美国行为艺术之父：杰克·史密斯 Jack Smith
▲ 《无题（摄影棚肖像）》Untitled (Studio Portrait), c.1970, 黑白照片（Sal Terra-Cina拍摄）Black and white photograph by Sal Terra-Cina Photo; 33.3 x 26 cm; 含边框 42.5 x 35.6 x 3.8 cm framed.
▲ 《正常的爱》Normal Love, 1963-65, 彩色印刷来自16毫米胶片 16mm color release print; 时长 Duration: 120'00"
杰克·史密斯
Jack Smith
1932 - 1989
出生地点 Columbus, Ohio
曾生活和工作在 Lived and worked in New York City
杰克·史密斯出生于1932年。他被认为是美国行为艺术之父，以极具颠覆性的现场多媒体表演重塑了地下实验艺术的面貌。史密斯对安迪·沃霍尔（Andy Warhol）、辛迪·舍曼（Cindy Sherman）、克莱斯·奥登伯格（Claes Oldenburg）和卡洛莉·史尼曼（Carolee Schneemann）等同时代艺术家留下了深远的影响，他们曾为史密斯的电影布景制作道具，并在史密斯的启发下逐渐在自己的作品中建立了新的美学风格。作为一名杰出的电影导演、摄影师和演员，史密斯以极具开创性的个人风格塑造和持续影响着当下的实验艺术、电影，以及盖伊·马丁（Guy Martin）、瑞安·特雷卡丁（Ryan Trecartin）和约翰·沃特斯（John Waters）等当代艺术家。
▲ 《无题》Untitled, 1958-1962, 黑白照片 Black and white negative; 5.7 x 5.7 cm.
史密斯出生于美国俄亥俄州，1953年他搬到纽约，并进入纽约城市大学进修艺术课程，此后不久他便成为一名职业摄影师。在城市大学进修期间，史密斯向露丝·圣·丹尼斯学习舞蹈，向李·斯特拉斯伯格学习电影和戏剧，并在实验电影导演肯·雅各布斯的影片中担任演员和助理。1957年，史密斯创立了“夸张摄影工作室”（Hyperbole Photography Studio），并为顾客拍摄带有洛可可式和好莱坞怀旧风的照片。1959年，史密斯着手拍摄了他的第一部电影《透明胶带》（Scotch Tape，1962）。
▲ 《热气专家》Hot Air Specialists, c 1980s, 16毫米胶片16mm film; 时长Duration: 07'00".
此后二十年中，史密斯继续以先锋的姿态发展着他激进的美学实践，挑战着晚期资本主义的经济形态、性别和性取向的固有定义、以及艺术自身的生产与传播。史密斯的实践将战后纽约市中心的残迹转化为富有魅力的秀场、风情万种的幻象和多性政治的舞台。他以小成本制作的电影藐视着电影制作的传统，以狂欢闹饮般的疯狂场面对矫揉造作的作品嗤之以鼻，继而革新了美国电影。
▲ 《无题》Untitled, c.1961-1962, 黑白照片 Black and white negative; 5.7 x 5.7 cm.
【 离经叛道的美学 】
杰克·史密斯常常把他的角色设置在晚期资本主义的废墟之中。他的不同作品都展现了这一相同的批判冲动，反映了脆弱的二元性，它同时存在于自然与非自然中，并且实际上是透过历史这一媒介而显现出来。在史密斯的作品中，性别和性的界限往往是模糊的，它们或被完全抹去，或相互消融。
▲ 《无题》Untitled, c.1964, 黑白照片 Black and white photograph; 24.1 x 19.1 cm; 含边框 32.4 x 27.3 x 3.5 cm framed.
不同于他的同时代地下电影工作者的是，史密斯以好莱坞电影作为他的美学范本。他曾在文章中向被誉为“特艺彩色电影女王”的B级片女演员玛丽亚·蒙特兹致敬，并在自己的电影和行为表演中不断以她作为参照。在史密斯的作品中的人物和图像，与叙事性背道而驰，成为了作品最重要的驱动力。
▲ 《正常的爱》Normal Love, 1963-65, 彩色印刷来自16毫米胶片 16mm color release print; 时长Duration: 120'00".
