徐梯善

1/1
下一頁

Installation view from Tishan Hsu: Liquid Circuit

Image courtesy of the artist and Hammer Museum.

Installation view from Tishan Hsu: Liquid Circuit

Image courtesy of the artist and Hammer Museum.

Installation view from Tishan Hsu: Liquid Circuit

Image courtesy of the artist and Hammer Museum.

Blue Cross, 1991

Image courtesy of the artist and Empty Gallery

Installation view from Searching the Sky for Rain

Image courtesy of the artist and SculptureCenter.

Nessea, 1984

Image courtesy of the artist and Empty Gallery.

Installation view frPhantom Plane, Cyberpunk in the Year of the Future

Image courtesy of the artist and Tai Kwun.

Installation view frPhantom Plane, Cyberpunk in the Year of the Future

Image courtesy of the artist and Tai Kwun.

Installation view from Cutting the Stone

Image courtesy of the artist and Miguel Abreu Gallery.

Installation view fromInto Form: Selections from the Rose Collection, 1957 – 2018

Image courtesy of the artist and Rose Art Museum.

Installation view from Glow Like That

Image courtesy of the artist and K11 Art Foundation.

徐梯善在波士頓出生,童年在蘇黎世渡過,成長期間曾居於美國不同地方包括俄亥俄,威斯康辛,維吉尼亞和紐約。還是少年的他已在維吉尼亞舉行首個個展,並於整個地區作巡展。徐梯善1973年畢業於麻省理工學院建築系,1975年完成碩士課程;在麻省理工就讀學期間,更同時於哈佛大學卡本特視覺藝術中心修讀電影。徐梯善於1979年移居紐約生活至今,他在紐約的首個展覽是在Pat Hearn 畫廊舉行。自1985年起,徐梯善的作品曾多次於美國,歐洲及墨西哥展出,並為公共機構及私人所收藏。他曾1988年至1990年期間於德國科隆生活及工作。

 

徐梯善在2013至2016年於上海開設了一間工作室,並在那裡完成了一個以其從家族相簿中發現的舊照片而進行的創作計劃。他大部分的作品試圖傳遞一種具體化的科技,但他對科技的興趣不在於運用某種特定機具,而是對科技影響的感知。他作品的類型包括繪畫,數碼媒體計劃及雕塑。

 

徐梯善的作品為紐約大都會藝術博物館、巴黎龐比度中心、法蘭克福現代藝術美術館、亞特蘭大High Museum、洛杉磯當代藝術美術館、北邁阿密當代藝術博物館及明尼阿波利斯魏斯曼美術館等所收藏。他曾是White Columns的董事會成員和Skowhegan School of Painting and Sculpture的理事。直至不久前,徐梯善仍是莎拉勞倫斯學院視覺藝術系教授,普瑞特藝術學院和哈佛大學的訪問教授。

Education

Massachusetts Institute of Technology, Cambridge, Massachusetts, B.S.A.D., M.Arch.

Public Collections

Rubell Family Collection
Rose Art Museum, Waltham, MA
Museum fur Moderne Kunst, Frankfurt am Main
Metropolitan Museum of Art, New York
Centre George Pompidou, Paris
High Museum, Atlanta
Terra Museum, Mexico City
Los Angeles Museum of Contemporary Art, Los Angeles
Museum of Contemporary Art, North Miami, Florida
Weisman Museum, Minneapolis, Minnesota

Residency

1988 - 1990
Cologne, Germany

Teaching

1994 - 2018
Professor of Visual Arts, Sarah Lawrence College, Bronxville, NY
2005 - 2006
Visiting Professor of Visual and Environmental Studies Harvard University, Cambridge, MA
1993 - 1996
Visiting As sistant Professor, Patt Institute, Brooklyn, NY
1997
Visiting Artist: Tyler School of Art, Temple University
1996
Visiting Artist: Stanford University, Dept. of Art
1992
Visiting Artist: Cranbrook Academy of Art - Painting Dept.
1989
Visiting Artist: Yale University School of Art - Sculpture Dept
1987
Guest Lecturer: Columbia College, Columbia University
Guest Lecturer: Carnegie Mellon University Art Dept.

