正在展出 | 理查德·普林斯Richard Prince的新绘画
▶︎ 格莱斯顿画廊 ｜ 正在展出
理查德·普林斯 Richard Prince
《涟漪绘画》Ripple Paintings
格莱斯顿画廊 ｜ 纽约第24街西515号（切尔西区）
Gladstone Gallery, 515 West 24st Street, New York
展期：2017.11.03 – 12.22
▲ 《无题（#311）》Untitled (#311), 2016-2017；喷墨打印、画布 Inkjet on canvas； 243.8 x 174 cm
▲ 理查德·普林斯《涟漪绘画》展览现场，格莱斯顿画廊，2017.11.03 – 12.22。Richard Prince Ripple Paintings, installation view at Gladstone Gallery, 2017.11.03 – 12.22.
涟漪绘画
这可不是你在日常生活中会遇到的半-现实主义的精心筹备的水彩与讽刺幽默的混合向惠特尼 ·达罗（Whitney Darrow）的漫画上的泼洒。
侧栏：达罗是理查德“挪用”的对象之一。他是《纽约客》杂志长期合作的漫画家，也是杰克逊·波洛克的室友。
来点这个，再来点那个。
那能有多难呢？
“涟漪绘画”夹在两组作品之间。
第一组…“巨星乐队”（Super Group）；第三组…《High Times》杂志的封面。
涟漪绘画创作于2015到2017年之间。
理查德·普林斯告诉我，这些“碎片”是从收集《花花公子》上的卡通画开始（启航）的。这些卡通画最初发表于1967年到1970年间。
“那是我所记忆、重访、现在依然会想起的三年，处在转变中、逐渐明晰起来的三年。那几年中，圆圈取代了方块，律动赶走了曲折和约束，规则丧失了表决权。那是琼斯先生失魂落魄的年代。那几年是开放的，它让我得以走出去。老兄，我感觉像是来了一次大扫除。所有虚情假意的胡扯都被我踢了出去。整个一生我都被蒙骗了。但现在我清醒了，我乐于接受。我需要的一切仅仅是去认同一些事。从1967年到1970年，我同意说不。”
“我在铁路上工作。”（《I’ve Been Working on the Railroad》是一首美国民谣）
▲ 《无题（#121）》Untitled (#121), 2016-2017；喷墨打印、画布 Inkjet on canvas； 190.5 x 139.7 cm
▲ 理查德·普林斯《涟漪绘画》展览现场，格莱斯顿画廊，2017.11.03 – 12.22。Richard Prince Ripple Paintings, installation view at Gladstone Gallery, 2017.11.03 – 12.22.
理查德告诉我那是一个简单的想法。
“给杂志投稿的漫画都是水彩画。它们是这样被寄往、交给杂志艺术总监的。它们是这样画出来的。插图纸板上的水粉画颜料。速写、晕染和引人发笑的点睛之笔。我从ebay上购买了杂志，我买了36期。我草草翻过了杂志，把其中我最喜欢的‘卡通’撕了下来，然后把撕下的纸页放在地板上，往这些插图上倾倒了更多的水彩颜料。水彩之上的水彩。我在黄色卡通画上涂抹了红色水彩颜料。五十比五十。我的贡献？我超自然连接的精神错乱。还有这些对比色。我的红色颜料和他们的黄色颜料。第二天早上再看它们时，那红色已经以它自己的方式晾干。它具有自己的个性。移动，渗漏，集中，污渍，坑洼。在晾干的过程中，干燥的部分会让纸张泛起涟漪。倾倒也有它自己的作用。一个秘密的‘掩护’。晾干的过程彻夜无眠，千百支舞蹈在其间纷纷上演。泼洒水彩颜料的过程其实根本与我无关。它是独立的。这一形式具有它自己的生命力和心智。每个早上，在’蒸发’完成之后…我都感到惊奇不已。”
“神游。”
我问理查德，他会错过迷幻派对吗。
“或许不会。”
“我一直都是肯·凯西（Ken Kesey）的粉丝。‘即使那没有发生，也是真实的’、‘当你失去了笑声你就失去了根基。’”
但我听感恩之死乐队（Grateful Dead）听晚了。我是最近才开始听的。
然后他又扯了些关于涟漪的事情。
“它们很性感。
有时击中有时则不能。
谁都能找到我。
大家都得听妈妈的。
Balance.org。
摘下面具？祝你好运。
大多数时间里，我都觉得乐趣不多。余下的时间里则毫无乐趣。
世事不可强求（但愿如此）。”
▲ 理查德·普林斯《涟漪绘画》展览现场，格莱斯顿画廊，2017.11.03 – 12.22。Richard Prince Ripple Paintings, installation view at Gladstone Gallery, 2017.11.03 – 12.22.