正是在史密斯所提供的土壤中，“超级明星”才在纽约“工厂”工作室的成立中扮演了至关重要的角色。安迪·沃霍尔在1977年的访谈中曾承认，早期的工厂影星“都是杰克·史密斯的明星；他们每个人都耀眼无比。我们用的最早一批明星包括泰勒·米德、伊迪·塞奇威克、布莉姬·柏林和阿兰·米德杰特。他们演绎着自身的角色、类型和人格。”在史密斯的实践中，他建立了一个不乏讽刺同时高度个人化的结构体系，这把好莱坞经典、B级片、同性恋映画、异国情调和庸俗艺术转变为好品味，反之亦然，挑战了一切意识形态中的固有想法，无论是身份还是性别，“高雅”还是“低俗”艺术。
▲ 《无题》Untitled, c.1958-1962, 材料 Black and white negative; 5.7 x 5.7 cm.
史密斯离经叛道的美学倾向也反映在他激进的政治理想中。他把当时流行的社会主义观点充分融入于自己的生活和工作中。集体生活被推向狂欢式的混乱，在自发动作概念的推动下表现出同志情意的动作，这在他的电影制作中常常由技术的崩溃所引发，恰当地体现了他的艺术-作为-垃圾（Art-as-Trash）理论，创造出一部部在美国电影史上最具视觉冲击力的电影史诗。
▲ 《无题》Untitled, 1978, 墨水、纸 Ink on paper; 30.5 x 30.5 cm; 含边框 42.5 x 35.6 x 3.8 cm framed.
【 行为艺术和现场电影】
史密斯的行为表演涉及诸多媒介，展现了他对周遭城市风景的探索与挖掘。史密斯用闪闪发亮的城市垃圾创造出一个令人头晕目眩、极具视觉冲击力的世界，将纽约市中心转化为进入他的摄影和电影的舞台。直到他的第一部剧情片《热血造物》（Flaming Creatures，1963）在传统电影放映厅放映，史密斯才找到了一种把他的电影及幻灯片与现场表演结合起来的方法，这被他称作为“现场电影”。
▲ 《我是地下幸运房东的男版伊冯娜·德·卡洛》I Was a Male Yvonne de Carlo for the Lucky Landlord Underground, 1982, 墨水、纸 Ink on paper; 43.2 x 27.9 cm.
自六十年代末至八十年代，史密斯专注于戏剧和行为表演，将现场偶发艺术和他的电影、幻灯片相结合。在此期间他创作的行为作品包括《亚特兰蒂斯的胸衣》（1969）、《租赁岛的秘密》（1976-77）、《我曾是梅卡斯的合作者》（1978）、《螃蟹岛的艺术外壳》（1981）、《什么是地下棉花糖》（1981）、《我是地下幸运房东的男版伊冯娜·德·卡洛》（1982）和《企鹅之死》（1985）。此外，史密斯还在《电影文化》等期刊上发表过论文和短篇故事，并参演了安迪·沃霍尔、罗伯特·威尔逊和肯·雅各布斯的作品。
▲ 《无题》Untitled, c.1987, 综合材料、纸 Mixed media on paper; 37.5 x 23.5 cm; 含边框 47.6 x 34.3 cm framed.
在他那些臭名昭著的“现场电影”表演中，史密斯大量使用了他收集来的风格多样、兼收并蓄的LP和78rpm黑胶唱片。他把自己的唱片机带到现场，并在表演过程中持续更换唱片。在很多时候，他都通过让唱片播放不稳定、切歌、插歌或卡碟来制造出他想要的效果。
▲ 《无题》Untitled (for the Jungle Jack Program"), c.1977, 综合材料、纸 Mixed media on paper; 21.6 x 27.9 cm; 含边框 38.1 x 30.5 cm framed.
史密斯通过对电影和幻灯片图像的重新安排和并置呈现，从而制造出令人震惊的舞台效果。除了“舞台”上的现场行动，史密斯还会在表演过程中剪辑和重新剪辑电影图像。不过，这种自发的编辑需要一种特殊形式的粘贴手段，于是他用胶带把胶片和印刷材料粘合在一起。因此，史密斯在每场表演中都会制作出一个独特的电影版本。
▲ 《热血造物》Flaming Creatures, 1962-63, 黑白印刷来自16毫米胶片 16mm black and white release print, sound on film; 时长Duration: 43'00".
