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PREVIOUS PAGES: Limoges china and vermeil candlesticks establish an ebullient setting for the androgynous delights of Chris Antemann’s Meissen-inspired centerpiece Sweet Meats. Though the work’s lithesome characters seem to be innocently partaking in the Dionysian delights of their naturally youthful sensuality, the title is a provocation. Does it refer to the culinary delicacies exchanged between the two male figures, or does it generally refer to a more carnal form of indulgence?
Limoges瓷器和镀金银质烛台为餐桌中央的梅森瓷雕设置了热情洋溢的背
LEFT: Adorning the side table is a Baccarat vase sprouting a cornucopia of tulips, Art Nouveau-style glass shades crowning more modern lamp bases and a Sophia Vari sculpture from Nohra Haime Gallery in New York. Above it all, sconces from Baguès, the famous crystal lighting firm established in 1860, refract light through their glittery crystal pendants. The mirror of the side tables, the panels behind them and the wardrobe (reflected in the panels) not only expand the room infinitely, but also repeat and fracture forms in ways consonant with the work of Arman.
方，来自著名水晶灯具公司Baguès（1860年创立）的壁灯用光闪闪的水晶坠
景。这件Chris Antemann的作品名为“甜肉”。其中纤柔的人物似乎正天真 无邪地沉醉于自然赋予年轻肉体的酒神狂欢，但作品的标题却刺激着观者 的神经。它是指两名男子之间交换的美食吗？还是泛指肉体的沉沦呢？ 床头柜上的摆设包括：一个巴卡拉水晶艺术花瓶，大捧的郁金香从里面四 散伸展；两盏台灯，新艺术风格（Art Nouveau）的玻璃灯罩搭配现代派底 座；购自纽约Nohra Haime画廊的Sophia Vari的雕塑作品。所有这一切的上 饰折射着灯光。床头柜上的镜面、它上方的镜墙和对面衣橱的镜门（镜墙上 有它们的映像），不仅无限地扩展了卧房的视觉空间，也是对结构的重复和 瓦解，这正和Arman的作品相呼应。 蓝色绸缎簇绒床头板蜿蜒起伏的轮廓线，和白爵飞设计的镜面床头柜现代 感的矩形线条形成反差。窗边是Arman为Daum公司制作的脱壳而出的维纳 斯。白爵飞把相同色彩的不同图案掺杂在一起：沙发椅上的紫藤花和窗帘帷 幔上的宽条纹。
ABOVE: The meandering line of the tufted blue satin headboard, an arching series of wavy arabesques, contrasts with the modern orthogonal lines of custom mirror-faced side tables by Bradfield. Arman’s emerging Venus for Daum is by the window. Bradfield mixes patterns within the same palette: a wisteria floral on the armchairs and a wide stripe on the draperies and pelmet. 58
02_TheSherryNetherland_Bradfield_Arttistic_License_ship3.indd 58-59
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PREVIOUS PAGES: Limoges china and vermeil candlesticks establish an ebullient setting for the androgynous delights of Chris Antemann’s Meissen-inspired centerpiece Sweet Meats. Though the work’s lithesome characters seem to be innocently partaking in the Dionysian delights of their naturally youthful sensuality, the title is a provocation. Does it refer to the culinary delicacies exchanged between the two male figures, or does it generally refer to a more carnal form of indulgence?
Limoges瓷器和镀金银质烛台为餐桌中央的梅森瓷雕设置了热情洋溢的背
LEFT: Adorning the side table is a Baccarat vase sprouting a cornucopia of tulips, Art Nouveau-style glass shades crowning more modern lamp bases and a Sophia Vari sculpture from Nohra Haime Gallery in New York. Above it all, sconces from Baguès, the famous crystal lighting firm established in 1860, refract light through their glittery crystal pendants. The mirror of the side tables, the panels behind them and the wardrobe (reflected in the panels) not only expand the room infinitely, but also repeat and fracture forms in ways consonant with the work of Arman.