▲ 《无题（#189）》Untitled (#189), 2016-2017；喷墨打印、画布 Inkjet on canvas； 243.8 x 174 cm
理查德一直告诉我那是个愚蠢的想法。我甚至不太确定他用的是“想法”（idea），但他确实说了“愚蠢”。他强调了那个词，就好像它是一个徽章，一块奖牌，一种奖励。“你不必在字典里查找那个词。如果你查了，你可能不是艺术家。”他重复着这些，好像那是他的笑话绘画（joke paintings）之一。他喜欢那不合常理的蠢想法。他重复着。水彩在水彩之上。“更多水，更多颜色？”这不是一个问题。这是一个事实。而理查德喜欢把事实放进他的作品。非虚构。一些他能够指明和命名的东西。他喜欢自己作品的标题就是标题本身。错误是美妙的，他喜欢制造它们，但是给错误命名则必须命中靶心。那也是有帮助的。“别把自己搞疯，让自己高兴。”消除立场，去除猜测、怀疑、主观性。理查德可不喜欢研讨会式的勾心斗角。
颜料的第二层覆盖物。
喷墨只是硬件而已。
▲ 《无题（#229）》Untitled (#229), 2016-2017；喷墨打印、画布 Inkjet on canvas； 243.8 x 174 cm
▲ 理查德·普林斯《涟漪绘画》展览现场，格莱斯顿画廊，2017.11.03 – 12.22。Richard Prince Ripple Paintings, installation view at Gladstone Gallery, 2017.11.03 – 12.22.
理查德知道他要如何转化这层新的覆盖物。
喷墨打印。
他从1985年开始使用喷墨打印。
他告诉我，85年的时候在美国你只可能把东西“送去”两个地方做喷墨打印。
“那很原始。四种颜色喷在光亮的柏油帆布上。它的表现不够精密，你想要复制的复制品最终看上去通常是暗淡、廉价、不太精准的。”
很多事都改变了。如今，你可以拥有自己的设备，再也不用把东西送去商业工作室。你可以花上一个下午，把你想要的效果精确地输入和编码出来，然后看着作品在你的工作室中生成。回响。内心。情感。这三个小鬼就像是鬼马小精灵卡斯珀。友好、便捷、即刻，无需等待。“再也不用留着盒盖儿然后把它们寄回到密歇根巴特尔克里克。”
“古旧的印记到处都是。
你几乎可以认为自己看到的是双重的。
有一天，一切都会变得如一支狂想曲那般流畅。”
你可以把各种各样的画布和纸张放进打印机里。喷墨打印的方式…是快捷、美妙、积极的。它就像某种新型的汽化机，将空气和注入的燃料按合理的比例混合起来，迸发出一种令人难以置信的液态氧化物。
“我的那台是华立和氧化亚氮。它使用清洁燃料。它不是什么奇迹。但它能出色地完成任务。”
“我会把握好机遇。”
“电动剪刀。”
理查德告诉我那是他在1977年用来形容他的再-摄影作品的方式。
那么卡通画呢？
他从1985年就开始处理卡通画了。
“我想画点什么，于是我复制-重画了卡通画。”
“我爱连环画，逗乐的图画，严肃的幽默，具有颠覆性的，让人捧腹大笑的东西。那是另一种让我们活下去的方式。它们是杂志的一部分。我永远都愿意翻开杂志，看看里面发生了什么。每本杂志都有一个内部的世界。”
绘画是我们自己。
在喷墨打印之后，费城的凯文会把画布绷紧。“他是个有计划的人。”这可能听上去并没有什么，但打印出来的图像有8英寸的边缘会用来包裹住内框。不是在上方，而是围绕起来。不是全部围绕，但是围绕。刚好够了。形式主义？好吧。原材料是重要的。但我想理查德可能会把这当作是一份作业。那小小的1/8也是重要的。如果没有了它，作品可能只能得B+。当我去他工作室看他的画作时，他会不停地谈到这一点。但他觉得那只对他自己重要。他很无奈。他知道对于观者、观众而言...他们不会留意。对他而言，真正超前和有影响力的是功能和愉悦。而这种结合产生于细节。发现需要时间。他继续道：“那些潜藏在表象之下的，潜台词，那些‘野生的历史’…经年累月。人们跌撞前行。这就是那些年人们在做的事。流动堵塞了，你得通通爱因斯坦的烟斗才能睡个安稳觉。我能说什么呢？那张漫画的标题怎么样？”（他指着一张有紫色亮光裂痕的涟漪画）’在梦里行使责任。’
