{"id":8406,"date":"2026-04-22T22:50:59","date_gmt":"2026-04-23T02:50:59","guid":{"rendered":"https:\/\/nypress.us\/?p=8406"},"modified":"2026-04-22T22:57:32","modified_gmt":"2026-04-23T02:57:32","slug":"%e3%80%8a%e4%bd%95%e5%8f%af%e4%ba%ba%e7%bb%98%e7%94%bb%e8%89%ba%e6%9c%af%e9%9a%8f%e6%83%b3%e3%80%8b","status":"publish","type":"post","link":"https:\/\/nypress.us\/?p=8406","title":{"rendered":"\u300a\u4f55\u53ef\u4eba\u7ed8\u753b\u827a\u672f\u968f\u60f3\u300b"},"content":{"rendered":"\n

\u4f5c\u8005\uff1aCharles A. Riley II \u535a\u58eb<\/p>\n\n\n

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Charles A. Riley II \u535a\u58eb<\/figcaption><\/figure>\n<\/div>\n\n\n
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\u300aHairography\u300b<\/figcaption><\/figure>\n<\/div>\n\n\n

\u8fd9\u79cd\u6210\u957f\u5728\u5979\u7684\u201d\u884c\u52a8\u7ed8\u753b\u201d\u548c\u81ea\u753b\u50cf\u7cfb\u5217\u4e2d\u6700\u4e3a\u7a81\u51fa\u3002\u8fd9\u4e24\u7c7b\u4f5c\u54c1\u6c72\u53d6\u4e86\u5979\u5728\u53e6\u4e00\u9879\u4e25\u8083\u827a\u672f\u8ffd\u6c42\u2014\u2014\u821e\u8e48\u2014\u2014\u4e2d\u57f9\u517b\u51fa\u7684\u620f\u5267\u5f20\u529b\u3002\u5728\u8fd9\u6b21\u5c55\u89c8\u4e2d\uff0c\u4e24\u79cd\u5a92\u4ecb\u4e4b\u95f4\u7684\u4ea4\u6c47\u5904\u5904\u53ef\u89c1\uff0c\u800c\u6700\u5177\u7206\u53d1\u529b\u7684\uff0c\u83ab\u8fc7\u4e8e\u300aHairography\u300b\uff1a\u827a\u672f\u5bb6\u5c06\u4e00\u5934\u4e4c\u9ed1\u957f\u53d1\u6d78\u5165\u58a8\u6c34\uff0c\u5c06\u81ea\u5df1\u5316\u4f5c\u4e00\u652f\u4f1a\u8df3\u821e\u7684\u753b\u7b14\uff0c\u4f34\u968f\u563b\u54c8\u97f3\u4e50\uff0c\u6325\u6d12\u51fa\u6770\u514b\u900a\u00b7\u6ce2\u6d1b\u514b\u5f0f\u7684\u7b14\u89e6\u4e4b\u7f51\u3002\u8fd9\u4ef6\u4f5c\u54c1\u7684\u8eab\u4f53\u6027\uff0c\u4e0d\u4ec5\u4ee4\u4eba\u8054\u60f3\u5230\u6ce2\u6d1b\u514b\u884c\u52a8\u7ed8\u753b\u7684\u5168\u90e8\u81ea\u7531\uff0c\u4e5f\u4ee4\u4eba\u60f3\u8d77\u4f0a\u592b\u00b7\u514b\u83b1\u56e0\u90a3\u4ee5\u821e\u8005\u4e0e\u6a21\u7279\u4e3a\u201d\u6d3b\u753b\u7b14\u201d\u521b\u4f5c\u7684\u84dd\u8272\u300a\u4eba\u4f53\u6d4b\u91cf\u300b\u7cfb\u5217\u3002<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

