richard irwin meyer the intimate colors - … · majoring in fine art and art history following...
TRANSCRIPT
RICHARD IRWIN MEYER
T H E I N T IMA T E C O L O R S
Richard Irwin Meyer was born on April 9th
1950 in Yakima, Washington. He was graduated from
high school after completing a two year program
for young gifted artists. He attended Yakima Valley
Junior College and Central Washing State College
majoring in fine art and art history following high
school. He attended Gandy Brodie School of Fine
Art in Vermont, summers of 1969 and 1970, with the
second year on full scholarship.
Richard Irwin Meyer He moved to New York in 1970 sharing a studio
with Gandy Brodie and working as the studio assistant
of Elaine de Kooning. He took a job in the publications
department of the Museum Of Modern Art, New York
city, through1975 and stopped painting in 1976. He
pursued an acting career in film and theater through
1980. He opened a gallery specializing in African art
in 1980 and returned to painting in 2005 - 2014 in New
York and Petitenget, Bali. He moved to continuing his
painting at Yogyakarta in 2015 until today.
Solo Exhibitions (selected)2018 Puri Art Gallery, Jakarta
2014 NalaRoepa Art Space, Yogyakarta
2012 Brian Kenner Gallery, New York
Group Exhibitions (selected)2012 Gaya Art Space, Ubud
1973 Byron Gallery, New York
1972 Grey Art Gallery, New York
1972 Spitzenberg Gallery, Seattle
1971 Bellvue Art Fair, Seattle
1970 Newfane Gallery, Newfane-Vermont
Academic Lecture2013 ‘Originality and the New York School’ at Galeri Soemardja, Bandung, Indonesia.
Press Documentation in Indonesia:
artspace.idhttps://artspace.id/2018/01/05/abstraksi-baru-karya-organik-dan-orisinalitas-lukisan-richard-irwin-meyer/
Sarasvati Majalah/onlinehttp://www.sarasvati.co.id/exhibition/04/lawangwangi-akomodasi-berbaurnya-karya-seni-rupa-dan-desain/
tembi.nethttp://arsip.tembi.net/berita-budaya/richard-irwin-meyer-seniman-amerika-melirik-yogyahttp://arsip.tembi.net/
berita-budaya/richard-irwin-meyer-seniman-amerika-melirik-yogya
Abstraksi sebagai metodologi dalam praktik
seni seniman Indonesia saat ini bisa dikatakan
sebagai konsep yang unik. Metode itu disajikan
dengan menggabungkan lukisan, penggambaran dan
pengarsipan citra - memang wacana medium yang
juga dianggap penting saat ini. Representasi gagasan
dengan metode abstraksi ini lebih rinci dalam produksi
bahasa artistiknya. Praktik seni dalam kategori ini
muncul di antara arus utama bahasa representasi
yang ilustratif - melalui figur-figur representasional,
seperti komik-komik di dalam lukisan.
Abstraction as a methodology in the art practice
of Indonesian artists today can say as a unique
concept. That method were presented by combining
the painterly painting, drawing and appropriation
of imagery - indeed the discourse of medium also
considered to be important today. The representation
of ideas with this method of abstraction is more
detailed in the production of its artistic languages.
The art practice in this category reemerges among
the mainstream of the illustrative language of
representation – through representational figures,
such as comics in the paintings.
“The Intimate Colors on Richard Irwin Meyer
Paintings”
“Warna-Warna Intim dalam Lukisan Richard Irwin Meyer
~Argus FS, Curator
Karya yang dia hasilkan ketika hidup di selatan
Bali dan Yogyakarta merupakan abstraksi dari budaya
orang Bali dan Yogyakarta. Dia menggunakan metode
abstraksi baru di seluruh ekosistem produksi bahasa
seninya. Dia menggunakan cat akrilik di atas kertas,
plastik, karet, kanvas, dan medium lainnya. Gagasan
karyanya pun banyak terlahir dari situasi sosial
masyarakat urban juga geo—kulture Indonesia.
Sampai suatu ketika ia tertarik dengan masalah
warna dan reaksi kimia cat akrilik. Dengan demikian,
pembacaan lukisan Richard Irwin Meyer dapat
dihubungkan kembali pada pencapaian nilai-nilai
dari seniman abstract expressionist sebagai referensi
sejarah. Richard menggunakan eksplorasi bentuk dan
esensi dari pesanan estetika yang dibangun oleh
wacana material. Mencari tesis ekspresinya dalam
ranah seni kontemporer Indonesia dari prosesnya.
Tidak ada lagi yang berbicara tentang fungsi material
sebagai struktur bahasa. Dia melihat sesuatu di luar
permukaan cat.