方，来自著名水晶灯具公司Baguès（1860年创立）的壁灯用光闪闪的水晶坠
景。这件Chris Antemann的作品名为“甜肉”。其中纤柔的人物似乎正天真 无邪地沉醉于自然赋予年轻肉体的酒神狂欢，但作品的标题却刺激着观者 的神经。它是指两名男子之间交换的美食吗？还是泛指肉体的沉沦呢？ 床头柜上的摆设包括：一个巴卡拉水晶艺术花瓶，大捧的郁金香从里面四 散伸展；两盏台灯，新艺术风格（Art Nouveau）的玻璃灯罩搭配现代派底 座；购自纽约Nohra Haime画廊的Sophia Vari的雕塑作品。所有这一切的上 饰折射着灯光。床头柜上的镜面、它上方的镜墙和对面衣橱的镜门（镜墙上 有它们的映像），不仅无限地扩展了卧房的视觉空间，也是对结构的重复和 瓦解，这正和Arman的作品相呼应。 蓝色绸缎簇绒床头板蜿蜒起伏的轮廓线，和白爵飞设计的镜面床头柜现代 感的矩形线条形成反差。窗边是Arman为Daum公司制作的脱壳而出的维纳 斯。白爵飞把相同色彩的不同图案掺杂在一起：沙发椅上的紫藤花和窗帘帷 幔上的宽条纹。
ABOVE: The meandering line of the tufted blue satin headboard, an arching series of wavy arabesques, contrasts with the modern orthogonal lines of custom mirror-faced side tables by Bradfield. Arman’s emerging Venus for Daum is by the window. Bradfield mixes patterns within the same palette: a wisteria floral on the armchairs and a wide stripe on the draperies and pelmet. 58
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“Isn’t life a series of images that change as they repeat themselves?” — A N D Y WA R H O L
“生活不就是一系列在不断重 复中发生变化的图像吗？” —安迪·沃霍尔
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RIGHT: A nude bronze by Alexander Archipenko is less fractured than many of the artist’s signature Cubist works, its contours smoothly and supply rendered. Nevertheless, its barely detectable twist and contrapposto stance literally embody historian Herbert Read’s observation that, for Archipenko, “the object becomes an excuse for the presentation of the concept of movement in space.”
06_Lucida_Bradfield_Artistic_License_ship.indd 142-143
Alexander Archipenko的这尊青铜裸像比起他大多数立体主义作品 来说少有折断，对人体曲线有平滑、柔软的表现。但是，它不易察觉 的扭曲和反转姿态成为历史学家Herbert Read对Archipenko概括的 最佳注脚——“艺术对象成为呈现空间运动概念的借口。”
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7/15/13 6:46 PM
“Isn’t life a series of images that change as they repeat themselves?” — A N D Y WA R H O L
“生活不就是一系列在不断重 复中发生变化的图像吗？” —安迪·沃霍尔
142
RIGHT: A nude bronze by Alexander Archipenko is less fractured than many of the artist’s signature Cubist works, its contours smoothly and supply rendered. Nevertheless, its barely detectable twist and contrapposto stance literally embody historian Herbert Read’s observation that, for Archipenko, “the object becomes an excuse for the presentation of the concept of movement in space.”
06_Lucida_Bradfield_Artistic_License_ship.indd 142-143
Alexander Archipenko的这尊青铜裸像比起他大多数立体主义作品 来说少有折断，对人体曲线有平滑、柔软的表现。但是，它不易察觉 的扭曲和反转姿态成为历史学家Herbert Read对Archipenko概括的 最佳注脚——“艺术对象成为呈现空间运动概念的借口。”
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“艺术是让我们认 识真相的谎言。” —毕加索
“Art is a lie that makes us realize the truth.” — PA B LO P I C A S S O
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“艺术是让我们认 识真相的谎言。” —毕加索
“Art is a lie that makes us realize the truth.” — PA B LO P I C A S S O
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