Alice Neel: Men from the Sixties

Name: Alice Neel: Men from the Sixties
Start: 2022-11-17
End: 2022-12-21
Location: David Zwirner

David Zwirner is pleased to present Alice Neel: Men from the Sixties at the gallery’s Hong Kong location. Widely regarded as one of the foremost American artists of the twentieth century, Neel (1900–1984) is known for her daringly honest, humanist approach to the figure. This focused presentation brings together a selection of significant paintings of men from the 1960s, a decisive decade in the development of the artist’s practice. In these years, her style evolved into the looser, more open compositions she would come to be known for in the later period of her career, while she also began to receive broader recognition for her work as an incisive artist and cultural figure.

Alice Neel: Men from the Sixties will be the first exhibition of Neel’s work in Greater China. The artist’s work will be the subject of a concurrent major retrospective at the Centre Pompidou, Paris, that will subsequently travel to the Barbican Centre, London. A critically lauded survey of her work was organized and presented by The Metropolitan Museum of Art, New York; the Guggenheim Museum Bilbao, Spain; and the de Young Museum, San Francisco, in 2021 and 2022.

Image: Alice Neel, Man from Fordham, 1965 (detail)

卓納畫廊欣然於香港空間呈現展覽《愛麗絲·尼爾：六十年代的男人們》。尼爾（1900-1984）被公認為二十世紀最重要的美國藝術家之一，她以大膽坦誠、人文主義的人物創作廣為人知。這次展覽匯集並聚焦於她1960年代創作的描繪男性的重要作品，這十年是尼爾藝術實踐中極具決定意義的階段。在這幾年間，她的創作演化成更寬鬆、更開放的構圖，形成了她在職業生涯後期備受肯定的風格，那時的她已是一位犀利的藝術家和文化人物，作品也收穫了更多認可。

《愛麗絲·尼爾：六十年代的男人們》將是尼爾的作品在大中華地區的首場展覽。與此同期，藝術家的作品將在巴黎的蓬皮杜藝術中心舉辦一場重要的回顧展，並且在此後巡展至倫敦的巴比肯藝術中心。 2021到2022年間，紐約大都會藝術博物館、西班牙畢爾巴鄂古根海姆美術館以及舊金山笛揚博物館共同組織了藝術家的作品專題個展，備受好評。

愛麗絲·尼爾，《來自福特漢姆大學的男人》，1965年（細節）

Location

5–6/F, H Queen’s, 80 Queen’s Road Central Hong Kong 110098

Dates

November 17—December 21, 2022

Gallery Hours

Tues—Sat 11am–7pm

Artist

Alice Neel

Press Release

Men from the Sixties

“I read a quote from Simone de Beauvoir saying that no woman had ever had a world view because she had always lived in a man’s world. For me this was not true.”

—Alice Neel, 1971

「我讀到過西蒙·德·波伏娃的一句話，說她認為女性沒有自己的世界觀，因為女性一直生活在男人的世界裡。對我來說並非如此。」

——愛麗絲·尼爾，1971年

Alice Neel in her studio, New York, 1960. 愛麗絲·尼爾在她的工作室中，紐約，1960年

Alice Neel with Allen Ginsberg and Gregory Corso on the set of Pull My Daisy, a 1959 American short film directed by Robert Frank and Alfred Leslie, and adapted by Jack Kerouac from the third act of his play, Beat Generation. Photo courtesy Deborah Bell, New York. 愛麗絲·尼爾與艾倫·金斯伯格（Allen Ginsberg）和格雷戈裏·柯爾索（Gregory Corso）在《拔出雛菊》的片場，這是一部1959年的美國短片電影，由羅伯特·弗蘭克（Robert Frank）和阿爾弗雷德·萊斯利（Alfred Leslie）共同執導，改編了傑克·凱魯亞克（Jack Kerouac）劇作《垮掉的一代》的第三幕。圖片由黛博拉·貝爾攝影畫廊（Deborah Bell）提供，紐約

While Neel had been steadily painting and exhibiting her work since the late 1920s, it was during the 1960s that she began to gain critical acclaim and increasingly interact with major cultural figures, painting well-known artists, critics, and authors as well as activists and politicians.

