Eyewitness News, New York, NY. “Helping the Homeless”, Studio Interview, November 19th Channel 14, Tampa, FL. “Art Gone Public”, Interview, June 21st ABC Local News, New York, NY. Coverage of “Belvedere Castle fanscapes“ installation, May 6th CNN, ABC, CBS, Channel 11, Channel 44, National and local news coverage of “Parallel Motion” subway installation in conjunction with “A Day Without Art”, December 1st ABC Local News, New York, NY. Coverage of “Parallel Motion” subway installation, May 9th WNYC Radio, New York, NY. Around New York, Interview on “Parallel Motion” subway installation, May 16th WBAI Radio, New York, NY. Interview on “Parallel Motion” subway installation, June 9th

Donald and Susan Newhouse Peter Jennings Equitable Gallery CUNY (City University of New York) ASCAP (The American Society of Composers, Authors and Publishers) Tang Yun Art Museum Private Collections

LECTURES AND FORUMS

TEACHING

TELEVISION AND RADIO

COLLECTIONS

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李如侠 简历 教育背景 1983 - 1985 绘画/版画艺术创作硕士,辅导教授菲利普·佩尔斯坦 ,布鲁克林学院 1982 - 1984 版画艺术创作硕士,辅导教授克里希纳·雷迪,美国纽约大学 1981 - 1983 师从王已千教授学习中国山水画; 师从张隆延教授学习中国书法 1977 - 1980 中国绘画/书法,国立台湾师范大学美术系 中国语言文学,普通话培训中心 师从李义弘教授学习中国山水画 1978 巴东亚研究,奥伯林学院

受委托创作精选 2008 “城市交叉口”,大堂壁挂式装置,纽约市教育局学生场地项目, 先锋学院-PS 307,纽约,可乐纳 2003 “实现 信念 创造 梦”,纽约市教育委员会学生场地项目,纽约,史泰登岛 2000 “深水” 水磨石地板绘画,Holmesburg疗养中心,费城公共艺术办公室百分比艺术计划,宾夕法尼亚州,费城 1998 “平行运动”, 壁画,公立学校/独立学校89大厅永久装置, 炮台公园城管理局和教育委员会,纽约炮台公园 1996 “鼓式圈”,动力学钢铁雕塑,纽约科学馆科学,纽约皇后区 1995 “运动空间”,涂漆金属浮雕墙,格洛弗基督教青年会,坦帕市公共艺术项目,佛罗里达州坦帕市 1993 “眺望台城堡扇景 ”,风力彩绘尼龙扇装置,纽约市公园及公共康乐艺术项目,中央公园,纽约;“风轮” , 彩绘有机玻璃和铝合金轮圈装置,康尼马拉水利基金,德克萨斯州达拉斯 1991 “扇景 ”,风力彩绘尼龙扇装置,雅各枕舞蹈节,贝克特马 1989 “平行运动”,壁画,第14街和第8大道地铁站,大都会捷运局,纽约市交通艺术,创意站计划,纽约

部分展览 2015 “墨绳之舞 ”李如侠个展,今日美术馆,中国北京 2014 “裂纹与绳子”李如侠与仇德树联展,前进当代画廊,中国上海 2007 “户外画廊:40年公共艺术在纽约市公园”,阿森纳画廊,纽约中央公园 “合流文化:小型作品收藏,东与西”,Walter Wickiser画廊,纽约 2006 “夏季群展”,扇子系列,Walter Wickiser画廊,纽约 2005 “国际联展”,扇子系列,唐云美术馆,中国杭州 扇子系列,地面空间画廊,干货艺术协会,纽约利文斯通庄园 2001 “黑与白扇子系列”绘画,法国设计师展,纽约 1999 “黑与白扇子系列和书法作品”,国家艺术俱乐部,纽约 “黑与白扇子系列” 绘画,Walter Wickiser画廊,纽约 “语言 非语言”群展, 伊桑·科恩美术,纽约 1998 艺术交流展,群展,德·基亚拉/斯图尔特,纽约 1995 “1988-1991书法作品”个展,林肯艺术中心画廊,柯林斯堡 1994 “本国(战争)奖杯 ”群展,展望公园纪念拱门,纽约布鲁克林 1993 “屏幕:功能艺术”群展,米歇尔·米勒画廊,纽约 1990 “舞蹈动态”,与摄影师林恩萨维尔联展, 舞蹈空间 ,纽约 1989 卷轴展示器和舞蹈书法(配表演)个展,Sokolosky画廊,佛罗里达州迈阿密 1988 “启他系列”油画, 爱德华·威廉姆斯画廊,费尔利迪金森大学 1987 “混凝土危机:都市影像的八十年代”群展, 出口画廊,纽约