【剧情片】
史密斯试图在他的电影里展现一种疯狂错乱的美学。他使用过期的电影胶片和巴洛克式主题，不断拓展着电影的边界，并把它从“优良的”技术和“合理的”行为模式中解放出来。在他最广为人知的影片《热血造物》中，片中人物在令人联想到阿里巴巴宫廷的布景中寻欢作乐。这部富有奇幻色彩的影片，充斥着大量雌雄同体和异装癖角色，他们同样消除了男性与女性之间任何差异性特征。在《热血造物》中，史密斯将自己在年少时期产生的华丽唯美的幻想与现实中的成人世界结合起来。影片中所表现的感官化的“多元之爱”，却被当时的权威以强制性手段作为色情污秽的例证。《热血造物》在首映时被没收拷贝，影片随后被禁止放映。除了禁止放映，它的片段还屡屡在美国国会听证上被播放，还经常被右翼政客斯特罗姆·瑟蒙德在他的反色情演讲中使用。这部影片所引发的争议性深深影响到史密斯，这使他在之后创作的所有影片都刻意处于未完成的、开放的和“现场”的状态，以避免任何形式的官方管控。
▲ 《正常的爱》Normal Love, 1963-65, 彩色印刷来自16毫米胶片 16mm color release print; 时长Duration: 120'00".
史密斯的第二部剧情片《正常的爱》（Normal Love，1963-65）像是第一部影片的续集。影片在放映过程中经常被重新粘贴和重复再剪辑，然后被赋予新的标题，如《正常的幻想》、《螃蟹岛的异域地主主义》、《馅饼的巨大胜利》。不同于黑白的《热血造物》，《正常的爱》使用了鲜艳的色彩，并在户外拍摄，展现了如新泽西北部的沼泽地，以及暗示了人类想象的类型化的花园。电影的角色包含了一连串三十年代恐怖片里的怪兽、美人鱼、色鬼，以及各种各样的怪诞形象，一众演员包括马里奥 ·蒙特斯、小蒂姆、托尼·康拉德、黛安·迪·普里玛、贝弗利·格兰特和约翰·瓦卡洛。最后一幕中，观众可以看到安迪·沃霍尔在镜头一角进行着拍摄，而几位看似崇高的角色则在克莱斯·奥登伯格的巨型多层雕塑蛋糕上翩翩起舞。在这一典型的史密斯式的画面中，人们能够嗅到纽约地下艺术圈的谱系和早期形态：从早已具有驾驭能力的杰克·史密斯，到勤奋苦练的安迪·沃霍尔，再到处于转型阶段的奥登伯格。
▲ 《正常的爱》Normal Love, 1963-65, 彩色印刷来自16毫米胶片 16mm color release print; 时长Duration: 120'00".
史密斯的下一部“剧情片”名为《没有总统》（No President，1968）。这部影片原名为《被爱情强盗绑架的温德尔·威尔基》（The Kidnapping of Wendell Willkie by the Love Bandit），折射了1968年的美国总统竞选。影片混合了史密斯拍摄的黑白镜头，以及1940年总统竞选者温德尔·威尔基的老竞选片段。除了《没有总统》，史密斯还创作了无数短片和短片片段。其中包括《过度刺激》（约1960）、《我是男版伊冯娜·德·卡洛》（七十年代）、《透明胶带》（约1962）、《酒鬼》（约1977）、《哈姆雷特》（约1970）、《巴格达上空的秃鹫》、《可敬的造物》等。
▲ 《没有总统》No President, 1967-70, 黑白印刷来自16毫米胶片 16mm black and white release print; 时长Duration: 45'00".
除了杰克·史密斯，我们很难找到对实验电影、酷儿影像和行为表演历史产生了如此巨大影响的艺术家。尽管在他的有生之年，史密斯并未受到足够的关注，但他的跨媒介影响力在美国当代艺术领域却是显而易见的。为了向他独具一格的、融汇了好莱坞主义、滑稽模仿、庸俗艺术、各种形式的性文化和社会讽刺的坎普艺术风格致敬，当代艺术协会/现代艺术博物馆P.S.1馆曾在1997年举办大型回顾展“杰克·史密斯：热血造物：他的传奇人生与时代”，展览巡展至宾夕法尼亚州匹兹堡、加州伯克利和德国柏林。
▲ 《与企鹅共舞》I Danced With A Penguin, Mid-1970s, 幻灯片 Slides; 5.1 x 5.1 cm.
