埃里克 · 费舍尔Eric Fischl，1948年3月9日 生于纽约，美国画家,雕塑家和版画复制匠。
费施尔出生在纽约和长大郊区长岛他的家人搬到亚利桑那州凤凰城在1967年,。自己的网站将他描绘为成长”的背景下酗酒和乡村俱乐部文化痴迷于图像内容。”
他的艺术教育开始凤凰城大学,那么在一年亚利桑那州立大学,然后加州理工学院的艺术在瓦伦西亚,加州,在那里,他赢得了他论坛在1972年。然后,他搬到芝加哥,作为一个警卫工作当代艺术博物馆.
自己的网站了,“这是在芝加哥,费施尔暴露的非主流艺术多毛的人。下腹部,游乐场的世界Ed Paschke和滑稽性的粗俗吉姆·纳特发人深省的经历给我。”
1974年,他找到了一份工作教绘画新斯科舍艺术与设计学院,在那里,他见到了画家4月Gornik,他在1978年搬回纽约,后来结婚了。
他是一个资深评论家纽约艺术学院.
坏男孩,石油在亚麻布上,66 * 96英寸(1.7米×2.4米)的埃里克•费施尔
费施尔拥抱自己的描述作为一个画家的郊区,不是通常被认为是合适的主题之前,他的一代。费施尔的一些早期作品的主题青少年性行为和窥阴癖,如梦游(1979)描绘了一个青春期男孩手淫到一个儿童游泳池。坏男孩(1981)和生日男孩(1983)描述小男孩看着老女人挑衅的姿势在床上所示。坏男孩,偷偷地将他的手塞进钱包。在男孩生日,孩子描绘裸体在床上。
为了应对9/11,费施尔推出他的工作翻滚的女人在洛克菲勒中心在纽约引发争议,因为它提醒人们从观众世界贸易中心。当被问及的争议在一次采访中,费施尔仍然感到“困惑和伤害。这是一个绝对真诚的尝试把感情放在形式和分享,并会见了这种愤怒和焦虑的方式使用留给抽象雕塑,真的。“费施尔觉得人哀悼建筑超过人民因为有那么几个尸体,但如此高的死亡人数,而他感觉错了。
2002年,费施尔勾结了博物馆Haus酯在Krefeld,德国。Haus酯是1928家,设计的密斯凡德罗1928年是一个私人住宅。现在房子改变展览。费施尔再供给家里(尽管不是特别包豪斯风格,聘请模特,好几天,假装一对夫妇住在那里。他花了2000照片,他重做数字和使用一系列的绘画的基础,其中一个的Krefeld回来的,卧室# 6(幸存的下降意味着使用你的把手)(2004)购买了保罗•艾伦出现在2006双展出体验音乐项目小得多,并列德加柔和的。[这绝不是第一次费施尔相比,德加。二十年前,回顾显示28日费施尔绘画在纽约惠特尼博物馆,艺术评论家约翰罗素中写道:《纽约时报》”[德]建立了带电情况与他无与伦比的敏锐的洞察力和表征,然后他走了,留下我们算尽我们所能。费施尔的策略,与他交易,尽管社会一个非结构化的野蛮和暴力永远不会远离释放非常不同于很好地校准残酷德加记录。”
费施尔也与牙买加金凯,e·l·多克托罗和弗雷德里克Tuten绘画和素描结合文学作品。
最新的画作费施尔处理斗牛的悠久的传统,更精确斗牛goyesca德朗达一个主题,在18世纪创立以来一直吸引着艺术家,戈雅海明威和毕加索。典型的大型绘画展示了主人公指着洒满阳光的设置具有较强,明亮的颜色,和对比由严酷的地中海之间的交互光和阴影了不祥的预感。
费施尔sorts-essentially旅行的最新项目是一个画廊,一个组织良好的旅行艺术马戏团。他设想,18卡车专门设计的作为移动画廊将前往每一个位置,他们将展开,揭示3300平方英尺(310平方米)的展览空间。在一起,整个车队将包含超过60的视觉艺术作品,16音乐听电台,和至少两个剧院演员可以执行场景和独白居住空间。
费施尔工作和居住在纽约,他的工作室位于翠贝卡.2000年,他搬到了凹陷港,长岛、纽约和他的妻子、风景画家4月Gornik,在那里他们共享一个家和匹配的工作室。
Fischl was born in New York City and grew up on suburban Long Island; his family moved to Phoenix, Arizona, in 1967. His own web site describes him as growing up "against a backdrop of alcoholism and a country club culture obsessed with image over content."