86

部分装置作品 2001 1998 1997 1996 1994

“五脏” - 户外动感雕塑安装,伊莱恩森美术馆,纽约布里奇 “舞在粉红色雪中”装置,于一座19世纪的马厩, lm stall画廊,德国柏林 “隐藏的含义:一件装置”,罗伯逊中心美术馆,罗格斯大学,新泽西州纽瓦克 “扇景 ”,风力彩绘尼龙扇装置,伊莱恩森美术馆,纽约布里奇 “横幅项目:危险!危险!威尔鲁宾逊”装置与研究,PBCC艺术博物馆,佛罗里达州沃斯湖

剧场设计与表演项目 1996-7 剧场前悬挂横幅,市政厅,纽约 布景及服装设计,世界首映“天塌下来(所以贝利我在这里)”,道格·埃尔金斯舞蹈团,乔伊斯剧院,纽约 1989 与兰迪·沃肖舞蹈团共同协作,迈阿密光现公司,佛罗里达州,迈阿密 1988 布景设计:改变舞蹈剧院和布伦达·丹尼尔斯舞蹈团,简宁汉舞蹈工作室,纽约 1987 “沙龙项目”表演:舞蹈演员比尔道格拉斯与长笛艺术家克雷格·古德曼,迪亚艺术基金会,纽约

文献与评论报道 2008 2005 2001 1997 1996

丹·米勒,“公立学校 307在科罗納开幕” ,皇后公报, 9月3日 史蒂夫·以色列, “大胆景观填补地面空间” ,时代先驱记录, 8月12日 杰·百达可斯,“艺术在新贝德福德遇到科学”,旗帜时报, 7月30日 格雷斯颜,《纺车》 ,皇后区居民报,1月29日至2月4日 M.A. 拉扎罗,《技术科学》,碧沙时报,11月21日 丽贝卡·库尼,《科学和艺术在此彼此融合》,纽约时报, 11月15日 詹妮弗·邓宁, 《小丑的背面》,纽约时报,1月11日 1995 乔安妮·米拉尼,《户外艺术》,坦帕论坛报, 6月28日 克里斯·波尔图,《基督教青年会获得公共艺术的“救济”》,坦帕论坛报, 6月17日 1993 卢比·华盛顿,《他们还好?》纽约时报,7月31日 热线,城市一周热点,纽约杂志, 7月12日 1991 “风结钩强化”,倡导者, 9月4日版 1989 凯蒂·麦瑟荣, “舞景” ,舞蹈杂志,12月号 琼·谢泼德,艺术,纽约每日新闻,6月4日 安·萨金特·伍斯特,“墙上的书写”, 7天, 5月31日 韦斯利·威斯波, 《为地铁绘制的艺术》 ,切尔西克林顿新闻, 5月18日 菲利普·格林伯格(摄影师),《地下艺术》 ,纽约观察家, 5月15日 《艺术家的隧道视野》 ,纽约邮报, 5月10日 罗恩亚历山大,《领潮人:罗斯·刘易斯的地铁壁画》 ,纽约时报, 5月7日 1987 《李如侠(罗斯·刘易斯)水墨和书法作品5月在曼哈顿城中展出》,中心每日新闻,4月16日 1986 詹妮弗·邓宁,《沙龙项目Workwith剧团》,纽约时报,11月9日

作品出版物 2013 2008 2007 2006 1992

《来自敦煌的灵感:重新创建在中国当代艺术》,華美協進社,会刊 《公共艺术/ 鸟瞰世界》,ICO出版社,日本 《户外画廊:在纽约市公园的40年公共艺术》纽约城市公园及康乐中心 《交叉口:纽约科学馆的艺术》,纽约科学馆 《乔伊斯剧院》1991-1992秋/春季宣传册,12件委托创作 美国乐施会,纽约,《再现三联画》,活动材料封面 1986-1987 《走近危机:80年代的都市影像》,(政治艺术文档),冬季刊