Selected Solo Exhibitions

2020(Upcoming)
Gwangju Biennale 2020
Rose Art Museum, Brandeis University
SculptureCenter, New York
2020
Hammer Museum, Los Angeles
SculptureCenter, New York
2019
Empty Gallery, Hong Kong
2002
The Annex, New York
1991
Galerie Rolf Ricke, Cologne, Germany
1990
Lino Silverstein Gallery, Barcelona, Spain
1989
Pat Hearn Gallery, New York
1988
M.I.T. List Visual Arts Center, Cambridge, Massachusetts
1987
Carnegie Mellon University Art Gallery, Pittsburgh
Leo Castelli Gallery, New York
Pat Hearn Gallery, New York
Hillman Holland Gallery, Atlanta
1986
Pat Hearn Gallery, New York
1985
Pat Hearn Gallery, New York
1984
White Columns, New York

Selected Group Exhibitions

"Brand New: Art and Commodity in the 1980s", Hirshhorn Museum and Sculpture Garden, Washington, DC
2012
“Desperately Seeking Susan”, Kathleen Cullen Gallery, New York
2005
“Extension – Mind to Body to Technology", San Giacomo degli italiani, Naples, Italy (with Cybercast from New York)
2002
“Einfach Kunst. Sammlung Rolf Ricke”, Neues Museum in Nürnberg, Germany
2001
“Selections from the Permanent Collection”, Museum of Contemporary Art, North Miami, Florida
“Pat Hearn Gallery – Part One (1983-1987)"
1998
“Digital Hybrids”, McDonough Museum of Art, Youngstown, Ohio
1997
“Techno.Seduction”, The Cooper Union, New York
1996
“Natural Spectacles”, David Winter Bell Gallery, Providence, Rhode Island
1993
“Art in the Age of Information”, Pittsburgh Cultural Trust & 808 Penn Modern, Wood Street Galleries, Pittsburgh, Pennsylvania
1992
“Regard Multiple - Acquisitions de la Societe des Amis du Musee national d’art moderne”, Centre George Pompidou, Paris
“A New American Flag”, Max Protecht Gallery, New York
1991
“42nd Biennial Exhibition of Contemporary American Painting”, The Corcoran Gallery of Art, Washingon, D.C.
1990
“A La Bibliothek”, Salzburger Kunstveriein, Salzburg, Austria; Stadt. Museum, Mulheim a.d. Ruhr, West Germany
“Vertigo”, Galerie Thaddeus Ropac, Paris
“Mind Over Matter”, Whitney Museum of American Art, New York
“Culture in Pieces - Other Social Objects”, Beaver Art Gallery, Beaver College, Glenside, Pennsylvania
“The Technological Muse”, Katonah Art Museum, Katonah, New York
”Hybrid Neutral: Modes of Abstraction and the Social”, 1988-1990 traveling exhibiton organized and circulated by Independent Curators Inc., New York
“The Shadow of Presence”, Galerie Charles Cartwright, Paris
“Status of Sculpture”, 1990-1991, ELAC Art Contemporain, Lyon, France; Institute of Contemporary Art, London;Kunstmuseum de Hasselt, Hasselt, Belgium; Stiftung Starke, Gemeinnutzige Kunststiftung, Berlin, Germany
“Spellbound”, Marc Richards Gallery, Los Angeles
1989
“Baldessari, Rauschenburg, Rosenquist, Hsu, Quentel”, Ernst Busche Gallery, Cologne, Germany
“Einleuchten - Will, Vorstel & Simul”, Deichtorhallern, Hamburg, West Germany
“Painting Beyond the Death of Painting”, Kuznetsky Most Exhibition Hall, Moscow
“The Silent Baroque”, Galerie Thaddaeus Ropac, Salzburg
“Nonrepresentation (The Show of the Essay)”, Annie Plumb Gallery, New York
1988
“The Binational - American Art of the late 80’s”, Institute of Contemporary Art & The Museum of Fine Arts, Boston, Massachusetts; Stadtische Kunsthalle, Kunstsammlung Nordrhein-Westfalen & Kunstverein fur die Rheinlande and Westfalen Dusseldorf, West Germany
“Art a the End of the Social”, Rooseum, Malmo, Sweden
“A New Generation of the 1980’s: American Painters and Sculptors”, The Metropolitan Museum of Art, New York
“Complexity & Contradiction”, Scott Hanson Gallery, New York
“The Inside and the Outside”, Rhona Hoffman Gallery, Chicago
“Drawings”, Laurie Rubin Gallery, New York
“New York Art Now” (Parat II), Saatchi Collection, London, England
1987
“Leo Castelli y Sus Artistas”, Centro Cultural Arte Contemporaneo, A.C., Mexico City, Mexico
“Primary Structures”, Rhona Hoffman Gallery, Chicago
“Sculptures”, Galerie Charles Cartwright, Paris, France
“NY New Art”, Mayor Rowan Gallery, London, England
“Locations”, Galerie Thaddeus Ropac, Salzburg and Galerie im Taxispalais, Innsbruck, Austria
“The Ironic Sublime”, Galerie Albrecht, Munich, West Germany
“The Antique Future”, Massimo Audiello Gallery, New York
“Armleder, Artschwager, Hsu”, Pat Hearn Gallery, New York
1986
“Modern Sleep”, American Fine Arts Gallery, New York
“As Sculpture”, Daniel Newburg Gallery, New York
1985
“Brave New World - A New Generation”, Charlottenburg Exhibition Hall, Copenhagen, Denmark
“More Than Meets the Eye”, Fabian Carlson Gallery, London, England
“Emily, Anna & Tishan: The First Generation”, Asian Arts Institute, New York
1984
“Invitational”, Matthews Hamilton Gallery, Philadelphia
“Brilliant Color”, Baskerville + Watson Gallery, New York
“Update”, White Columns, New York
1983
“Berkshire Art Museum, Pittsfield, Massachusetts
“Terminal Show”, Brooklyn, New York
1981
“Arabia Felix”, Art Galaxy, New York

