艺术家Nan Hoover

[2009/02/04 23:17 | 分类: Dutch Media Search | by lizhenhua ]
Nan Hoover

http://www.nan-hoover.com/index.htm
Born in New York, May 12, 1931 – died in Berlin, June 9, 2008
It is with deepest sadness that we bid farewell to Nan Hoover
She was one of the most important international pioneers of video and performance art

1931年5月12日生于纽约,2008年6月9日在柏林去世。
以最深切的悲痛,我们告别Nan Hoover
她是录像与行为艺术界最重要的国际先驱之一。
http://www.newmedia-art.org/cgi-bin/show-art.asp?LG=GBR&ID=A000000264&na=HOOVER&pna=NAN&DOC=bio
Nan Hoover, born in New York in 1931, studied painting at the Corcoran Gallery School of Art, Washington DC, from 1950 to 1955. In 1969, she moved to Amsterdam. In 1973, she produced her first performances, and in the same year she created her first video works. In 1977 and 1987, she participated in the documenta (6 and 8) in Kassel. From 1980-1981, a grant from the DAAD (German Academic Exchange Service) took her to Berlin. From 1986 to 1996, Nan Hoover was professor for video and media art at the Academy of Arts in Düsseldorf.
Nan Hoover,1931年出生于美国纽约,1950年至1955年在华盛顿特区可可然艺术学校学习绘画。在1969年,她移居到荷兰阿姆斯特丹。1973年,她举办了第一次展览,并在同一年,她创作了第一部视频作品。在1977年和1987年,她分别参加了第六届和第八届德国卡塞尔文献展。从1980到1981年,她获得德意志学术交流中心(DAAD)的资助前往德国柏林。从1986年至1996年,Nan Hoover在德国杜塞尔多夫艺术学院的视频媒体艺术系任教授。
In her artistic work, Nan initially created small-scale figurative paintings and drawings, but since 1973, she has focused on the medium of video. The inclusion of the factor time which is made visible through motion and changes in the light, led her with logical consistency to the technique of video which, unlike the fixed composition of painting, offers the possibility to translate area, colour and structure of surfaces into motion and into the passage of time.
艺术作品方面,Nan 最初创作了小规模的造型绘画,但自1973年以来,她一直专注于视频媒介。时间借助光线的运动和变化而成为可视元素被纳入到她的视野中,引领着她保持对视频技术的逻辑一致性,与绘画的固定构图不同的是,视频技术提供了这样一种可能性,就是将表面的区域、色彩和结构转换成动作和时间的消逝。


Nan Hoover
1931–2008
http://www.eai.org/eai/artistBio.htm?id=366

Nan Hoover, an American-born artist who has been a Dutch citizen since 1975, produces formalist works that are highly sensual. Through meticulous renderings of light, color and movement, she creates associative visual compositions that suggest external and interior landscapes.
Nan Hoover,一位出生在美国,却在1975年成为荷兰公民的艺术家,致力于创作极具感性的形式主义作品。运用精心渲染的光线、色彩和运动,她创造了隐喻着内部与外部景观的联想视觉作品。

Nan Hoover was born in 1931. She attended the Corcoran Gallery Art School. Hoover moved to Amsterdam in 1969, and has performed and exhibited her work extensively throughout Europe. She received a Deutscher Akademischer Austauschdienst Fellowship in 1980. Her video works have been exhibited at festivals and institutions internationally, including Documentas 6 and 8, Kassel, Germany; Stedelijk Museum, Amsterdam; Centre International d'Art Contemporain, Montreal; The Museum of Modern Art, New York; Kijkhuis, The Hague; Sydney Video Festival; Berlin Film Festival; Kunstmuseum, Bern; and Museum Folkwang, Essen, Germany. Hoover lives in Amsterdam.
Nan Hoover出生于1931年。她就读于华盛顿特区可可然艺术学校。Hoover于1969年搬到荷兰阿姆斯特丹,并在欧洲广泛地创作和展出她的作品。她在1980年得到了德国学术联谊会的资助。她的视频作品在许多艺术节和国际机构都有展出,包括第六届和第八届德国卡塞尔文献展;荷兰阿姆斯特丹市立博物馆;加拿大蒙特利尔国际当代艺术中心;美国纽约现代艺术博物馆;荷兰海牙Kijkhuis;澳大利亚悉尼录像节;德国柏林电影节;伯尔尼美术馆;德国埃森弗柯望博物馆。Hoover住在荷兰的阿姆斯特丹。

Exploring subtle ambiguities of visual perception, Hoover elicits an evocative tension between abstraction and reality, fluidly manipulating light and shadow into sculptural form with slow, concentrated movements. Precisely  composed for a stationary camera, unfolding in real time, these contemplative reveries use austere reductivity to invoke the sublime. A hand, traced by shifting light, becomes a luminous, sculptural landscape; moving shadows suggest a mountain veiled in mist. Nuanced orchestrations of light on a close-up of the body or a surface create enigmatic illusions of scale, form, space and temporality, evoking metaphorical transformations and timelessness. A painterly aesthetic pervades these minimalist works.
为了探索视觉感知微妙的模糊性,Hoover运用了抽象与现实之间一种具有启发意味的对比,她流畅地操纵着光影,使其以缓慢而集中的运动转化为雕塑的形式。为固定的摄影视角而特别创作,以实时的方式展开画面,这些沉思的梦境用简单的反应来引发一种崇高感。一只被灯光所追随的手,成为会发光的雕塑式景观;移动的光影暗示着暗雾中的山峦。在某个身体或表面的特写中这种细致入微的光影组合,创造了关于规模、形式、空间和瞬间的神秘幻像,唤起了隐喻式的变形和永恒。一种绘画美学贯穿在这些极简主义的作品当中。