87


策展 1982-1984 Hammerquist画廊, 总监/中国美术部门策展人,纽约 组织者和主持人, 《中国艺术家在纽约》 周系列讲座 策展人:《张宏图:纽约新作品》; 《最近的路线:当代中国画》; 艺术家埃里克·柯作品展《新一代(中国画) 1984 策展人,《敦煌气韵:张宏图的研究》,亚洲艺术学院,纽约 组织者和主持人,《西游敦煌》,展览系列讲座活动

演讲和论坛活动 2014 《线性:从刷到绳》,原创作品分析,華美協進社,纽约 2013 《移栽的传统:中国书画,艺术家,收藏家,以及鉴赏家在纽约( 30年代 – 50年代 )》论坛成员,佳士得,纽约 2006 《装置和书画:从曼哈顿上西城到长城》,原创作品分析,華美協進社,纽约 《运动的世界: 从书法到装置》,原创作品分析,纽约科学艺术与科学馆纽约厅讲座,国家艺术俱乐部,纽约 1997 为博物馆实习生讲解自己原创作品,大都会博物馆 1995 演讲定制公共艺术项目 《空间里的运动》,坦帕博物馆,坦帕,佛罗里达州 1986 《来自中国的艺术家和美国学者:在中美大学里的训练》,组织兼主持,亨特学院,纽约 1984 应邀演讲(普通话)在美国和中国的艺术,于美国国家艺术学院展览,美中友好协会,北京,上海,广州,杭 州,苏州,桂林,西安 讲座和书法示范,布鲁克林学院艺术系,纽约 讲授中国当代艺术,德鲁大学,新泽西州 1982 演讲,北京国际协会,北京

教学活动 2013-2014 罗格斯大学,新泽西州,讲座和示范中国艺术 1985-2011 多个纽约市私立学校:中国书画讲习班,包括:城市学校、艾伦 - 史蒂文森学院、翰威特学校、 Birch Wathen学院、哥伦比亚语法和预科学校、卡尔霍恩学校、圣伯纳学校 2002-2003 伍斯特学院,丹伯里,“中国文化日”中国书法及绘画坊 1997-2003 多个纽约市公立学校,3-13周驻场艺术,中国书法和山水画、拼贴、粘土、雕塑、风筝 1995-2002 美国自然历史博物馆,纽约,“动力学骨架”和“中国画” 1996 大都会博物馆、特伦顿市博物馆、泽西市博物馆、卡姆登艺术中心 和纽约/新泽西州的公立学校 1992-1995 大都会博物馆,“初识:中国画”研讨会 1992-1994 新校,“书法从传统到现代”研讨会, 纽约

电视采访及报导 2014 5月2日神州电视日志,“传统绑在一起:罗斯·刘易斯的绳画”,艺术家访谈,纽约 2006 4月25日神州电视,“聚光灯下”,普通话艺术家访谈,纽约 1996 11月19日ABC见证人新闻,“救助无家可归者”演播室访谈,纽约 1995 6月21日14台,“艺术走入公众”,采访,坦帕,佛罗里达州 1993 5月6日 ABC地方新闻,“眺望台城堡扇景”装置特别报道, 纽约 1989 12月1日美国有线电视新闻网,美国广播公司,哥伦比亚广播公司,11频道,44频道,为地铁装置“平行运动” 与“无艺术日”报道 5月9日ABC地方新闻,地铁装置“平行运动” 的报道 , 纽约 5月16日 WNYC广播,地铁装置“平行运动”采访,纽约 6月9日WBAI广播,地铁装置“平行运动”采访,纽约

收藏群 唐纳德和苏珊·纽豪斯 , 彼得·詹宁斯 , 平的画廊 , 纽约市立大学, 作家出版人协会, 杭州唐云博物馆 , 其他私人收藏 88

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ACKNOWLEDGMENTS Special thanks to the wonderful and supportive colleagues, friends and family who helped me realize Dancing with Rope: Professor Kuiyi Shen, whose art selections en hanced my own understanding of the art making process. I appreciate all his efforts in curating this exhibition and his friendship. Tiffany Beres, for her invaluable insights, guidance, humor, Zen calmness, and complete dedication to seeing my exhibition come to fruition.

Gao Peng, for his engagement and excitement towards my art, and for giving me this opportunity.

above and beyond to support me at every juncture in the development of this exhibition.

Frossard and Photo315, and videography by Rick Widmer. Tim Stoenner at Coloredge.