这位极具革新精神、前所未见的艺术家，把他的时代所推崇的大部分东西都抛在身后——无论是越战中美国保守的政治氛围，还是纽约所推崇的抽象表现主义艺术；而那些被排斥的，如被压抑的酷儿表达、被高雅艺术所拒绝的色情表现，则统统被史密斯全面接受和融入于作品之中。在他的艺术和他的生命历程中，他对风格、媒介、材料、特别是身体兼容并蓄，以全新的超越的方式定义和继续定义着反主流文化。作为一位极具革新意识的思考者和艺术家，史密斯的革新性在当下的文化和美学中依然清晰可见。
▲ 《无题》Untitled, c.1958-1962/2011, 彩色照片 Analog C-print hand printed from original color negative on Fuji Crystal Archive paper; 35.6 x 27.9 cm; 含边框 43.2 x 39.4 x 3.5 cm framed.
▲ 《无题》Untitled, c.1981, 黑白照片（拍摄：Nanda Lanfranco）black and white photograph by Nanda Lanfranco; 23.5 x 23.5 cm; 含边框 33 x 33 cm framed.
Regarded as the founding father of American performance art, Jack Smith, born 1932, reshaped the trajectory of underground experimental art through his subversive, live multimedia performances. His influence is apparent in the work of his contemporaries, from Andy Warhol and Cindy Sherman, to Claes Oldenburg and Carolee Schneemann, who created props for Smith’s films sets, which in turn inspired those artists toward new aesthetic trajectories within their own work. As a filmmaker, photographer and actor, his pioneering influence shaped, and continues to influence, experimental art and film today having influenced contemporary artists such as Guy Maddin, Ryan Trecartin, and John Waters.
▲ 《透明胶带》Scotch Tape, 1959-62, 彩色印刷来自16毫米胶片 16mm color release print, sound on film; 时长Duration: 03'00"..
Born in Ohio, Jack Smith moved to New York City in 1953, where he attended arts classes at the City College of New York, soon thereafter finding employment as a photographer. During his time at the City College of New York, Smith studied dance with Ruth St. Denis, film and theater direction with Lee Strasberg, and worked as an actor and assistant with the experimental filmmaker Ken Jacobs. Later in 1957, Smith opened for the Hyperbole Photography Studio, in which he photographed his customers in compositions reminiscent of Rococo and Hollywood tropes. In 1959, Smith began shooting his first film, Scotch Tape (1962).
▲ 《正常的爱》Normal Love, 1963-65, 彩色印刷来自16毫米胶片 16mm color release print; 时长Duration: 120'00".
Through the two decades that followed, Smith would go onto pioneer a radical artistic practice that challenged the economic conditions of late capitalism, fixed definitions of gender and sexuality, and the production and dissemination of art itself. Smith’s practice transmuted the detritus of post-war downtown New York into a stage of glamourous, exotic fantasy and polysexual politics. Working on a meager budget, and disregarding cinematic convention, Smith’s oeuvre created bacchanalia that transcended camp and revolutionized American film.
▲ 《无题》Untitled, c.1958-1962, 黑白照片 Modern black and white print of vintage negative; 12.7 x 12.7 cm; 含边框 24.1 x 24.1 cm framed.
Insubordinate Aesthetics
Often setting the worlds of his characters in the ruins of late capitalism, Smith’s varied works share the basic critical impulse of exposing the fragile dichotomy of that which appears natural and unnatural, however is actually mediated by history to appear so. Throughout his works, the boundaries between gender and sexuality were often blurred and crossed if not entirely erased.
▲ 《无题》Untitled, c.1958-1962, 黑白照片 black and white photograph; 12.7 x 12.7 cm; 含边框 24.1 x 24.1 cm framed.
Unlike his contemporaries in the underground film scene, Smith looked to Hollywood for his aesthetic models. In his writings he revered the early Technicolor achievements of B-actress Maria Montez, who would be a constant reference in many of Smith’s films and performances. Characters and images, as opposed to narrative, were the driving forces of his films and performances.
▲ 《热血造物》Flaming Creatures, 1962-63, 黑白印刷来自16毫米胶片 16mm black and white release print, sound on film; 时长Duration: 43 minutes.
