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拍品专文
Objects from the Collection of Carolyn and Joel Gibbs
The Carolyn and Joel Gibbs Collection represents the couple's shared passion for post World War II contemporary art and, in particular, American photorealism. From Richard Estes to John Baeder to Ralph Goings, the collection is a unified vision - a cohesive group of objects that was assembled through careful research, a joy of collecting, and a keen eye for great works of art.
Carolyn and Joel began collecting art in earnest in the late 1970s. Over time, relationships with Boston art dealers evolved into frequent trips to galleries and studios in New York's lower Manhattan. A close family friend and former Boston art dealer who accompanied the couple on one of these trips said the big thrill for Joel was meeting the artists: "He was like a kid in a candy store. He had a pure love and respect for the artist's process and relished every minute of every encounter." He was enthusiastic and engaged in great conversations about contemporary art during these art visits. Joel had an eye for important objects. "He could look at a painting and just know if it was special. Not everyone can do that," she noted.
The quieter of the pair and ever the book worm and scholar, Carolyn conducted the couple's research into their burgeoning art collection. Their children uncovered tall stacks of art magazines in the family's home, filled with Carolyn's careful notes in the margins about artists and objects she and Joel were interested in. Joel and Carolyn were not buying art simply as financial investment. They were buying art because they truly loved the works and the experience of collection. This was the couple's shared adventure and every object they found together was treasured.
The resulting collection the couple assembled includes some outstanding works: a canvas from Willem De Kooning's important 'Woman' series and two exceptional paintings by Wayne Thiebaud. For the couple's children, who enjoyed and were educated by the collection on the walls of the family home for more than three decades, the entire collection is indeed truly special.
Given the 'arrested' quality of these drawings it is tempting to assume that they are structured metonymically: that their subject is not the object or scene represented but something that is linked to the represented object or scene by association, or by a chain of associations. That 'something' need not necessarilky be another object or person; it could, for example, be a memory, a desire or a sense of longing. That empty chairs are among his favorite subjects does suggest that Hockney is disposed towards metonymy."
(U. Luckhardt, David Hockney: A drawing retrospective, exh. cat., London, 1995, pp. 19-20.)
The Carolyn and Joel Gibbs Collection represents the couple's shared passion for post World War II contemporary art and, in particular, American photorealism. From Richard Estes to John Baeder to Ralph Goings, the collection is a unified vision - a cohesive group of objects that was assembled through careful research, a joy of collecting, and a keen eye for great works of art.
Carolyn and Joel began collecting art in earnest in the late 1970s. Over time, relationships with Boston art dealers evolved into frequent trips to galleries and studios in New York's lower Manhattan. A close family friend and former Boston art dealer who accompanied the couple on one of these trips said the big thrill for Joel was meeting the artists: "He was like a kid in a candy store. He had a pure love and respect for the artist's process and relished every minute of every encounter." He was enthusiastic and engaged in great conversations about contemporary art during these art visits. Joel had an eye for important objects. "He could look at a painting and just know if it was special. Not everyone can do that," she noted.
The quieter of the pair and ever the book worm and scholar, Carolyn conducted the couple's research into their burgeoning art collection. Their children uncovered tall stacks of art magazines in the family's home, filled with Carolyn's careful notes in the margins about artists and objects she and Joel were interested in. Joel and Carolyn were not buying art simply as financial investment. They were buying art because they truly loved the works and the experience of collection. This was the couple's shared adventure and every object they found together was treasured.
The resulting collection the couple assembled includes some outstanding works: a canvas from Willem De Kooning's important 'Woman' series and two exceptional paintings by Wayne Thiebaud. For the couple's children, who enjoyed and were educated by the collection on the walls of the family home for more than three decades, the entire collection is indeed truly special.
Given the 'arrested' quality of these drawings it is tempting to assume that they are structured metonymically: that their subject is not the object or scene represented but something that is linked to the represented object or scene by association, or by a chain of associations. That 'something' need not necessarilky be another object or person; it could, for example, be a memory, a desire or a sense of longing. That empty chairs are among his favorite subjects does suggest that Hockney is disposed towards metonymy."
(U. Luckhardt, David Hockney: A drawing retrospective, exh. cat., London, 1995, pp. 19-20.)