LA's Kohn Gallery has been transformed into a replica of Semina, Wallace Berman's early gallery space, for a new retrospective of his work, entitled 'American Aleph'
从1957年到1961年，华莱士伯曼住在马林县的拉克斯托镇，在那里他接管了马德拉溪上一所废弃的房子，并把它变成了一个私人画廊空间，他将在那里举办一天的艺术展，展出他自己的作品(以及他同时代的作品)。因此，策展人克劳迪娅·博恩-斯派托和山姆·梅隆在洛杉矶的科恩画廊为“华莱士·伯曼：美国人阿列弗”重新创造了这个空间的足迹-“幻影塞米纳画廊”，这是很合适的。
博恩-斯佩克托说：“我们要做的是，从他开始工作的那一刻起，到1976年他去世，就真的要做一项调查。”尽管伯曼主要以他的verifax拼贴画闻名(通过将邪教和商业图像放在1964年“生活”杂志广告中的索尼晶体管收音机的模板上)和作为塞米纳文化的大祭司-这一视觉语言通过伯曼出版的名为艺术和诗歌的杂志(与威廉·伯劳斯和沃尔特·霍普斯等人的作品一起出版)传播了几百个。在战后击败反文化的选择个人-这个节目开始于伯曼的早期绘画，他在十几岁的时候，灵感来自爵士乐大师吉米杜兰特，路易斯阿姆斯特朗和斯利姆盖拉德。
这些挂在幻影画廊的外墙上，里面有一张照片，出现在第九期也是最后一期的“Semina”上，捕捉到杰克·鲁比刺杀了李·哈维·奥斯瓦尔德(用迈克尔·麦克卢尔的诗“双重谋杀”作了修改)以及他在1957年为他的唯一一个人的展览创作的雕塑拼贴画的照片-坦普尔和维里塔斯小组。在费罗斯画廊，当时沃尔特·霍普斯和爱德华·基恩霍兹在执导。
“除了悬挂在十字架上的盒子外，所有的一切都失去了。”伯恩-斯佩克特指着FacttumFidei说，混合的媒体与褪色的性感渗透的照片结合在白色的十字架上，从生锈的链子上悬挂下来。
Curator Claudia Bohn-Spector explains, 'What we're trying to do is really create a survey from the moment he started until he passed away in 1976'
Berman is known mostly for his Verifax collages, which were made by placing cult and commercial images over the template of a handheld Sony transistor radio from 1964. Pictured: Untitled, 1969
The show begins with Berman's early drawings that he made as a teenager, inspired by jazz greats like Jimmy Durante, Louis Armstrong and Slim Gaillard
The exhibition also features photos of the sculptural collages Temple and Veritas Panel that Berman created for his one and only one-person show in 1957 at the Ferus Gallery
Curator Sam Mellon notes that Berman was arrested at the opening for an illicit drawing that Marjorie Cameron did for Semina, which was displayed on the floor inside one of the collages
'Rumour has it that Kienholz called the cops to make it controversial and they didn't even find the pornographic stuff,' explains Bohn-Spector. Pictured: Untitled TV, 1963
Installation view of 'Wallace Berman: American Aleph'
keywords:Galleries, Photography, USA, Portraits
关键词：画廊，摄影，美国，肖像
{{item.text_origin}}
