This book is the first publication on one of the largest and most important private contemporary art collections in the world today, the Rubell Family Collection. Collectors since 1967, the Rubell family (now based in Miami, Florida) today owns some 6,000 works of art, from paintings to sculptures, photography, videos, and installations, by the most significant artists working from the 1970s to the present. The collection reads like a "Who's Who" of contemporary art, and includes works by Andy Warhol, Carl Andre, Jean-Michel Basquiat, Damien Hirst, Richard Prince, Cindy Sherman, Thomas Struth, Mike Kelley, and Louise Bourgeois, among many, many others. This book is picture-driven, and showcases some 300 reproductions of the most important works in the collection. It is organized neither chronologically nor alphabetically, but is rather intended to convey the experience of visiting the collection, through the successive installations of the collection since it was opened to the public in Miami in 1996. Neither a catalogue nor an art history manual, this book is an astonishing collection of images of contemporary art at its best. It also includes an introduction by collection curator Mark Coetzee, an enlightening interview with the Rubells on the collection and the process of collecting, and a full list of plates. Donald and Mera Rubell are Americans who began collecting art in 1967, a few years after they met. They became serious collectors in 1979 when, together with their children Jason and Jennifer, they acquired a 16-foot drawing by Francesco Clemente, The Creation. Since then, the collection has been a family affair, and every piece is acquired by consensus among the four-member family. The family wealth derives largely from the inheritance of Don's brother, Steve Rubell, co-creator of the legendary Studio 54 club in New York. Today the collection includes a total of over 6,000 works, and keeps on growing. Originally based in New York City, the family moved to Miami in 1993 and entered the hotel industry, restoring and re-opening Art Deco hotels such as the Albion. Their collection was first installed in a New York City warehouse; since 1996 it is housed in a former Drug Enforcement Agency building on 29th Street in Miami. Comprising 40,000 square feet of exhibition space, the exhibition changes every six months, and is open year round to the public. The collection welcomes 22,000 visitors a year, making the old DEA warehouse a must-see for every contemporary art fan visiting Miami. Bill Begert, one of the former curators of the collection, declared that the collection "serves the important movements in contemporary art in the last 30 years, and it's probably one of the most complete surveys in the U.S." The book includes reproductions of works by Carl Andre, Janine Antoni, Matthew Barney, Jean-Michel Basquiat, Bernd & Hilla Becher, Christian Boltanski, Maurizio Cattelan, Francesco Clemente, Gregory