Thanks to Smith, it was in this context that the status of “Superstar” came to play such a vital role in the Factory establishment of New York; the earliest Factory stars, Andy Warhol later acknowledged in a 1977 interview, “were all Jack Smith’s stars; each of them was extraordinary. The first ones we used were Taylor Mead, Edie Sedgwick, Brigid Berlin, and Allen Midgette. They were characters, types, and personalities to embody.” In his practice, he brought to life an ironic and highly personal architecture in which Hollywood legends, B-movies, homoerotic imagery, exoticism, and kitsch, transformed into good taste, and vice versa, challenging the idea of fixity in any arena, be it identity and gender, or “high” and “low” art.
▲ 《无题》Untitled, c.1958-1962/2011, 彩色照片 Analog C-print hand printed from original color negative on Fuji Crystal Archive paper; 35.6 x 27.9 cm; 含边框 43.2 x 39.4 x 3.5 cm framed.
Smith’s insubordinate aesthetics within the art scene were mirrored in his progressive politics. Smith formulated theories of popular, socialistic thinking that he sought to enact in his work and life. Communal to the point of a celebratory chaos, the idea of the spontaneous gesture, usually caused by a technical breakdown in his filmmaking, was melded to his theory of Art-as-Trash to create some of the most visually striking filmic episodes in American cinema.
▲ 《螃蟹岛的艺术外壳》Art Crust on Crab Lagoon, 无年份 n.d., 墨水、纸 Ink on paper; 43.2 x 27.9 cm.
Performances and Live Film
Smith’s performance varied across media and glorified his exploits and adventures through his surrounding urban landscape. Smith developed an exuberant and visually stunning vision of the world from the glittering debris of the city, transforming downtown New York into a stage for his forays into photography and film. Only having ever shown his first feature film, Flaming Creatures (1963), in the setting of a conventional film screening, Smith developed a practice of incorporating his films and slides into live performances that he himself named “Live Film.”
▲ 《无题》Untitled, c.1974, 综合材料、纸 Mixed media on paper; 50.5 x 55.9 cm; 含边框 58.4 x 64.1 x 4.8 cm framed.
From the late 1960s into the 1980s, Smith focused on theater and performance, and combined live happenings with the screenings of his films and slideshows. Performances created during this period include Brassieres of Atlantis (1969), Secret of Rented Island (1976–77), I Was a Mekas Collaborator (1978), Art Crust on Crab Lagoon (1981), What’s Underground About Marshmallows (1981), I Was a Male Yvonne De Carlo for the Lucky Landlord Underground (1982) and Death of a Penguin (1985). Smith also published essays and short stories in Film Culture amongst other periodicals during this time, and appeared in productions by Andy Warhol, Robert Wilson, and Ken Jacobs.
▲ 《什么是地下棉花糖》What's Underground About Marshmallows?, 1981, 综合材料、纸 Mixed media on paper; 41.9 x 34.9 cm; 含边框 49.5 x 42.2 x 4.8 cm framed.
During his infamous “Live Film” performances, Smith relied upon his extensive, eclectic collection of LP and 78 rpm recordings. Smith would set up his own record player in the performance space and change records throughout the production. Oftentimes, he would allow the records to wobble, skip, jump, or remain stuck in order to achieve a desired effect.
▲ 《无题》Untitled, c.1966, 综合材料、纸 Mixed media on paper; 27.9 x 38.1 cm; 含边框 35.6 x 45.7 x 4.8 cm framed.
He created startling stage effects through the spontaneous rearrangement and interplay of recorded imagery on film and slides. Along with live action on a "stage," Smith edited and re-edited the film images in the midst of the performance. This spontaneous editing, however, required a unique form of splicing in which he assembled strands of camera original as well as printed material with masking tape. Thus, Smith managed to create a unique version of the films for each performance.
▲ 《热血造物》Flaming Creatures, 1962-63, 黑白印刷来自16毫米胶片 16mm black and white release print, sound on film; 时长Duration: 43 minutes.
Feature Films
In his filmmaking, Smith sought to create an aesthetic of delirium. Through his use of outdated film stock and baroque subject matter, he pushed the limits of cinema, liberating it from the formality of "good" technique and"proper" behavior. In his best-known film, Flaming Creatures (1963), characters cavort in a setting reminiscent of the court of Ali Baba. The film is a fantasy composed of Androgynes and Transvestites, who are ambiguously equated as to disarm any distinction between male and female. In Flaming Creatures, Smith manages to combine the ornate imagination of his youth with the realities of adult fantasy. The sensual polyamory of the film was used by authorities for their repressive policing of what the government considered to be pornographic at the time. Copies of Flaming Creatures were confiscated at the premiere and it was subsequently banned. Despite not being viewable, the movie gained notoriety when footage was screened during American Congressional hearings, and the right-wing politician Strom Thurmond cited it frequently in his anti-porn speeches. The controversy affected Smith deeply and all his later films were purposefully composed as incomplete, open, and “live” in order to subvert the control of authority, in all its forms.