Bibliography

2019
Benhamou-Huet, Judith. “Art Basel Hong Kong: le futur de l’art est en Asie.” Les Echos, March 28, 2019
Harris, Gareth. “Overlooked, but not forgotten: Tishan Hsu presents first solo gallery show in over 20 years.” Art Newspaper, March 25, 2019
Loos, Ted. “The World Catches Up with Tishan Hsu.” New York Times, March 27, 2019
Ng, Brady. “Tishan Hsu: Delete.” ArtAsiaPacific, no. 113 (May/June 2019): 129
Ugelvig, Jeppe. “Tishan Hsu.” ArtReview Asia 71, no. 3 (April 2019): 76–83
2018
Goyanes, Robert. “Once Deemed Too Weird for the 1980s Art World, Tishan Hsu Is Back.” Artsy, January 30, 2018
Kennicott, Philip. “The 1980s New York art world was cynical and crass. Should we be honoring it?” Washington Post, February 14, 2018
Ugelvig, Jeppe. “Gallery-as-Form: ‘The Conditions of Being Art’ at the Hessel Museum of Art.” Afterall, October 4, 2018
2017
Moran, Laura. “Focus on the Collection: Tishan Hsu’s Liquid Circuit.” Weisman Art Museum website, Spring 2017
2015
Schwabsky, Barry. “Sascha Braunig: Foxy Production.” Artforum International 53, no. 10 (Summer 2015): 356
2003
Rubinstein, Raphael. “Whose 1980s?” Art in America 91, no. 12 (December 2003): 35–39
1997
Cotter, Holland. “Art in Review: Techno Seduction.” New York Times, February 7, 1997
Hsu, Tishan. “Tishan Hsu.” Art Journal 56, no. 1, “Aesthetics and the Body Politic” (Spring 1997): SS17
1993
Miller, Donald. “Artists master technologies at city galleries.” Pittsburgh Post-Gazette, March 13, 1993
1991
Bruyen, Eric de. “Mind Over Matter,” Forum International (June 1991): 80–81
Cotter, Holland. “Deconstructed Painting: Some Younger Artists in the 1980s.” Art Journal 50, no. 1 (Spring 1991): 79–82
D’Amato, Brian. “Mind Over Matter.” Flash Art 24, no. 156 (January/February 1991): 134
Dubrow, Norman. “The Neo Tendencies of the Late 1980s.” Drawing (March/April 1991): 121–25
Hayt-Atkins, Elizabeth. “Envisioning the Yesterday of Tomorrow and the Tomorrow of Today.” Contemporanea, no. 24 (January 1991): 76
Puvogel, Renate. “Status of Sculpture.” Kunstforum International, no. 113 (May/June 1991): 335–38
Renton, Andrew. “Status of Sculpture.” Flash Art 24, no. 156 (January/February 1991): 137–38
Richard, Paul. “Abstract and Personal: At the Corcoran Biennial, A Passionate Bow to the Past.” Washington Post, September 6, 1991
Schultz, Heinz. “À la Bibliothek.” Kunstforum International, no. 111 (January/February 1991): 336–37
1990
Brenson, Michael. “Review/Art: In the Arena of the Mind, at the Whitney.” New York Times, October 19, 1990
Cooke, Lynne. “Mind Over Matter. New York, Whitney Museum.” Burlington Magazine 132, no. 1053 (December 1990): 899
Jennings, Rose. “The Status of Sculpture.” City Limits, September 27, 1990, 72
Larson, Kay. “Every Object Tells a Story.” New York Magazine, October 29, 1990, 64–65
Smith, Roberta. “Review/Art: The Group Show as Crystal Ball.” New York Times, July 6, 1990
Soulillou, Jacques. “The Shadow of Presence.” Art Press, 146 (April 1990): 83
Taylor, John Russell. “Shapes and Assemblies.” The Times (London), October 5, 1990
1989
Atkins, Robert. “Tishan Hsu.” 7 Days, May 3, 1989, 64
Avgikos, Jan. “The Binational, ICA Boston.” Artscribe International 76 (Summer 1989): 83–84