What he produce when he was working in
southern Bali and Yogyakarta were the abstraction of
the Balinese culture and Yogyakarta as well. He use
a new abstraction method in the entire production
ecosystem of his artistic language. He uses acrylic
paint on paper, plastic, rubber, canvas, and so on. The
idea of his work was much born from the situations
also the social field of both urban communities in
Indonesia and the geo-culture.
Until then he was interested in color issues and
chemical reactions of the acrylic paints. Thus, the
reading of Richard Irwin Meyer’s painting can be
reconnected to the values of abstract expressionist
artists as the historical references. Richard use
the exploration of forms and the essence of the
orders of aesthetic who constructed by material
discourse. Seeking its expression thesis in the realm
of Indonesian contemporary art from the process.
There is no longer speaks about material function
as astructure of language. He is looking something
beyond the surfaces of paints.
Karya-karya Richard Irwin Meyer dinyatakan dalam
dunia wacana lukisan baru di mana ia belajar dari sejarah
seni modern yang telah berlangsung selama periode
pasca-Dunia II di kota New York. Sebagai seniman yang
tinggal di antara gerakan post-abstract expressionist
dan dunia seni kontemporer, Richard Irwin Meyer masih
mencari tatanan baru pencapaian artistik dalam seni
kontemporer saat ini melalui sudut pandang pribadinya.
Jadi, lukisannya sudah melampaui bahasa yang
dikembangkan oleh seniman abstract expressionist,
karena yang sedang dia kerjakan sekarang adalah
pengembangan metode abstraksi terbaru di ranah seni
rupa kontemporer.
Richard Irwin Meyer’s artworks are stated in the
world of new painting discourse in which he learn
from the history of modern art who has taken place
during the post-World Word II periods in New York
city. As an artists who live in between the post-abstract
expressionist movement and contemporary art world,
Richard Irwin Meyer is still looking for new order of
artistic achievements in the contemporary art today
through his personal point of view. So, his paintings have
been moved away from the language who developed
by the abstract expressionist artists, because what he
is working by now is develop the newest abstraction
method in contemprary art world.
His paintings also do not embed narratives as
commonly found in works of art in the archipelago.
The subject matter of his paintings are answering the
question; how a certain types of acrylic paints and
the medium on his hand used to build non-narrative
abstraction. Therefore, the material of paintings
becomes very important rather than the story behind
the drawing. Indeed, his drawing constructed by the
spontaneous composition of the lines and the colored
field. He is believe that the pigment colors will telling
you more about paintings. Richard Irwin Meyer also uses
additional material that is often mixed on acrylic paints.
He observes the chemical process of elaborating the
intermediate in the field of canvas or rubber as well as
paper and other medium.
Lukisannya juga tidak menyertakan narasi seperti
yang biasa ditemukan dalam karya seni di Nusantara.
Pokok soal dalam lukisannya menjawab pertanyaan;
bagaimana beberapa jenis cat akrilik dan medium di
tangannya digunakan untuk membangun abstraksi
non-naratif. Karena itu, bahan lukisan menjadi sangat
penting ketimbang cerita dibalik gambar. Memang,
gambarnya dibuat oleh komposisi garis dan bidang
berwarna yang spontan. Dia yakin bahwa warna
pigmen akan memberi tahu Anda lebih banyak tentang
lukisan. Richard Irwin Meyer juga menggunakan bahan
tambahan yang sering dicampur pada cat akrilik. Dia
mengamati proses kimia untuk menguraikan bidang
antara di kanvas atau karet dan kertas serta medium
lainnya.
We can learn that his creative process is lays
down on the originality and organic works. He refuses
to produce a kind of ‘visual revision’ or appropriation
forms which taken from works who has been collected
by art museums. He is thinking about what would
happen tomorrow in the world of painting. He said,
that the identity of an artist is viewed from an authentic,
organic and original work which coming from the
intimate process through the colors.
There are interesting and important works from
his hand since he moved to Yogyakarta in 2015. His
turning point to the new abstraction marked by his one
man show at Yogyakarta in 2014. Then, the art collectors
can see and learn how his paintingscontribute into the
world of contemporary art – the abstraction of both
Indonesian culture and nature - while he attach the
humanistic values of Asian society as the content of
his works.
Kita dapat melihat bahwa proses kreatifnya
mengarah pada orisinalitas dan karya-karya organik.
Dia menolak untuk menghasilkan semacam ‘revisi
visual’ atau bentuk apropriasi yang diambil dari karya-
karya yang telah dikumpulkan oleh museum seni. Dia
sedang memikirkan apa yang akan terjadi besok di
dunia lukis. Katanya, identitas artis dilihat dari karya
asli, organik dan orisinil yang berasal dari proses intim.
Ada karya-karya yang menarik dan penting dari
tangannya sejak ia pindah ke Yogyakarta pada tahun
2015. Titik baliknya pada abstraksi baru yang ditandai
oleh pameran tunggalnya di Yogyakarta pada tahun
2014. Kemudian, para kolektor seni dapat melihat dan
belajar bagaimana lukisannya serupa warna-warna
intim yang berkontribusi ke dalam dunia seni rupa
kontemporer - abstraksi budaya dan alam Indonesia –
ketika ia menyertakan nilai-nilai humanistik masyarakat
Asia sebagai konten karya-karyanya.