Ranging from depictions of men of personal or intellectual significance to Neel to those of anonymous individuals and acquaintances who interested her, the works on view present a nuanced examination of masculinity and attest to the artist’s commitment to capturing the character, emotions, and complexities of not only her sitters but also their era.

儘管尼爾自1920年代晚期便開始穩定地創作、展出作品，不過她從1960年代才開始收穫好評，越來越多地同其他重要的文化人物相互交流，並且為知名的藝術家、藝評人、作家、活動家和政治家們作畫。

從對尼爾來說在個人或智識層面具有重要意義的男性，到那些令她感興趣的或匿名或相識的人，展覽中的作品展現了藝術家對男性特質的細緻檢視，還體現出藝術家不僅僅致力於捕捉人物的性格、情感和複雜性，也致力於捕捉人物所身處的時代。

Installation view, Alice Neel: Men from the Sixties, David Zwirner, Hong Kong, 2022. 展覽現場，《愛麗絲·尼爾：六十年代的男人們》，卓納畫廊香港空間，2022年

The following painting is one of two Neel made of the aspiring artist Harrell Randall Bailey who worked as a security guard at The Metropolitan Museum of Art.

下面這幅畫是尼爾刻畫藝術家哈雷爾·蘭德爾·貝利的兩件作品的其中之一，貝利曾在紐約大都會藝術博物館中擔任安保人員。

Alice Neel

Randall in Extremis, 1960

Oil on canvas

36 1/8 x 28 1/8 inches (91.8 x 71.4 cm)
Framed: 38 7/8 x 30 7/8 inches (98.7 x 78.4 cm)

《身處絕境的蘭德爾》，1960年
布面油畫
作品尺寸：91.8 x 71.4 厘米
裝裱尺寸：98.7 x 78.4 厘米

“He [Randall] was frightfully repressed! Look at those tearing teeth! He was in such an extreme state! But it is something that could be lost. That’s why I wanted to paint him. And I know how he feels. I myself am inhibited. That’s why he interested me so much.”

—Alice Neel, 1966

「他（蘭德爾）真的被壓抑得可怕！看那些緊張得顯出撕扯狀態的牙齒！他處於一種如此極端的狀態！但那又是會瞬間過去的。所以我想畫下他。而且我明白他的感受。我自己也感到被壓抑。因此他才讓我如此感興趣。」

——愛麗絲·尼爾，1966年

Alice Neel, Randall in Extremis, 1960 (detail). 愛麗絲·尼爾，《身處絕境的蘭德爾》，1960年（細節）

In 1962, Neel met Hubert Crehan (1917–1984), a painter and art critic known for championing women artists. After sitting for Neel, he organized an exhibition of her paintings at Reed College in Portland, Oregon, and later wrote an article for ArtNews, “Introducing the Portraits of Alice Neel”—the first feature to be published in a national magazine.

1962年，尼爾認識了休伯特·克雷漢（1917–1984），他是一位畫家和藝評人，以其對女性藝術家的支持廣為人知。在為尼爾的創作擔當模特之後，克雷漢在俄勒岡州波特蘭的里德學院組織了一場尼爾的作品展，並在不久後為《藝術新聞》（ArtNews）撰寫了題為《介紹愛麗絲·尼爾的肖像》一文——這是首篇發表在美國國家級刊物上的有關尼爾的專題文章。

Alice Neel

Hub Crehan, 1961

Oil on canvas

38 1/4 x 31 1/8 inches (97.2 x 79.1 cm)
Framed: 42 3/8 x 34 3/4 inches (107.6 x 88.3 cm)

《休伯特·克雷漢》，1961年
布面油畫
作品尺寸：97.2 x 79.1 厘米
裝裱尺寸：107.6 x 88.3 厘米

Inquire

“I met Hub Crehan at an artists' party…. I showed him the portraits of Miles Kreuger and he said: 'Well, this is great art.' He didn't expect it. They all expected I would paint flowers and plates.”