Harrison, Katharine. “Tishan Hsu, Pat Hearn.” Flash Art, no. 147 (Summer 1989): 149–50
Heartney, Eleanor. “Homeward Unbound.” Sculpture (September/October 1989): 20–23
Kuspit, Donald. “Tishan Hsu.” Artforum International 27, no. 10 (Summer 1989): 136–37
Leigh, Christian. “Art on the Verge of a Nervous Breakdown.” Contemporanea, January 19, 1989, 99–103
Levin, Kim. “Umbilical Cords.” Village Voice, April 25, 1989, 91
Smith, Roberta. “Tishan Hsu, Pat Hearn Gallery.” New York Times, April 21, 1989
Zaya, Octavio. “Social Security: Interview with Tishan Hsu.” Balcón 4 (Fall 1989): 108–21
Zinsser, John. “Tishan Hsu.” Journal of Contemporary Art 2, no. 1 (Spring/Summer 1989): 23–32
1988
Silver, Joanne. “Hsu’s works link human and machines.” Boston Herald, May 27, 1988
Bonetti, David. “High Quality Tech.” Boston Phoenix, May 20, 1988
Collins, Tricia, and Richard Milazzo. “Tropical Codes III.” Kunstforum 92 (December/January 1987–88): 126–29
Joselit, David. “Investigating the Ordinary: Young Artists Who Take Domestic Existence as Their Central Metaphor.” Art in America 76, no. 5 (May 1988): 148–55
Ottmann, Klaus. “Tishan Hsu: The Suburban Dream of Modernism.” Flash Art, no 139 (March/April 1988): 106–7
Plagens, Peter. “The Emperor’s New Cherokee Limited 4x4.” Art in America 76, no. 6 (June 1988): 23–24
Temin, Christine. “Hsu Tackles Some of the Big Issues.” Boston Globe, May 19, 1988
1987
Cotter, Holland. “Tishan Hsu at Castelli and Pat Hearn.” Art in America 75, no. 9 (September 1987): 173
Hart, Claudia. “Tishan Hsu.” Artscribe International 63 (May 1987): 52–56
Jinkner-Lloyd, Amy. “Ti Shan Hsu.” Art Papers 11, no. 3 (May/June 1987): 48–49
Kuspit, Donald. “Tishan Hsu.” Artforum International 26, no. 1 (September 1987): 122
Liebmann, Lisa. “M.B.A. Abstractionism.” Flash Art, no. 132 (February/March 1987): 86–89
McCoy, Pat. “‘The Antique Future,’ Massimo Audiello.” Artscribe International 64 (Summer 1987): 77–78
Smith, Roberta. “Where to See the Newest of the New American Art.” New York Times, May 1, 1987
Talley, Dan R. “Hsu Couples Disparate Elements in ‘Unnamable’ Works,” Creative Loafing (Atlanta, GA), February 28, 1987
Wei, Lilly. “Talking Abstract: Part II.” Art in America 75, no. 12 (December 1987): 112–29, 171
Woodruff, Mark. “‘The Antique Future’: Articulating the Void.” New Art Examiner 14, no. 10 (June 1987): 36–37
1986
Indiana, Gary. “Ti Shan Hsu: A Chat.” Village Voice, June 24, 1986, 75
Kuspit, Donald. “Ti Shan Hsu at Pat Hearn.” Artscribe International 59 (September/October 1986): 76
McGill, Douglas. “Art People.” New York Times, October 17, 1986
Schwabsky, Barry. “Ti Shan Hsu.” Flash Art, no. 130 (October/November 1986): 74–75
Zimmer, William. “A Rarefied Atmosphere in the Feisty East Village.” New York Times, November 7, 1986
1985
Bohm-Duchen, Monica. “Nine Painters from New York.” Flash Art, no. 124 (October/November 1985): 56
Cecil, Sarah. “Ti Shan Hsu.” Art News 84, no. 5 (May 1985): 124–25
Edelman, Robert. “Ti Shan Hsu at Pat Hearn.” Art in America 79, no. 7 (July 1985): 131–32
Mueller, Cookie. “Review.” Details Magazine, April 1985, 71–72
1984
Warren, Ron. “Brilliant Color.” Arts Magazine 58, no. 8 (April 1984): 38–39