▲ 《正常的爱》Normal Love, 1963-65, 彩色印刷来自16毫米胶片 16mm color release print; 时长Duration: 120'00"
Smith's second feature length film, Normal Love (1963-65) is something of a sequel. Normal Love was often re-spliced as it ran, repeatedly reedited, and regularly awarded new titles such as Normal Fantasy, Exotic Landlordism of Crab Lagoon, and The Great Pasty Triumph. Unlike the black and white Flaming Creatures, it is shot in rich color, at outdoor locations including the swamplands of Northern New Jersey and suggests the archetypal gardens of the human imagination. The characters include a variety of 1930s horror film monsters, a mermaid, a lecher, and various "curies" performed by a cast which included Mario Montez, Tiny Tim, Eliot Cukor, Tony Conrad, Diane di Prima, Beverly Grant, and John Vaccaro. In the last scene, one can spot Andy Warhol in the corner of the frame photographing the action as several sublime characters dance on an enormous multi-tiered Claes Oldenburg cake sculpture. In this exemplary scene, one can sense an underground genealogy and early community of the New York art scene: from a masterful Jack Smith, to the studious Warhol, and the transforming Oldenburg.
▲ 《爱情强盗绑架与拍卖Wendell Wilkie》Kidnapping and Auctioning of Wendell Wilkie by the Love Bandit, 1967, 墨水、纸 Ink on paper; 27.9 x 21.6 cm.
The next “feature” film created was No President (1968), originally titled The Kidnapping of Wendell Willkie by the Love Bandit, in reaction to the 1968 American Presidential campaign. It mixes black-and-white footage of Smith's creatures, with old campaign footage of Wendell Willkie, the 1940 Republican Presidential candidate. In addition to No President, Smith produced numerous short films and fragments of short films. Some of these include Overstimulated (c.1960), I Was A Male Yvonne DeCarlo (1970s), Scotch Tape (c. 1962), Wino (c.1977), Hamlet (c.1970), Buzzards Over Baghdad (c. 1951), Respectable Creatures, and others.
▲ 《森林岛》Jungle Island, 1967, 彩色印刷来自16毫米胶片 16mm color release print; 时长Duration: 20'00".
Few artists can be said to have had a greater influence on the history of experimental cinema, queer cinema, and performance art than Jack Smith. Although in Jack Smith’s lifetime he was much less celebrated than the many people he inspired, Smith's multi-media influence is evident in the works of a broad segment of contemporary American art. Celebrating his unique style of camp, which blended Hollywood orientalism, burlesque, kitsch, polymorphous sexuality, and social satire, the Institute for Contemporary Art/P.S.1 Museum (now known as MoMA P.S.1) mounted “Jack Smith: Flaming Creature: His Amazing Life and Times,” a retrospective of his work in 1997. His retrospective traveled to Pittsburgh, PA; Berkeley, CA; and Berlin, Germany.
▲ 《无题》Untitled, c.1958-1962/2011, 彩色照片 Analog C-print hand printed from original color negative on Fuji Crystal Archive paper; 35.6 x 27.9 cm; 含边框 43.2 x 39.4 x 3.5 cm framed.
As an innovative and unprecedented artist who rejected so much of his era, from the conservative political climate of an America at war with Vietnam, to the trends of Abstract Expressionism in New York art, to the repression of queer expression and the abstention of the pornographic in high art, Jack Smith, nonetheless, was absolutely and indulgently inclusive. In his art, as in his life, Smith transfused styles, mediums, materials, and particularly bodies, in a transcendently new way that defined and continues to define counter-culture. As a revolutionary thinker and artist, his revolutions are as culturally pertinent and aesthetically impressive today as they were during hislifetime.
格莱斯顿画廊（Gladstone Gallery）由芭芭拉·格莱斯顿女士（Barbara Gladstone）于1980年在纽约曼哈顿创办，目前在纽约和布鲁塞尔有四家分部。画廊代理将近六十位著名在世和已故的艺术家。
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