—Alice Neel, 1980

「我在一個藝術家的聚會上認識了休伯特·克雷漢……我給他看了邁爾斯·克勞格（Miles Kreuger）的肖像，然後他說：『嗯，這是很棒的藝術。』他沒有預料到。他們都以為我只會畫些花卉和盤子。」

——愛麗絲·尼爾，1980年

Hub Crehan with his portrait, c.1961. 休伯特·克雷漢和他的肖像畫，約1961年

Installation view, Alice Neel: Men from the Sixties, David Zwirner, Hong Kong, 2022. 展覽現場，《愛麗絲·尼爾：六十年代的男人們》，卓納畫廊香港空間，2022年

Neel working in her apartment at 300 West 107th Street, New York. 尼爾在她位於西107街300號的公寓中創作，紐約

“The presences that people her canvases are extraordinarily alive: she paints the shells they have chosen, and penetrating their shell, probes and exposes their inner being.”

—Kim Levin, ArtNews, 1963

「她畫布上人物的面貌都極其的鮮活：她刻畫了他們自己選擇的外殼，但又穿透這層殼，探尋並袒露他們的內心世界。」

——金·萊文，《藝術新聞》，1963年

Alice Neel

Julian Beck, c. 1964

Oil on canvas

38 x 30 1/4 inches (96.5 x 76.8 cm)
Framed: 41 1/2 x 33 1/2 inches (104.1 x 85.1 cm)

《朱利安·貝克》，約1964年
布面油畫
作品尺寸：96.5 x 76.8 厘米
裝裱尺寸：104.1 x 85.1 厘米

Inquire

The painting of Julian Beck (1964), who was an artist, writer, actor, director, and the co-founder of The Living Theater—an experimental theater group that became known for its avant-garde productions—shows him with his sleeves rolled up, his pants wrinkled, and his hand poised as though he is about to speak. Using expressive brushstrokes, Neel deftly captures Beck’s bohemian nature and renegade spirit.

朱利安·貝克（Julian Beck）的肖像（1964）描繪了這位藝術家、作家、演員、導演，同時他也是「生活劇場」（The Living Theatre）的聯合創始人——這個試驗性的戲劇團體以其前衛的作品聞名，畫面中的他袖管捲起、褲子褶皺，而手部姿態看來他好像正要說些甚麼。尼爾用極富表現力的筆觸，巧妙地捕捉了貝克身上波西米亞的特質和叛逆的精神。

Julian Beck, 1969. Photo by Robert Altman/Michael Ochs Archives/Getty Images. 朱利安·貝克，1969年。攝影及供圖：羅伯特·奧爾特曼（Robert Altman）/邁克爾·奧克斯檔案（Michael Ochs Archives）/蓋蒂圖片社

Alice Neel

Ivan Karp, 1965

Oil on canvas

40 x 30 inches (101.6 x 76.2 cm)
Framed: 43 1/2 x 33 1/2 inches (110.5 x 85.1 cm)

《伊万·卡普》，1965年
布面油畫
作品尺寸：101.6 x 76.2 厘米
裝裱尺寸：110.5 x 85.1 厘米

Inquire

Ivan Karp was an art dealer and owner of the SoHo-based OK Harris Gallery, which he opened in 1969 following his departure from Leo Castelli Gallery. Seated dynamically with his legs crossed and his head cocked to one side, Karp gazes directly at the artist, ultimately demonstrating the sense of trust and intimacy that Neel and her sitters shared.

伊萬·卡普（Ivan Karp）是一位藝術品經銷商，他是蘇豪區OK哈里斯畫廊（OK Harris Gallery）的老闆，在開設自己的畫廊前曾在利奧·卡斯特里畫廊（Leo Castelli Gallery）工作。畫面中的他坐姿生動地雙腿交叉，頭倒向一側，並且直直地凝視着藝術家，極致地表現出尼爾和她的畫中人之間的那份信任與親密。

Alice Neel, Ivan Karp, 1965 (detail) 愛麗絲·尼爾，《伊萬·卡普》，1965年（細節）

Alice Neel, Ivan Karp, 1965 (detail) 愛麗絲·尼爾，《伊萬·卡普》，1965年（細節）

“All my favorite painters are abstractionists: Morris Louis and Clyfford Still. I don't do realism. I do a combination of realism and expressionism. It's never just realism.”

—Alice Neel, 1980

「我最喜歡的畫家都是抽象派的創作者：莫里斯·路易斯（Morris Louis）和克萊福特·斯蒂爾（Clyfford Still）。我的創作並非寫實主義。我是把寫實與表現主義結合在了一起。它從來不是單純的寫實。」

——愛麗絲·尼爾，1980年

Neel began incorporating abstraction into the backgrounds of her paintings in the mid-1940s, however it was not until the late 1950s, and the 1960s especially, that the backgrounds of her paintings became increasingly abstract.