Crewdson, Rineke Dijkstra, Marlene Dumas, Dan Flavin, Gilbert & George, Robert Gober, Felix Gonzalez-Torres, Peter Halley, Keith Haring, Damien Hirst, Donald Judd, Mike Kelley, William Kentridge, Anselm Kiefer, Jeff Koons, Paul McCarthy, Takashi Murakami, Chris Ofili, Raymond Pettibon, Richard Prince, Charles Ray, Thomas Ruff, Anri Sala, David Salle, Wilhelm Sasnal, Cindy Sherman, Gregor Schneider, Haim Steinbach, Thomas Struth, Sarah Sze, Rosemarie Trockel, Luc Tuymans, Andy Warhol, Christopher Wool, Lisa Yuskavage, Zhang Huan, etc.
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这本书的书名虽然叫“Not Afraid”,但读完之后,我感到的却是一种深沉的、近乎于哲学层面的平静。作者似乎并不急于去讲述什么惊天动地的冒险或者直面某一个具体的恐惧,反而像是邀请我们进行一场内心的漫步。文字的韵律感非常强,时而如同清晨薄雾中溪水的潺潺低语,温柔而细腻地触碰着那些我们习惯性忽略的情绪边缘;时而又像午后阳光下被拉长的影子,带着一种略显疏离的观察视角,审视着现代生活中那些无声的压力源。我尤其欣赏作者处理细节的方式,那些微小到几乎要被遗忘的日常瞬间,比如老旧木地板在脚下发出的吱呀声,或者雨水打在窗玻璃上形成的扭曲光影,都被赋予了某种象征意义。它们不是空洞的意象堆砌,而是构建起一个完整的情感地图,让我们在阅读的过程中,不自觉地把自己过去的经历投射进去,从而引发那种“原来我也是这样想的”的强烈共鸣。整本书的节奏是舒缓的,它不追求情节的跌宕起伏,而是在细微之处探寻“不害怕”的真正含义——也许它不是全然无畏,而是在看清了事物的本质后,选择的一种坦然共存的态度。这种对内在世界的深度挖掘,让这本书读起来更像是一次心灵的静修,让人在合上书页后,能带着一种被涤净过的清晰感,重新面对日常的琐碎与挑战。
评分阅读这本“Not Afraid”的过程中,我产生了一种强烈的“局外人”的视角,仿佛自己被提升到了一个观察人类群像的制高点,而不仅仅是沉浸在某个单一角色的命运之中。作者的笔触在宏大叙事与微观个体之间游走自如,他会突然从一个对城市灯火的俯瞰拉回到某个人在深夜里点燃一支烟的细节,这种空间感和时间感的快速切换,营造出一种既疏远又亲密的矛盾体验。书中对于“连接”与“隔阂”的探讨占据了很大的篇幅,尤其是在探讨现代社会人与人之间那种看似紧密、实则脆弱的电子化联系时,作者的批判是犀利且毫不留情的。他没有提供解决方案,而是将问题赤裸裸地摆在我们面前,迫使我们自己去思考:我们到底是在连接,还是在用忙碌筑起更高更厚的墙?这本书的叙事力量不在于它告诉了我们什么,而在于它成功地制造了一种“自我反思”的场域。每一次翻页,都像是一次对自我社交模式、对恐惧的定义、对生活本质的重新定义的过程。这是一种缓慢、但极其有力的改造,它不喧哗,不煽情,但其蕴含的穿透力,足以在你内心深处留下长久的回响。
评分读完这本书,我有一个非常直观的感受:作者仿佛是一位技艺高超的雕塑家,而他雕刻的材料,就是时间本身。他毫不留情地揭示了时间的残酷性——那些我们试图抓住或遗忘的瞬间,是如何在不经意间从指缝中溜走,只留下模糊的印记。书中关于记忆的探讨尤其精妙,它不是简单地回忆过去,而是深入剖析了记忆是如何被重塑、被美化,甚至被我们自己所背叛的过程。作者用了一种近乎于冷酷的客观性,去审视人类面对流逝时的无力感和挣扎,但这“冷酷”之中,却又蕴含着一种奇异的温柔,仿佛是在告诉我们:“是的,一切都会消逝,但正因为如此,此刻才显得弥足珍贵。”我特别喜欢其中描述的一个意象——一只在沙滩上写下深刻誓言的手,转瞬间就被下一次潮水抹去,那种瞬间的虚无感,被作者捕捉得无比精准。这本书让我开始重新审视自己的时间观,不再将未来视为一个无限的资源,而是更加珍惜每一个正在发生的“现在”。它没有提供任何廉价的安慰剂,只是提供了一种面对“无常”的全新视角,这种视角是清醒的,也是充满力量的。
评分这本书的行文风格,如果用音乐来比喻,可能更接近于那种实验性的、极简主义的室内乐。它没有宏大的交响乐章,没有可以哼唱的副歌,但每一个音符、每一个停顿,都经过了极其精确的计算和摆放。我发现自己在阅读时,会不自觉地停下来,反复咀嚼某些词语的搭配,那种听觉上的美感,即使是在寂静的文字中也能清晰地感受到。作者似乎对日常语言的陈词滥调有着一种本能的排斥,他总能找到那个最意想不到的词汇来形容最普通的事物,比如他描述“犹豫”时,用了类似“空气在两个电荷之间产生的无声拉扯”,这种非传统的修辞手法,极大地提升了阅读的层次感。这本书的缺点,可能在于它对普通读者的友好度不高,它更像是一封写给那些对语言艺术本身抱有极大热忱的人的私信。我甚至能想象作者在打磨这些句子时,那种近乎偏执的追求完美的状态。总而言之,如果你追求的是一种语言上的极致体验,并愿意为之付出专注的代价,那么这本书绝对是一场文学的盛宴,它让“阅读”这件事本身,变成了一种高雅的艺术活动。
评分我必须承认,这本书的叙事方式非常跳跃,初读时我差点被那些看似不连贯的片段搞得有些迷失方向。它不是传统意义上的线性故事,更像是作者从自己的思绪深处随机抽取的一些碎片进行拼接,但奇妙的是,当你沉浸其中足够久之后,这些碎片反而会像万花筒一样,在你的脑海里组合出一种全新的、令人震撼的画面。我感觉自己像是在一个巨大的、堆满了古董和未解之谜的阁楼里探险,每翻开一页,就发现一个新的、蒙着灰尘的盒子,里面装着的可能是一段模糊的往事,也可能是一个尚未成型的哲学观点。作者对语言的掌控力简直令人叹为观止,他似乎能用最平实无华的词汇,勾勒出最复杂的人性幽暗角落。有些段落的句子结构异常冗长,充满了复杂的从句和修饰语,读起来需要极大的专注力,但一旦跟上他的节奏,那种被文字洪流包裹的感觉,带来的满足感是其他书籍难以比拟的。这本书更像是一场智力与情感的双重博弈,它要求读者不仅要用眼睛看,更要用心去解码,去重构那些隐藏在文字肌理之下的作者的真正意图。对于喜欢挑战和深度思考的读者来说,这本书绝对是一次酣畅淋漓的智力探险。
评分想起来大一做的春宫气球了
评分想起来大一做的春宫气球了
评分想起来大一做的春宫气球了
评分想起来大一做的春宫气球了
评分想起来大一做的春宫气球了
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