Zhang Xiaoming, for helping pave the way to this exhibition, and for her gracious introductions to her art world friends.

China Institute in America for their support and use of their new downtown site. Charlie Kersting for his on-site assistance.

George Chang, Professor Feng Bin, Ming Hua, and Helena Zhang for their support.

Today Art Museum staff, particularly Shen Jun and Daphne You, for their help with coordinating the exhibit.

My technical team who have been essential throughout this project: Jim Polk, for his exceptional design and fabrication of Scroll Machine, Aaron Ray-Crichton, for all the digital and technical support, and for the beautiful photography and videography of Andreas Hofweber, the phot ography of Etienne

The US Embassy Beijing for the support of my exhibition. Professor Annette Juliano, dear friend and colleague, who has gone

特别感谢 在此,我想特别感谢以下帮助本 次“墨绳之舞”展览的同事、朋友和 家人。 首先,我要衷心感谢本次展览的 策展人,沈睽一教授。他对展览作品 的选择帮我更好地理解我自己的创作 过程。感谢他所做的策展工作和我们 之间的友谊。 非常感谢庞惠英对此次展览所 提出的许多建设性想法、指导、以及 她的幽默和禅宗式的冷静。特别感谢 她的努力工作,促成了此次展览的举 办。 感谢今日美术馆馆长高鹏先生对 我艺术的支持,并提供给我此次在今 日美术馆展览的机会。 谢谢张晓明女士将我引荐给今日 美术馆和其他艺术圈的朋友。 特别感谢今日美术馆的工作人 员,尤其是沈军和游毓珊两位对本次 展览所做的协调工作。 感谢美国驻北京大使馆对展览 的支持。

And to my incomparable friends and family: Rachel Friedberg, Lon Singer, Jenni Singer, Suzie Handler and Rose Kuo. My daughters, Anwen and Lilah, my Mom, Elinor, and especially to my husband Pete, who has been a constant partner by my side in my artistic pursuits, and who tirelessly helped with the catalog and design for this show.

另外,也要谢谢我的好朋友和同 事 ,Annette Juliano 教授,总是尽 其所能地帮助我实现我的艺术梦想。 感谢华美协进社,让我使用他们 在下城的新画廊。 Charlie Kersting 为 他现场协助。 没有我的技术小组支持和帮助, 本次展览也将无法成功举办,在此, 我特别感谢Jim Polk 为我的《卷轴机 器》所做的出色设计和材料合成工 作、Aaron Ray-Crichton 的数字和技 术支持、 Andreas Hofweber 出色的 照片和录像作品、Etienne Frossard 和 Photo315 为我的作品所做的精 美拍摄、Rick Widmer 的录像、 在 Coloredge 的Tim Stoenner 。 感谢章森、冯斌教授、华 铭、Helena Zhang 的工作和支持。 还有我无可替代的朋友和家 人:Rachel Friedberg、Lon Singer 、Jenni Singer、Suzie Handler 和 Rose Kuo., 以及我的女儿Anwen 和 Lilah,我的母亲Elinor。 最后,我要 特别感谢我的丈夫 Pete。在我追求我 的艺术事业时,他总是一直陪伴在我 的身边。这次展览,他还帮助设计了 图册和展览场地。

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This catalogue is published in conjunction with the exhibition DANCING WITH ROPE Curated by Kuiyi Shen Exhibiton Coordinator, Tiffany Beres July 18- August 4, 2015 Exhibited at Today Art Museum, Building 4, Pingod Community, No.32 Baiziwan Road, Chaoyang District, Beijing. Tel: 010-58760600 本书为展览“墨绳之舞”之出版图录 展览策展人:沈揆一 展览协调员:庞惠英 7月18 日--8月4日 2015 展览地点:今日美术馆 展览地址:北京朝阳区百子湾路32号苹果社区4号楼 联系电话:010-58760600

Copyright: Ross Lewis 2015 Translation: Sun Feng, Ming Hua Design: Peter Herbert, George Chang Printing by: Printed in 2015.7 版權:Ross Lewis 李如侠 2015 翻譯:孙风,明华 設計:Peter Herbert, George Chang 印刷: 出版時間: 2015.7

更多艺术家作品信息: For more information on the art of Ross Lewis: www.rosslewisstudio.com

Ross lewis catalog dancing with rope exhibition  
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