大片大片的颜色。
这就是涟漪绘画。你如何创作一张新的抽象画？这是我问理查德的最后一个问题。
“我不知道”，他说。
“我不这么思考。如何创作？我去工作，去我的工作室，关上门然后听Wilco乐队。”
他停顿了一下。他看看自己的鞋子，抬起了一只脚。
“我一只脚只能站这么久。过了一会儿我就开始摇晃。”
我不确定他这么说是什么意思。然后他又回来了。他去了哪儿？
“不过，对，抽象。一件事把你引向另一件事。有时我很幸运。希尔玛·阿夫·克林特（Hilma af Klint）。她是‘五’艺术小组（The Five）的一员。那一圈女性艺术家试图与艺术大师们取得连结。不是某位大师，而是一些大师。直觉，炼金术，通灵。我们在说的是1906年的事。她那有宗教意味的、非具象绘画作品要早于康定斯基。她让康定斯基心生妒意。她死于一场交通事故。我把这些已知带进工作室。我把我能获取的一切都带进去。所以，当然，抽象。因果的缺席。他们说什么来着？…‘描绘看不见的东西’。没错啊。不过我更喜欢一个好的故事。”
——琼·凯特兹（Joan Katz）
琼·凯特兹是一名生活在布拉格的新闻记者，与理查德·普林斯于1989年相识。1990年，普林斯和琼组建了一支名为“黑色胸罩”（Black Bra）的乐队，当时他们都住在罗马。
▲ 理查德·普林斯《涟漪绘画》展览现场，格莱斯顿画廊，2017.11.03 – 12.22。Richard Prince Ripple Paintings, installation view at Gladstone Gallery, 2017.11.03 – 12.22.
▲ 《无题（#107）》Untitled (#107), 2016-2017；喷墨打印、画布 Inkjet on canvas； 243.8 x 174 cm
The Ripple Paintings.
Not your everyday semi-realistic preparatory plaster castor fresco with a splash of satiric humor over a Whitney Darrow caricature.
Sidebar: Darrow is one of Richard’s “fab’s”. A longtime New Yorker cartoonist. He was also Jackson Pollack’s roommate.
A little of this. A little of that.
How hard can it be?
The Ripple Paintings are in the middle of two bodies of work.
The first body… Super Group. The third body… High Times.
The Ripple Paintings were made between 2015 and 2017.
Richard Prince told me “the rips” started off (“Major Tom’d”), by collecting cartoons published in Playboy. Cartoons that were originally published between the years 1967 and 1970.