His art education began at Phoenix College, then a year at Arizona State University, then California Institute of the Artsin Valencia, California, where he earned his BFA in 1972. He then moved to Chicago, taking a job as a guard at the Museum of Contemporary Art.
His own website recounts, "It was in Chicago that Fischl was exposed to the non-mainstream art of the Hairy Who. 'The underbelly, carnie world of Ed Paschke and the hilarious sexual vulgarity of Jim Nutt were revelatory experiences for me.'"
In 1974, he took a job teaching painting at Nova Scotia College of Art and Design, where he met painter April Gornik, with whom he moved back to New York City in 1978 and later married.
He is a senior critic at the New York Academy of Art.
Fischl has embraced the description of himself as a painter of the suburbs, not generally considered appropriate subject matter prior to his generation.[1] Some of Fischl's earlier works have a theme of adolescent sexuality and voyeurism, such as Sleepwalker (1979) which depicts an adolescent boy masturbating into a children's pool. Bad Boy (1981) andBirthday Boy (1983) both depict young boys looking at older women shown in provocative poses on a bed. In Bad Boy, the subject is surreptitiously slipping his hand into a purse. In Birthday Boy, the child is depicted naked on the bed.
In response to 9/11, Fischl debuted his work Tumbling Woman at Rockefeller Center in New York, creating controversy since it reminded the viewers of people falling from the World Trade Center. When asked about the controversy in an interview, Fischl still felt "confused and hurt by [it]. It was an absolutely sincere attempt to put feelings into form and to share them, and it was met with such anger and anxiety in a way that used to be reserved for abstract sculpture, really." Fischl felt people were mourning the building more than the people since there were so few bodies but such a high body count, which he felt was wrong.
In 2002, Fischl collaborated with the Museum Haus Esters in Krefeld, Germany. Haus Esters is a 1928 home, designed by Mies van der Rohe in 1928 to be a private home. It now houses changing exhibitions. Fischl refurnished it as a home (though not particularly in Bauhaus style, and hired models who, for several days, pretended to be a couple who lived there. He took 2,000 photographs, which he reworked digitally and used as the basis for a series of paintings, [3] one of which, the monumental Krefeld Redux, Bedroom #6 (Surviving the Fall Meant Using You for Handholds) (2004) was purchased by Paul Allenfeatured in the 2006 Double Take Exhibit at Experience Music Project, where it was juxtaposed with a much smaller Degaspastel.[4] This is by no means the first time Fischl has been compared to Degas. Twenty years earlier, reviewing a show of 28 Fischl paintings at New York's Whitney Museum, art critic John Russell wrote in The New York Times, "[Degas] sets up a charged situation with his incomparable subtlety of insight and characterization, and then he goes away and leaves us to figure it out as best we can. That is the tactic of Fischl, too, though the society with which he deals has an unstructured brutality and a violence never far from release that are very different from the nicely calibrated cruelties that Degas recorded."
Fischl also collaborated with Jamaica Kincaid, E. L. Doctorow and Frederic Tuten combining paintings and sketches with literary works.
The latest paintings by Fischl deal with the centuries-old tradition of the bullfight, more precisely with the Corrida goyesca de Ronda, a topic that since its creation in the 18th century has always captivated artists, from Goya to Hemingway and Picasso. The large-sized paintings show the protagonists in the typical light-flooded settings with strong, luminous colours, and contrasts created by the interaction between the harsh Mediterranean light and the deep foreboding shadows.
Fischl's latest project is a traveling gallery of sorts-essentially, a well-organized traveling art circus. As he envisions it, 18 trucks custom-designed to serve as mobile galleries will travel to each location, where they will unfold to reveal 3,300 square feet (310 m2) of exhibition space. Together, the whole caravan will contain over 60 works of visual art, 16 music listening stations, and at least two theater spaces where actors can perform scenes and monologues live.
Fischl worked and resided in New York City, with his studio located in Tribeca.[8] In 2000 he moved to Sag Harbor, Long Island, New York with his wife, landscapist April Gornik, where they share a home and matching studios.
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