尼爾從1940年代中期開始將抽象的手法融入自己畫作的背景之中，不過，直到1950年代晚期，尤其是1960年代，她繪畫裡的背景才開始變得愈發抽象。

Alice Neel

Man from Fordham, 1965

Oil on canvas

44 x 28 inches (111.8 x 71.1 cm)
Framed: 47 1/4 x 31 3/8 inches (120 x 79.7 cm)

《來自福特漢姆大學的男人》，1965年
布面油畫
作品尺寸：111.8 x 71.1 厘米
裝裱尺寸：120 x 79.7 厘米

Inquire

Neel painted Man from Fordham (1965) after meeting the unnamed sitter during her exhibition at the eponymous university. Depicted in a three-quarter profile and a crisp white shirt, the man appears to be engaging with the painter, his lips slightly parted and his eyebrows arched.

尼爾是在她於福特漢姆大學舉辦的展覽上遇到這位男士之後，才創作了作品《來自福特漢姆大學的男人》（1965）。這位男子被描繪成四分之三身像的側視角，他身穿潔白的襯衫，似乎在和畫家交談：嘴唇微微張開，眉毛向上拱起。

Alice Neel in her apartment on 107th and Broadway with the painting Man from Fordham (1965), c. 1965. 愛麗絲·尼爾在她位於107街和百老匯大道的公寓裏，身旁是她的畫作《來自福特漢姆大學的男人》（1965），約1965年

The background of the work, loosely depicting shadows on the wall behind the man, shows Neel experimenting with a mode of painting that contrasts with the detailed depiction of her sitter.

作品的背景鬆散地描繪了男子身後牆上的陰影，展露出尼爾當時正在嘗試的繪畫形式，使得背景與細節豐富的模特形成了強烈對比。

Installation view, Alice Neel: Men from the Sixties, David Zwirner, Hong Kong, 2022. 展覽現場，《愛麗絲·尼爾：六十年代的男人們》，卓納畫廊香港空間，2022年

Alice Neel

Black Man, 1966

Oil on canvas

44 x 28 1/8 inches (111.8 x 71.4 cm)
Framed: 46 3/4 x 31 inches (118.8 x 78.7 cm)

《黑人男子》，1966年
布面油畫
作品尺寸：111.8 x 71.4 厘米
裝裱尺寸：118.8 x 78.7 厘米

Alice Neel, Black Man, 1966 (detail). 愛麗絲·尼爾，《黑人男子》，1966年（細節）

Alice Neel, Black Man, 1966 (detail) 愛麗絲·尼爾，《黑人男子》，1966年（細節）

“Over the years Neel's paintings blurred and complicated the traditional dichotomy of man as powerful and public, woman as passive and private. By the mid-1960s these distinctions were blurring in society as well.”

—Ann Temkin, “Alice Neel: Self and Others,” in Alice Neel, 2000

「多年來，尼爾的繪畫模糊了傳統的二元劃分，即男性是強大的、公共的，女性則是被動而私密的。到了1960年代中期，這些劃分在社會上也變得模糊不清。」

——安·特姆金，《愛麗絲·尼爾：自我與他者》，收錄於《愛麗絲·尼爾》，2000年

Neel (center) with Hartley (left) and Richard (back to camera) at the opening of her solo exhibition at the Graham Gallery c.1968. 尼爾（中）與哈特利（左）和理查德（背對鏡頭）在她舉辦於格雷厄姆畫廊（Graham Gallery）個展的開幕式上，約1968年

Alice Neel

Richard, 1967

Oil on canvas

59 5/8 x 45 1/8 inches (151.4 x 114.6 cm)
Framed: 63 5/8 x 49 3/8 inches (161.6 x 125.4 cm)

《理查德》，1967年
布面油畫
作品尺寸：151.4 x 114.6 厘米
裝裱尺寸：161.6 x 125.4 厘米

Inquire

The present work depicts Neel's oldest son, Richard, sitting in the same blue and white striped chair in which she posed for her renowned nude Self-Portrait (1980). Richard was a recent graduate from Columbia Law School in New York, about 28 years of age at the time of this painting. Casually dressed in a t-shirt and underwear, Richard's gaze is fixed on his mother in this intimate painting.