“Three years that I remember, revisit, still think about. The turn on, turn up years. The years the circle replaced the square. The years the groove moved the twist and the uptight and upright lost its vote. The years Mr. Jones didn’t know what hit him. These years opened up and let me out. Man, I felt like I cleaned house. All the phony baloney shot out of my ass. All my life I had been lied too. Now I was awake. I was receptive. And all I needed was something to agree with. Between 1967 and 1970 I agreed to say no.”
“I’ve been working on the railroad.”
▲ 理查德·普林斯《涟漪绘画》展览现场，格莱斯顿画廊，2017.11.03 – 12.22。Richard Prince Ripple Paintings, installation view at Gladstone Gallery, 2017.11.03 – 12.22.
▲ 《无题（#130）》Untitled (#130), 2016-2017；喷墨打印、画布 Inkjet on canvas； 243.8 x 174 cm
Richard told me it was a simple idea.
“The cartoons that were submitted to the magazine were watercolors. That’s what was handed in, delivered to the art director. It was how they were made. Gouache on illustration board. Sketch, wash, and punch line. I bought the magazines on e-bay. I bought thirty-six issues. I flipped thru the magazine and tore my favorite “toons” out of the magazine, put the torn page on the floor, and poured more watercolor on the cartoon. Water on water. My red water color on their yellow cartoon. Fifty/fifty. My contribution? My psychotic breakdown of my psychic connection. Also a contrasting color. My red water on their yellow water. I would come back the next morning and my red would dry in its own way. It had personality. Travel, leak, pool, stains and puddles. And on the way to drying, the dry would ripple the paper. The pour would do its thing. A secret ‘cover’. The drying stayed up all night. Land of a thousand dances. The spread of my watercolor really didn’t have to do with me. It was independent. The form had a life of its own, a mind of its own, and each morning after ‘the evaporation’… I got a surprise.”
“Trippy.”
I asked Richard if he could pass The Acid Test.
“Probably not.”
“I’ve always been a fan of Ken Kesey. ‘It’s the truth even if it didn’t happen.’ ‘And when you lose your laugh you lose your footing.’
But I’m late to the Grateful Dead. I just started listening.”
Then he went on a little Birdtalk about the Ripples.
“They’re sexy.
Hit and miss.
Anyone can find me.
Everybody has to listen to Mom.
Balance.org.
Unmasking? Good luck.
Most of the time I don’t have much fun. The rest of the time I don’t have any fun at all.
Que Sera Sera. (I wish)”
▲ 理查德·普林斯《涟漪绘画》展览现场，格莱斯顿画廊，2017.11.03 – 12.22。Richard Prince Ripple Paintings, installation view at Gladstone Gallery, 2017.11.03 – 12.22.
▲ 《无题（#130）》Untitled (#130), 2016-2017；喷墨打印、画布 Inkjet on canvas； 243.8 x 174 cm
Richard kept telling me it was a stupid idea. I’m not even sure he said “idea”. But he did say “stupid”. He emphasized the word. Like it was a badge. A medal. An award. “You don’t have to look up the word in the dictionary. If you do, your probably not an artist.” He riffed that like it was one of his joke paintings.
He liked that his stupid idea lacked common sense. He repeated. Watercolor on watercolor. “More water. More color?” It wasn’t a question. It was a fact. And Richard likes to have facts in his works. Non-fiction. Something he can point to and name. He likes his titles to be what they are. The mistakes are great and he loves making them, but coming up with a name for the mistakes has to be a bull’s-eye. It’s about helping. “Don’t get mad. Get glad.” Eliminate the posture. Eliminate the guessing. The speculation. The subjectivity. Richard doesn’t like politics of symposium.
A second coat of paint.
The jet is nothing but hardware.
▲ 《无题（#109）》Untitled (#109), 2016-2017；喷墨打印、画布 Inkjet on canvas； 190.5 x 139.7 cm
▲ 理查德·普林斯《涟漪绘画》展览现场，格莱斯顿画廊，2017.11.03 – 12.22。Richard Prince Ripple Paintings, installation view at Gladstone Gallery, 2017.11.03 – 12.22.
Richard knew how he wanted to translate the new covering.
Ink jet.
He’s been using Ink Jet since 1985.
