安迪·米斯特Andy Mister丨施乐-现实性 The Xerox-Reality
In the field of drawing and photography, the discussion of concepts such as copying and appropriation of reality is almost eternal, such as John Baldessari, Robert Heinecken, Sherrie Levine, today we are talking about an artist named Andy Mister.
在绘画和摄影领域，对真实性、复制、挪用等概念的讨论几乎是永恒的，比如John Baldessari Robert Heinecken、Sherrie Levine，而今天我们要介绍的艺术家是安迪·米斯特。
Andy Mister is an artist and writer. He was born and raised in New Orleans, LA, and currently lives and works in Brooklyn, NY. Mister received his BA from Loyola University New Orleans where he studied English and Philosophy, going on to earn his MFA in Writing from the University of Montana. Prior to his current visual arts career, Mister primarily concentrated on writing and poetry, publishing his book Liner Notes in 2013.
安迪·米斯特是一位艺术家兼作家。他在洛杉矶新奥尔良出生和长大，目前在纽约布鲁克林生活与工作。安迪·米斯特在新奥尔良洛约拉大学获得文学学士学位，他在那里主修英语和哲学，然后在蒙大拿大学获得了文学硕士学位。在他目前的视觉艺术职业生涯之前，安迪·米斯特主要专注于写作和诗歌，并于2013年出版了他的书《Liner Notes》。
Although he had a deep background in literature and philosophy, his passion for writing dried up as a result of the heavy workload of postgraduate study. It was around this time that Andy Mister moved to Oakland, where he was inspired by Chris Johanson and Jo Jackson. His experience in Oakland reignited Andy Mister's talent for painting and art, which he had grown up with. He suddenly realized that he didn't need to go to art school to make art, that art itself was not an institutionalized thing, and that he could DIY what he wanted to do. After the finish of Liner Notes, Andy Mister focused almost entirely on his visual work.
虽然安迪·米斯特拥有很深的文学与哲学功底，但是研究生的繁重学习让他对写作的热情逐渐枯竭。也就是大概那个时候，安迪·米斯特去了奥克兰，并在那里受到了Chris Johanson and Jo Jackson的启发，在奥克兰的经历重新激发了安迪·米斯特从小就有的绘画与艺术天赋。他忽然意识到，做艺术不需要去艺术学校，艺术本身就不是一件制度化的东西，他可以DIY他想做的事情。在完成《Liner Notes》的写作后，安迪·米斯特就把几乎全部的精力投入到了视觉作品的创作上。
Rose Garden No. 2 carbon pencil, charcoal, acrylic on paper on panel 20x16"2017
Song is Sacred. carbon pencil, charcoal, acrylic on paper on panel 54x45" 2016
After Llyn Foulkes. carbon pencil, charcoal, acrylic on paper on panel 58x46" 2017
Specifically, Andy Mister creates Xerox-realistic drawings— a term coined by artist Dan Fischer, which Mister himself engages and identifies with. Xerox is a well-known printing company in the United States. Andy's drawing style is to imitate old natural scenery photographs with several simple colors, and his works have a strong style of Xerox printing reproductions. Working with images appropriated from vintage photographs and deftly mimicking the Xerox-aesthetic of punk zines and album covers by drawing, his artworks question how meaning is created or lost through the act of copying.
具体来说，安迪·米斯特创作的是施乐-现实主义绘画——这是艺术家Dan Fischer创造的一个术语。安迪·米斯特对此很感兴趣，也很认同。施乐（Xerox）是美国知名的印刷公司，安迪·米斯特的绘画风格就是用简单的色调来模仿旧照片，而且作品带有很强的Xerox印刷复制品的风格。安迪·米斯特借用复古照片的图像，用绘画的形式巧妙地模仿它们，并使绘画带有朋克杂志和专辑封面影印美学的风格。通过临摹摄影作品的方式，安迪·米斯特提出了这样的质疑：在艺术复制的过程中意义是如何被创造或丢失的？
FS Smythe. carbon pencil and charcoal on paper on panel 28x22" 2015
Steven carbon pencil, charcoal, acrylic on paper on panel 19.5x14" 2015
Taliesin. carbon pencil on handmade paper on panel 20x16" 2015
In an interview, he was asked this question: Thinking about how realistic your works are, how do you approach translating and expressing an image from your source material? What are your thoughts on copying and its effects and alteration of an image‘s meaning?
在一次采访中，他被问到这样一个问题:你的作品是非常写实的，那你是如何在你所选取的原始材料（旧照片）的基础上来进行艺术翻译和表达的？你怎么看复制行为的影响以及复制对图像意义所带来的改变？
Andy said: "I’m not too worried about the copy being an exact representation of the original. I think of the original in the same way that a Lucian Freud painting uses the model that he’s looking at as a thing that then becomes the painting, not something that he’s trying to actually recreate. I just feel more comfortable working with two-dimensional sources. There’s this artist Dan Fischer who makes these drawings of artists from photographs from art history books. He has this term that I always try to credit him for called ‘Xerox realism’. When I first heard that phrase it really spoke to me because I’m using the aesthetic of Xerox as the source material. It’s not really connected to photography because it’s not about depth of field or light. It’s really about what happens when you Xerox something and you distill that information down so that you lose a lot of visual information, but you also really cement what is there and make it bolder."
安迪回答说："我其实不太在乎我的作品和原作一模一样。我对原作的看法和Lucian Freud对于绘画所用临摹模型的看法一样，我将对象变成了画作，而非复制。我只是更喜欢二维的对象来源。艺术家Dan Fischer以历史书中的艺术家形象为来源，来画这些艺术家。他有一个艺术术语叫“施乐现实主义”，当我第一次听到这个词的时候，它真的打动了我，因为我就是使用了施乐美学作为绘画的原始材料。它们其实与摄影关系不大，因为没有利用光线和景深。当你用施乐的手法去创作，你会从原作中提取某些信息，也会丢失许多视觉信息，但最终你会强化原作并使其更加的醒目。"
Red Sea carbon pencil, charcoal, acrylic on paper on panel 18x14.5" 2016
The Violet Hour carbon pencil, charcoal, acrylic on paper on panel 30x20" 2017
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