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著作権 この作品は、現在も著作権の保護対象です。Ellen Gallagher は 1965 に生まれ、没年は記録されていません。著作権は、作者の死後 70 年間存続します。この画像は教育目的の参照用として掲載されており、権利は権利者に帰属します。
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Delirious Hem — Ellen Gallagher
原寸は 213 × 184 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。 このページ上では、原寸大で表示するにはサイズが大きすぎます。
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作家が 30 歳の時に制作。 0 の当カタログにおけるこの作家の制作年が判明している 7 点の作品のうち、これよりも以前に制作されたものがあります。
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主要色
Rosy Brown #c6a27c
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主要な10カ国
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これらの作品は、このアーティストの絵画が過去12か月間に受けた注目全体の 100.0% を占めています。カタログにはこのアーティストによる 8 点の作品が収められており、そのうち 6 点は少なくとも一度は閲覧されました。 この絵画は、その中での注目度が 1 位で、その注目の 27.3% を占めています。 月ごとの集計結果は同一です
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この作品について
Delirious Hem — Ellen Gallagher
Ellen Gallagher"s debut on the New York art scene in 1995 at the Whitney Biennial and subsequent one-person show at Mary Boone Gallery in 1996 (where Delirious Hem was shown) brought her instant critical attention. Her large "paintings"—actually crafted from multiple sheets of drawn paper pasted in rows to a caveat support—combine the post-modernist interest in race, gender, and identity with the grid aesthetic of Minimalism. Neither wholly pictorial nor abstract, her works can be read on many different levels, and they suggest visual sources as diverse as patchwork quilts, African textiles, and Agnes Martin paintings. Small line drawings of thick lips (an allusion to the negative stereotyping of African Americans in blackface minstrel shows) are embedded throughout this composition. Clustered in small groupings that resemble beaded bracelets and barely visible under the sheets of blue-lined penmanship paper that form the rectangles in the center, these racial signifiers are a disturbing undertow in an otherwise seemingly lyrical image.
アーティストと美術館
生誕地 Providence, United States of America
Born in Providence, Rhode Island, on December 16, 1965, Ellen Gallagher has emerged as a profound voice in contemporary American art, weaving together the complexities of race, identity, and social structure through a masterful command of multimedia. Her heritage, a rich tapestry of Cape Verdean and Caucasian Irish Catholic roots, serves as a foundational element in her exploration of the "ordering principles" that society imposes upon the individual. Gallagher’s journey into the heart of visual expression began not with paint, but with words; her early studies in writing at Oberlin College provided her with a linguistic framework that would later inform the repetitive, rhythmic, and almost poetic structures found in her visual compositions.
The evolution of her practice is marked by a rigorous academic and experimental pursuit. After attending Studio 70 in Kentucky, she earned her degree in Fine Arts from the School of the Museum of Fine Arts in Boston in 1992, later refining her craft at the prestigious Skowhegan School of Painting and Sculpture in Maine. During her formative years in Boston, she became deeply embedded in the vibrant intellectual atmosphere of the Darkroom Collective, serving as their art coordinator. This period of intense creative exchange, surrounded by poets and thinkers, helped shape her ability to blend formalist aesthetics with deep, socio-political commentary.
Gallagher’s work is celebrated for its breathtaking technical complexity, often blurring the lines between painting, collage, and printmaking. She possesses a unique ability to manipulate media to challenge the viewer's perception of reality. Her most iconic contributions to the art world are her monumental, grid-like collages—works that function as both intricate mosaics and profound social critiques. In masterpieces such as Exelento (2004), Afrylic (2004), and Deluxe (2005), she meticulously deconstructs and reassembles fragments of media, often repurposing advertisements from African American-focused publications like Ebony, Sepia, and Our World.
The physical construction of these pieces is an arduous labor of love, involving a sophisticated array of techniques:
Photogravure and Silkscreen: Used to layer imagery with precision and depth.
Spit-bite and Offset Lithography: Employed to create tonal variations and textures that mimic the grain of historical print media.
Collage and Scratching: Physical interventions that disrupt the surface, symbolizing the fracturing of identity and the reclaiming of narrative.
Hand-building: A tactile approach that gives each piece a sculptural, presence-filled quality.
Each large-scale work can consist of more than sixty individual prints, meticulously arranged to create a larger, cohesive whole. This method allows her to address the repetitive nature of stereotypes while simultaneously creating a formalist beauty that draws the eye into a labyrinth of detail.
The aesthetic language of Ellen Gallagher is a dialogue between disparate influences. From the minimalist rigor of Agnes Martin, she draws a sense of discipline and structural repetition, while the stream-of-consciousness, repetitive writings of Gertrude Stein inform her approach to layering meaning and disrupting linear thought. Her work also reflects the impact of contemporary peers such as Kiki Smith, Ann Hamilton, and Laylah Ali, contributing to a broader movement that seeks to interrogate the gaze and the politics of representation.
Ultimately, Gallagher’s significance lies in her ability to transform the ephemeral—the scraps of magazines, the fleeting advertisements, the discarded fragments of pop culture—into enduring monuments of historical reflection. By repurposing the very tools used to propagate racial stereotypes, she reclaims them, turning the "ordering principles" of society into a site of resistance and profound beauty. Her work remains a vital touchstone in contemporary art, challenging us to look closer at the layers that constitute our shared human experience.
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Delirious Hem — Ellen Gallagher
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Ellen Gallagher作「Delirious Hem」 の輝度は Luminous です。輝度とは、色がどれほど光を反射しているかを表す指標です。
Ellen Gallagher作「Delirious Hem」の手描き複製画は、当サイトの手描き油彩複製画ページよりリネンキャンバスに手描きされた油彩複製画にてご購入いただけます。
「Delirious Hem」のパレットは、彩度がBalanced Softです。