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拍品专文
[...] I'm astonished how Time flies. At least it used to. Now it seems to be going supersonic [...]. That's America. Remember Chaplin's 'Modern Times' ? Well, today it's even more so except that conveyor belts have become computerized [...].
(F. N. Souza, Letter to K. B. Goel from New York, October 20, 1976, unpaginated)
Souza migrated to America in September 1967. With its incessantly changing facades, perpetually burning lights and modern skyscrapers, New York was at once visually dazzling and perpetually emotive. At this time the city's art scene was still defining and judging itself by the axioms of the Abstract Expressionist Movement. Executed using a similarly raw immediacy, Manhattan illustrates an energetic, social topography. Rather than being defined by the old formalism of black lines, it is entirely composed of vivid colors that swoop and jitter via thick, vibrant impasto.
(F. N. Souza, Letter to K. B. Goel from New York, October 20, 1976, unpaginated)
Souza migrated to America in September 1967. With its incessantly changing facades, perpetually burning lights and modern skyscrapers, New York was at once visually dazzling and perpetually emotive. At this time the city's art scene was still defining and judging itself by the axioms of the Abstract Expressionist Movement. Executed using a similarly raw immediacy, Manhattan illustrates an energetic, social topography. Rather than being defined by the old formalism of black lines, it is entirely composed of vivid colors that swoop and jitter via thick, vibrant impasto.