這幅作品描繪了尼爾的大兒子理查德（Richard），他端坐在一把藍白條紋相間的椅子上，在1980年藝術家那幅著名的《自畫像》（1980）中，尼爾也坐在同一把椅子上。在創作這幅畫時，理查德時年28歲，剛剛從紐約哥倫比亞大學的法學院畢業。在這幅讓人倍感親密的畫作中，理查德休閒地身穿T恤及內褲，眼神定格在描繪他的母親身上。

Alice Neel, Richard, 1967 (detail) 愛麗絲·尼爾，《理查德》，1967年（細節）

Alice Neel, Richard, 1967 (detail). 愛麗絲·尼爾，《理查德》，1967年（細節）

Richard’s pose, with one leg splayed across the arm of the chair, is reminiscent of the comfortable seated position of sitters in many other significant paintings, including Gerard Malanga (1969)

理查德將一條腿舒展地放在椅子上，這個姿勢讓人想到尼爾其他重要畫作中人物的舒適坐姿，以及《杰拉德·馬蘭加》（1969）。

Installation view, Alice Neel: People Come First, Metropolitan Museum of Art, New York, 2021. 展覽現場，《愛麗絲·尼爾：以人為先》，紐約大都會藝術博物館，2021年

Installation view, Alice Neel: Painter of Modern Life, Anteneum, Helsinki, 2016. 展覽現場，《愛麗絲·尼爾：現代生活的畫家》，赫爾辛基的阿黛濃美術館，2016年

Alice Neel

Dick Kollmar, c. 1965

Oil on canvas

80 x 30 inches (203.2 x 76.2 cm)
Framed: 84 x 34 inches (213.4 x 86.4 cm)

《迪克·科爾瑪》，約1965年
布面油畫
作品尺寸：203.2 x 76.2 厘米
裝裱尺寸：213.4 x 86.4 厘米

Inquire

“I like it [a painting] not only to look like the person but to have their inner character as well. And then I like it to express the zeitgeist. See, I don't like something from the ’60s to look like something in the ’70s.”

—Alice Neel, 1979

「我喜歡（一幅畫）不僅僅是人物外觀上的相像，更是要體現出他們內在的性情。然後我也喜歡表達出『時代精神』。比如，我不喜歡讓60年代的東西看起來像是70年代。」

——愛麗絲·尼爾，1979年

Alice Neel, Dick Kollmar, c. 1965 (detail). 愛麗絲·尼爾，《迪克·科爾瑪》，约1965年（細節）

Alice Neel at the opening of her exhibition at Maxwell Galleries, San Francisco, June 1967. 愛麗絲·尼爾在她舉辦於舊金山麥克斯韋畫廊的展覽開幕式上，1967年6月

Between 1960 and 1969, Neel had nine solo exhibitions of her work, more than she had in total since the beginning of her career.

在1960到1969年間，尼爾舉辦了九次作品個展，這在當時比她職業生涯開始以來的個展總數更多。

Alice Neel

Felix Greene, 1969

Oil on canvas

50 x 34 inches (127 x 86.4 cm)
Framed: 53 1/2 x 37 3/8 inches (135.9 x 94.9 cm)

《費利克斯·格林》，1969年
布面油畫
作品尺寸：127 x 86.4 厘米
裝裱尺寸：135.9 x 94.9 厘米

Inquire

Depicted here is British journalist Felix Greene (1909-1985) who worked for the San Francisco Chronicle during the 1960s and covered several communist countries. One of the first Western reporters to visit North Vietnam in the 1960s, he first went to China for the BBC in 1957. Neel made the present work, as well as a painting of Greene's wife, while on a trip to visit Hartley and Ginny Neel in San Francisco.

這幅畫中所描繪的是英國記者費利克斯·格林（Felix Greene，1909-1985），他在1960年代時在《舊金山紀事報》（San Francisco Chronicle）工作。格林是1960年代最早到訪越南北部的西方記者之一，並且在1957年首次代表BBC英國廣播公司前往中國。尼爾在一次前往舊金山看望小兒子哈特利（Hartley）和金妮·尼爾（Ginny Neel）的旅行中為格林創作了這幅畫，此外還為格林的妻子也創作了一幅肖像。

Installation view, Alice Neel: Men from the Sixties, David Zwirner, Hong Kong, 2022. 展覽現場，《愛麗絲·尼爾：六十年代的男人們》，卓納畫廊香港空間，2022年

“My choices were perhaps not always conscious, but I have felt that people's images reflect the era in a way that nothing else could. When portraits are good they reflect the culture, the time.”