Prior to concentrating on video, performance and photography in 1974, Hoover worked in painting and drawing. She writes that her images "reflect quietness, using slow movement to catch the gradual changes in light, color, and form. I attempt to transport one into an area within ourselves where we can dream and explore our personal worlds."
在1974年专注于视频、表演和摄影工作之前,Hoover主要从事绘画。她在她的图片摄影中写道“反映平静,用缓慢的运动来捕捉光影、色彩与形式的渐变。我尝试把人们带入一个地方,在那里我们可以自由梦想和探索我们的个人世界。  

Hoover lived in Amsterdam for almost four decades. She was living in Berlin at the time of her death in 2008.
Hoover在荷兰阿姆斯特丹居住了将近四十年。而在2008年她死于德国柏林。
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Michelle
2009/02/05 10:09
Nan Hoover: Selected Works I
Nan Hoover
1978-82, 44:31 min, color, sound
Working with a stationary camera, Hoover brings a painterly, minimalist aesthetic to these contemplative explorations of light, shadow, color and scale, which evolve in real time with no editing. She writes, "Essentially I see my work as a trigger that ignites associations in the viewer." The evocative power of these formal compositions lies in Hoover's subtle orchestrations of the sculptural and temporal transformations of organic form.
In Impressions, a shaft of light divides the screen as a hand slowly traces its form. Primary Colors explores the interrelationship of changing colors by shedding light on a human form. In Color Pieces, Hoover manipulates the movement of light and shadows on surfaces and the human figure, allowing subtle changes of hue and texture to create spatial ambiguities. Light and Object creates stunning landscape imagery by using variable focus, extreme close-up, and a subtle transformation of linear shapes.
Michelle
2009/02/05 10:09
Nan Hoover: Selected Works II
Nan Hoover
1983-85, 50:51 min, color, sound
Landscape
1983, 5:42 min, color, sound

Halfsleep
1984, 16:43 min, color, sound

Eye Watching
1984, 7:22 min, color, sound

Returning to Fuji
1984, 8:21 min, color, sound

Desert
1985, 12:43 min, color, silent

In this collection of works, Hoover subtly orchestrates light and movement in real time to suggest enigmatic sculptural landscapes. At times using her own body as landscape, she creates an evocative tension between abstraction, reality and illusion.
In Landscape, a single illuminated hand positioned before the camera is transformed through its scale and deliberate movements into a sculptural landscape. Using a macro lens and slow motion to examine the detailed surface image of her face, Hoover allows a dramatic typography of texture and light to emerge in Halfsleep. She states that this work suggests "timeless moments when we are between two worlds, when our perceptions are heightened, sounds take on other dimensions and we become almost microscopic within ourselves." In Returning to Fuji, she creates the perception of a mountain swathed in mist through gradual changes of shifting light and shadow, accompanied by evocative sound. Using deep red and ochre hues, Hoover suggests an ambiguous landscape in Desert, orchestrating shifting light to evoke the cycle of a day on the sands of a desert. The magnified, close-up image of a staring eye, juxtaposed with amplified ambient sounds, is the focus of Eye Watching. By isolating the act of seeing, Hoover creates a metaphorical study of voyeurism and observation, as the eye responds to passing shadows and the external sounds.

Flora / Watching Out - a trilogy
Nan Hoover
1985-86, 22:11 min, b&w and color, silent
Flora
1985, 9:11 min, color, silent

Watching Out - a trilogy
1986, 13 min, b&w, silent

Hoover continues her examination of abstract forms in these two works. In Flora, which recalls a Georgia O'Keeffe painting, the petals of a flower form elusive compositions that are transformed with minute changes in light. Carefully composed, this homage to natural form is a study in visual perception. In Watching Out — a trilogy, a high-contrast, close-up image of a woman's face rhythmically dissolves in and out of abstraction. As Hoover builds a thematic and structural tension, the woman's searching, off-screen gaze suggests an enigmatic confinement. States Hoover, "I use the gesture of watching as a metaphor. I wanted to speak visually about fear or anxiety coming from either the outside — reality — or internally; a subjective fear that is real or imagined."

Light Composition: Documenta 8, Kassel
Nan Hoover
1987, 13:48 min, color, silent
Light Composition is a documentation of Hoover's performance of the same title at the Neue Galerie at Documenta 8 in Kassel, Germany. This work exemplifies her strategy of orchestrating light and movement in conjunction with her own body to create evocative, luminous form. Treading at a measured pace across a theatrical space cast in deep red shadow-fields, Hoover allows sculptural form to emerge as her body intersects with the points of light. Manipulating temporal perception through her studied movements and the gradual changes in light, Hoover herself becomes the site of a luminous, moving sculpture.
Performance: Nan Hoover. Camera: Michael Veidenheimer. Production: Documenta 8, Kassel.

Wigry, Poland/Blue Mountains, Australia
Nan Hoover
1988-89, 13:06 min, color/b&w, sound
Blue Mountains, Australia
1988, 6:16 min, color, sound

Wigry, Poland
1989, 6:50 min, color, sound

Hoover creates ephemeral, poetic landscapes in these two works. Despite the specificity of place in the titles, Hoover does not depict exterior, naturalistic landscapes, but evokes inner, meditative states. Both works are formal studies of reflections of light and shadow in water, accompanied by the ambient sound of trickling water. In Wigry, Poland, the monochromatic imagery forms an elusive, almost abstract composition; in Blue Mountains, Australia, Hoover gradually freezes the image, while the audio continues unabated.
Michelle
2009/02/05 10:08
Nan Hoover's works
http://www.eai.org/eai/artistTitles.htm?id=366
Michelle
2009/02/05 10:08
Remembering Nan Hoover
http://www.artinfo.com/news/story/27861/remembering-nan-hoover/
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