Karya-karya terakhir dari Richard Irwin Meyer
juga lebih penting untuk menyimak bagaimana
ia selalu bergerak ke ranah rasa yang baru serta
wacana bahasa rupa melalui lukisan-lukisannya.
Bukan perbincangan pada soal bentuk. Lukisannya
yang terakhir ini bicara mengenai waktu dan ruang di
mana cat-cat akrilik berinteraksi di atas permukaan
mediumnya. Pameran “Intimate Colors” dapat
dikatakan sebuah pernyataan artistik, bagaimana
cat akrilik itu bergerak menjadi sebuah lukisan.
Warna interference (gangguan) boleh jadi kata kunci
untuk mengamati lukisannya secara langsung, lalu,
seseorang akan menemukan di mana ruang dan rasa
itu hadir pada setiap lapisannya.***
The recent works from Richard Irwin Meyer are
more important to see how he always moving into
new feeling and visual art discourse through his
paintings. It not about form anymore. It is all about
time and space where acrylic paints intearct each
other upon the medium. This “Intimate Colors”
exhibition can say as the artistic statement in which
he present what is colors on acrylic paints gone to be
a painting. Interference colors might be the keyword
to see his painting in person then one would found
the space who attaching the time and feeling on
each layers.***
Full Moon201060 x 50 cmAcrylic On Canvas
Green Moon201051 x 58 cmAcrylic On Wood
Slate Sky201057 x 50 cmAcrylic On Wood
Silver Calligraphy2014
69 x 50 cmAcrylic On Canvas
Slate Sky201057 x 50 cmAcrylic On Wood
Belukar, Semak-Semak2015
150 x 100 cmAcrylic On Canvas
Berkilat - Kilat201560 x 40 cmAcrylic On Canvas
Gugup2017
80 x 100 cmAcrylic On CanvasJeruk
201660 x 40 cmAcrylic On Canvas
Gugup2017
80 x 100 cmAcrylic On Canvas
Gigit2017150 x 100 cmAcrylic On Canvas
Ultra Ungu201560 x 60 cmAcrylic On Canvas
Kepandaian Menyajikan2015
60x60 cmAcrylic On Canvas
Rasa Terpesona201550 x 50 cmAcrylic On Canvas
Kepandaian Menyajikan2015
60x60 cmAcrylic On Canvas
Lamunan201760 x 60 cmAcrylic On Canvas
Empat Persegi, 2016, 80 x 100 cm, Acrylic On Canvas
Tanpa Bobot2015
56 x 38 cmAcrylic On Canvas
Sifat Berapi - Api201580 x 100 cmAcrylic On Canvas
Flexion201361 x 46 cmAcrylic On Architect Film
Staging Effects 201450 x 39,7 cmAcrylic On Canvas
Alam Mimpi2017
80 x 100 cm Acrylic on canvas
Biofisika2016
90 x 120 cm Acrylic on canvas
Dari Zaman Dahulu2015
80 x 100 cm Acrylic on canvas
Dunia Saya2016
80 x 100 cm Acrylic on canvas
Genit2017100 x 70 cm Acrylic on canvas
Gerak Isyarat2016
100 x 70cm Acrylic on canvas
Hembusan Angin2016
80 x 100 cm Acrylic on canvas
Kandang2016100 x 80 cmAcrylic on canvas
Kemunduran2017
99,5 x 150 cmAcrylic on canvas
Kemungkinan2016100 x 100 cmAcrylic on canvas
Ketidakseimbangan2017
60 x 120 cmAcrylic on canvas
Kolom2016
70 x 100 cmAcrylic on canvas
Mencurahkan2016
100 x 150 cmAcrylic on canvas
Obat Merah2016
70,3 x 100,3 cm Acrylic on canvas
Obat Penawar2016100 x 80 cmAcrylic on canvas
Sifat Berapi-api2015
80 x 100 cmAcrylic on canvas
Sifat Tembus201770 x 100 cmAcrylic on canvas
Dr. Rudy SalahuddinDeputy Minister for Creative Economy, Entrepreneurship,
and Cooperatives & SMEs Competitiveness
Hans SusantioDella WirajaDino V. PrayogaEdi WirmanArgus FSArkaArts ManagementCPM Building ManagementRegistry Magazineartspace.id
For more info:ph. 0856 874 6645 / 0812 947 888 91e. [email protected]
Special acknowledgement to_:
media partner:
Design:Puri Art GalleryPhotography:
Courtesy of the artist and Artlinked IndonesiaCurator:Argus FS
in collaborations:
arkaarts management