—Alice Neel, 1971

「我的選擇並不總是下意識的，但我一直覺得人的圖像以一種其他事物無法媲美的方式反映了時代面貌。好的肖像會反映出文化和時代。」

——愛麗絲·尼爾，1971年

Alice with Ritta Redd and Jackie Curtis and their portrait, at Moore College Show, 1971. 愛麗絲和麗塔·雷德（Ritta Redd）與傑基·柯蒂斯（Jackie Curtis），在尼爾舉辦於莫爾學院的展覽上，身後是她為兩人創作的肖像畫，1971年

Alice Neel with her painting Andy Warhol, 1970. Photo by Fred W McDarrah/Getty Images. 愛麗絲·尼爾和她的畫作《安迪·沃霍爾》，1970年。攝影及供圖：弗雷德·W·麥克達拉（Fred W McDarrah）/蓋蒂圖片社

The end of the decade witnessed a shift in the wider culture from the perception of the artist as a rebel or loner to the notion of creative figures as celebrities or public personalities. Neel’s work charted this change, from her 1960 portrait of Harrell Randall Bailey to her famously revealing depiction of Andy Warhol, eyes closed and shirtless, in October 1970. Earlier in the year, her painting of the feminist writer, educator, artist, and activist Kate Millett had appeared on the cover of Time magazine in an issue dedicated to “The Politics of Sex,” signaling a new era that Neel was firmly placed to portray.

這十年的最末見證了更廣義文化中出現的一次觀念轉變：身為反叛者或特立獨行者的藝術家，轉變成了作為名人或公眾人物的創意人士。尼爾的作品呈現了這種轉變，從她1960年創作的哈雷爾·蘭德爾·貝利的肖像，到她1970年10月刻畫的安迪·沃霍爾（Andy Warhol）：在這幅著名的作品中，沃霍爾雙眼緊閉，袒露上身。在同年早些時候，尼爾為女權主義作家、教育家、藝術家、活動家凱特·米列（Kate Millett）創作的畫像，出現在《時代》雜誌的封面，當期的主題是「性別政治」，這標誌着一個嶄新時代的開啟，而尼爾自己更是其中不可動搖的一員。

Alice Neel (2007), a film by Andrew Neel, will be on view at the Hong Kong gallery for the duration of this exhibition.

Run time: 82 minutes | Chinese and English subtitles
《愛麗絲·尼爾》（2007），由安德魯·尼爾（Andrew Neel）執導拍攝的紀錄片，
將在此次展覽期間呈現於卓納畫廊香港空間。
片長：82分鐘 | 中英雙語字幕

Watch the Trailer 觀看預告片

Installation view, Alice Neel: An Engaged Eye, Centre Pompidou, Paris, 2022. 展覽現場圖，《愛麗絲·尼爾：投注的目光》，巴黎蓬皮杜藝術中心，2022年

A major solo show, Alice Neel: An Engaged Eye, is currently on view at the Centre Pompidou, Paris. The exhibition will be presented at the Barbican Centre in London from February 16, 2023 to May 21, 2023, and is accompanied by a catalog.

日前，藝術家的重要個展《愛麗絲·尼爾：投注的目光》正在巴黎的蓬皮杜藝術中心舉行。隨後將於2023年2月16日到2023年5月21日期間，巡展至倫敦的巴比肯藝術中心，還將隨展覽出版畫冊。

Alice Neel: The Art of Not Sitting Pretty is Phoebe Hoban’s critically-acclaimed biography of the artist. Throughout her life and work, Neel constantly challenged convention, ultimately gaining an enduring place in the canon.

作家菲比·霍班（Phoebe Hoban）為藝術家撰寫了廣受讚譽的傳記作品《愛麗絲·尼爾：不圖安逸的藝術》。在她的生活和工作中，尼爾持續不斷地挑戰着常規，為自己在藝術史中贏得了永恆的一席之地。

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