|
罗伯特 梅普尔索普
Robert Mapplethorpe
（1946~1989）罗伯特-梅普尔索普被认为是严肃的探索裸体摄影这一领域并引起较大反响的美国摄影家。在他去世后的几个月，罗伯特-梅普尔索普成为联邦艺术基金严厉争论的焦点，但是他的一个作品展览会被撤消。虽然这样但是大师的光辉始终是不可能被磨灭遮挡的！美国兰登书屋和罗伯特-梅普尔索普基金会合作于1992年出版了黑白照片的限定收藏本，收入了罗伯特-梅普尔索普的全部作品，从早期的波拉照片到趋势之前拍摄的自画像。
男性艺术家们很少去真正关注男性中的弱势群体———如黑人、同志、变性人、易装者等。从这个角度说，梅普尔索普可谓开创了先河，他率先拍摄了黑人男人体，采用极其柔和的光线，揉合模特细腻的皮肤和健硕的肌肉，表现出一种强烈的阳刚和阴柔混合之美。在梅普尔索普的中后期作品中，他把光线这一摄影语言运用到极致，柔和的光线使照片笼罩在似有似无的光晕里，这种神圣而优美的味道，似乎能使观者感受到照片背后拍摄者温情的目光。
梅普尔索普拍摄花卉比较倾向拍摄完全闭合的花苞或是彻底绽放到完全的独立花朵。他的此类作品大多被奉为同类作品中的经典。他喜欢用绘画的方式完善摄影作品，对于自己珍爱的彩色作品（主要是花卉作品），他总会为之镀上一层油彩，这令其作品带着一种其他摄影作品所无法带来的强烈视觉冲击感。
(b New York, 4 Nov 1946; d Boston,
9 March 1989). American photographer, sculptor and collagist. In the
early 1970s, after studying at the Pratt Institute of Art in
Brooklyn (1963–70), he produced a number of assemblages and collages
from magazine photographs often altered by spray painting. In one
such work, Julius of California (1971; Charles Cowles priv. col.,
see Marshall, p. 21), he drew a circle around the male figure’s
genitals as a subversion of the usual practice of censorship. He
soon began to take his own black-and-white photographs with a
Polaroid camera, incorporating them into collages (e.g.
Self-portrait, 1971; Charles Cowles priv. col., see Marshall, p. 17)
or arranging them in sequences, as in Patti Smith (Don’t Touch here)
(1973; artist’s col., see Marshall, p. 27), a portrait of the poet
and singer who was one of his favourite models. Within a year of
showing his Polaroids in his first one-man show (New York, Light
Gal., 1973) he began to use a large format press camera, followed
soon afterwards by a Hasselblad. As his interest in photography
increased, so he looked more closely for guidance to such earlier
photographers as Nadar, Julia Margaret Cameron and F. Holland Day.
His photographs of the later 1970s include a number of homo-erotic,
sado-masochistic images, such as Helmut (1978; see Marshall, p. 70).
Here, as in other works, the presentation of a carefully posed
figure against a plain paper or cloth backdrop creates a strong
formal structure in counterpoint to the shock value and intensity of
the subject-matter. This formal emphasis is even more apparent in
the flower and still-life works, such as Pan Head and Flower (1976;
Holly Solomon priv. col., see Marshall, p. 46). |