Exhibition Catalogues and Books

1997
Heartney, Eleanor. “Art in the Nineties: A Mixed Prognosis.” In Critical Condition: American Culture at the Crossroads. Cambridge: Cambridge University Press
Rindler, Robert, Deborah Willis, Holly Block, Deborah Bright, David Deitcher, and Berta M. Sichel. Techno.Seduction: An Exhibition of Multimedia Installation Work by Forty Artists. New York: Cooper Union for the Advancement of Science & Art
1996
Balken, Debra Bricker. Natural Spectacles. Providence, RI: David Winton Bell Gallery, Brown University
1992
Pouillon, Nadine, and Anne Bonnin. Regard Multiple–Acquisitions de la Société des Amis du Musée National d’Art Moderne. Paris: Centre Georges Pompidou
1991
42nd Biennial Exhibition of Contemporary American Painting. Washington, DC: Corcoran Gallery of Art
1990
Armstrong, Richard. Mind Over Matter: Concept and Object. New York: Whitney Museum of American Art
Brunon, Bernard. Status of Sculpture. Lyon, France: Espace lyonnais d’art contemporain
Fairbrother, Trevor, and Paula Marincola. Culture in Pieces: Other Social Objects. Glenside, PA: Beaver College Art Gallery
Fellin-Yeh, Susan. The Technological Muse. Katonah, NY: Katonah Museum of Art
Galerie Charles Cartwright. The Shadow of Presence: Marina Abramovic, Tishan Hsu, Franz Ehrard Walther, Franz West. Amsterdam: Libra Blu
Leigh, Christian. The Silent Baroque. Salzburg, Austria: Galerie Thaddaeus Ropac
1988
Collins, Tricia, and Richard Milazzo. Art at the End of the Social: Rooseum. Malmö, Sweden: Rooseum Center for Contemporary Art
Collins, Tricia, Richard Milazzo, and Gary Indiana. Hybrid Neutral: Modes of Abstraction and the Social. New York: Independent Curators Incorporated
Kuspit, Donald. “Tishan Hsu.” In Locations, 27–31. Innsbruck, Austria: Tiroler Landesgalerie
Leigh, Christian. “Backward and Forward.” In Complexity and Contradiction. New York: Scott Hanson Gallery
Ross, David A., Jürgen Harten, Trevor J. Fairbrother, David Joselit, and Elisabeth Sussman. The Binational: American Art of the Late 80s, German Art of the Late 80s. Cologne, Germany: DuMont
Tishan Hsu: Paintings; MIT List Visual Arts Center, May–June 26, 1988. Essay by Dana Friis-Hansen. Cambridge, MA: MIT List Visual Arts Center
1987
Cameron, Dan. NY Art Now: The Saatchi Collection. Milan: Giancarlo Politi Editore
Collins, Tricia, and Richard Milazzo. The Ironic Sublime. Munich: Galerie Albrecht
Fairbrother, Trevor. Tishan Hsu. New York: Leo Castelli Gallery and Pat Hearn Gallery
King, Elaine A., and Tishan Hsu. Tishan Hsu: Drawings, Paintings, and Sculpture. Pittsburgh: Carnegie Mellon University Art Gallery
1986
Ti Shan Hsu: New Geometries, Conscious Objects and OTHER Matter. New York: Pat Hearn Gallery
1985
Lee, Robert, and John Yau. Emily, Anna & Ti-Shan: The First Generation. New York: Asian Arts Institute