He told me back in ’85 there were only two places in the country you could “send away” for an ink jet print.
“It was primitive. Four colors sprayed out on a glossy tarp. The interpretation wasn’t very sophisticated and the reproduction of what you wanted reproduced was usually dull, cheap, and not very accurate.”
A lot has changed. Now you can have your own machine and instead of sending away to a commercial lab, you can spend the afternoon typing and coding exactly what you want and watch what comes out in your own space. Echo. Soul. Emotion. The three ghosts are like Casper. Friendly. Convenient too. Immediate. No waiting. “No saving up box tops and sending them off to Battle Creek Michigan.”
“Ancient footprints are everywhere.
You can almost think that you’re seein’ double.
Someday, everything is gonna be smooth like a rhapsody.”
There are all kinds of canvas and paper you can put through the printer, and the way the ink jets out... is fast, sweet, positive. It’s like some kind of new carburetor blending air and injecting fuel into a proper ratio. It bursts out a combustion of implausible liquid juice.
“Mine has a Holley and nitrous oxide. It’s a clean machine. It’s not a miracle, but its does the job.”
“I’ll take my chances.”
“Electronic scissor.”
Richard tells me that’s how he use to describe re-photography back in 1977.
And cartoons?
He’s been dealing with the subject since 1985.
“I wanted something to draw, so I re-drew cartoons.”
“I love cartoons. Funny drawings. Serious humor. Subversive. Laugh out loud. Another way of surviving. They’re part of the magazine. And I’ve always liked to open up a magazine and see what’s up. Every magazine is an Inside World.”
Paintings R Us.
After the jet, the canvas is stretched by Kevin from Philadelphia. “He’s the man with the plan.” This might not mean much, but the image of what’s printed is wrapped around the edge of the stretcher an eighth inch. It’s not on top, it around. Not much around, but around. Just enough. Formalism? Okay. Ingredients matter. But I think Richard would describe it more like homework. That little 1/8 counts. Without it, the painting is a B-plus. When I went to his studio to see the paintings, it’s all he would talk about. But he didn’t think it was important to anyone but him. He’s resigned. He knew that the viewer, the audience... wouldn’t pay attention. What’s forward and impactful for him is function and pleasure. The combination is in the details. Discovery takes time. He went on to say, “What’s underneath, the subtext, the “wild history”… can take years. People are bouncing. That’s what people do these days. The electric stampede is so jammed up you need to stream Einstein’s pipe to go to sleep. What can I say? How about the caption in that cartoon?” (He points to a Ripple that’s covered in a fracture of purple blaze). ‘In dreams begin responsibility.’
Big pieces of color.
That’s what the Ripples are. How do you make a new abstract painting? That’s the last thing I asked Richard.
“I don’t know,” he said.
“I don’t think that way. How do I make? I go to work. I go to my studio. Shut the door and listen to Wilco.”
There’s a pause. He looks at his shoes. He lifts one foot off the floor.
“I can only stand this way for so long. After awhile I start to wobble.”
I’m not sure what he means. Then he’s back. Where did he go?
“But yea, abstraction. One thing leads to another. Sometimes I get lucky. Hilma af Klint. She belonged to the five. A circle of women that tried to get in touch with the high masters. Not one master but several. Intuition. Alchemy. Séance. We’re talking 1906. Her spiritual non-objective paintings pre-dated Kandinsky. She ate Kandinsky’s heart out. She died after a traffic accident. I take that knowing into my studio. I take everything I can get. So of course, abstraction. The absence of consequences. What do they say?...‘painting the unseen’. So yea. But I like a good story better.”
—Joan Katz
Joan Katz is a journalist, living in Prague, who has known Richard Prince since 1989. In 1990 Prince and Katz formed a band called Black Bra when they were both living in Rome.
▲ 理查德·普林斯《涟漪绘画》展览现场，格莱斯顿画廊，2017.11.03 – 12.22。Richard Prince Ripple Paintings, installation view at Gladstone Gallery, 2017.11.03 – 12.22.
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