\u662f\u4ec0\u4e48\u5c06\u821e\u8e48\u4e0e\u8096\u50cf\u753b\u8054\u7ed3\u5728\u8fd9\u4e9b\u4f5c\u54c1\u4e4b\u4e2d\uff1f\u624b\u52bf\uff0c\u6210\u4e3a\u4e86\u6838\u5fc3\u8bed\u8a00\u3002\u5728\u6211\u770b\u6765\uff0c\u8fd9\u6b21\u5c55\u89c8\u6700\u6253\u52a8\u4eba\u5fc3\u4e4b\u5904\uff0c\u6b63\u662f\u90a3\u4e9b\u8d4b\u4e88\u81ea\u753b\u50cf\u751f\u547d\u529b\u7684\u52a8\u6001\u624b\u90e8\u52a8\u4f5c\u3002\u5728\u300aAI Versus Naked Eye\u300b\u4e2d\uff0c\u4f55\u53ef\u4eba\u4ee5\u517c\u5177\u821e\u8005\u80fd\u91cf\u4e0e\u753b\u5bb6\u7cbe\u51c6\u7684\u5927\u80c6\u7b14\u89e6\uff0c\u4ece\u753b\u9762\u7a7a\u95f4\u4e2d\u8ff8\u53d1\u800c\u51fa\uff0c\u7a7f\u8d8a\u7531\u9752\u6625\u7b26\u53f7\u3001\u6d41\u884c\u6587\u5316\u4e0e\u4e2a\u4eba\u56fe\u50cf\u6784\u6210\u7684\u8bcd\u6c47\u5e93\uff0c\u4ee5\u4e00\u79cd\u771f\u8bda\u800c\u7565\u5e26\u5bf9\u6297\u6027\u7684\u51dd\u89c6\u76f4\u9762\u89c2\u8005\u3002\u8fd9\u4ee4\u6211\u60f3\u8d77\u6587\u827a\u590d\u5174\u65f6\u671f\u6211\u6700\u559c\u7231\u7684\u753b\u4f5c\u4e4b\u4e00\u2014\u2014\u5e15\u5c14\u7c73\u8d3e\u5c3c\u8bfa\u7684\u300a\u51f8\u955c\u4e2d\u7684\u81ea\u753b\u50cf\u300b\u3002\u90a3\u662f\u4e00\u4ef6\u9ad8\u8d85\u4e4b\u4f5c\uff0c\u753b\u5bb6\u5c06\u5176\u7ed8\u5236\u5728\u4e00\u5757\u4e0e\u955c\u5b50\u7b49\u5927\u7684\u6728\u8d28\u534a\u7403\u4e0a\uff0c\u7cbe\u786e\u518d\u73b0\u4e86\u53f3\u624b\u2014\u2014\u90a3\u53ea\u63e1\u7740\u753b\u7b14\u7684\u624b\u2014\u2014\u5411\u5916\u4f38\u51fa\u7684\u59ff\u6001\u3002\u8fd9\u5e45\u753b\u4e5f\u542f\u53d1\u4e86\u6211\u6700\u559c\u7231\u7684\u201d\u8bd7\u610f\u56de\u5e94\u827a\u672f\u201d\uff08ekphrasis\uff09\u4e4b\u4e00\uff1a\u7ea6\u7ff0\u00b7\u963f\u4ec0\u4f2f\u91cc\u4ee5\u540c\u540d\u521b\u4f5c\u7684\u8bd7\u6b4c\u3002\u963f\u4ec0\u4f2f\u91cc\u65e2\u662f\u51fa\u8272\u7684\u827a\u672f\u8bc4\u8bba\u5bb6\uff0c\u4e5f\u662f\u827a\u672f\u5bb6\uff0c\u4ed6\u5728\u8bd7\u4e2d\u5199\u9053\uff0c\u8fd9\u5e45\u753b\u201d\u4e3b\u8981\u662f\u4ed6\u7684\u5012\u5f71\uff0c\u800c\u8096\u50cf\u672c\u8eab\uff0c\u5219\u662f\u90a3\u5012\u5f71\u7684\u518d\u6b21\u6298\u5c04\u201d\u3002\u6b63\u5982\u8bd7\u4eba\u6240\u77e5\uff0c\u5916\u5728\u73b0\u5b9e\u4e0e\u5185\u5728\u73b0\u5b9e\u7684\u5bf9\u7167\uff0c\u4f7f\u4e00\u5e45\u5982\u6b64\u5fe0\u5b9e\u5199\u5b9e\u7684\u8096\u50cf\uff0c\u53d8\u6210\u4e86\u4e00\u573a\u5173\u4e8e\u201d\u6240\u89c1\u201d\u4e0e\u201d\u672a\u89c1\u201d\u7684\u8fa9\u8bba\u3002\u8fd9\u79cd\u5bf9\u955c\u5b50\u6240\u63d0\u4f9b\u7684\u5fc3\u7406\u4e0e\u54f2\u5b66\u63a2\u7d22\uff0c\u672c\u5c31\u5185\u5d4c\u4e8e\u81ea\u753b\u50cf\u7684\u4f20\u7edf\u4e4b\u4e2d\u3002\u800c\u5f53\u4f55\u53ef\u4eba\u4ee5\u5316\u5986\u5237\u53d6\u4ee3\u753b\u7b14\u65f6\uff0c\u5979\u4e3a\u4f5c\u54c1\u6dfb\u5165\u4e86\u4e00\u4e1d\u4fcf\u76ae\u7684\u81ea\u6211\u5ba1\u89c6\uff0c\u4e0e\u80cc\u666f\u4e2d\u7684\u5316\u5986\u54c1\u548c\u73cd\u73e0\u5976\u8336\u56fe\u50cf\u76f8\u4e92\u547c\u5e94\u3002<\/p>\n\n\n

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\u300aThe Calamity of Modern Legacy\u300b<\/figcaption><\/figure>\n<\/div>\n\n\n

\u5728\u53e6\u4e00\u5e45\u81ea\u753b\u50cf\u300aThe Calamity of Modern Legacy\u300b\u4e2d\uff0c\u955c\u50cf\u7684\u53e0\u52a0\u901a\u8fc7\u53e4\u5178\u5a92\u4ecb\u7684\u5e76\u7f6e\u2014\u2014\u666f\u5fb7\u9547\u74f7\u74f6\uff0c\u4e2d\u56fd\u74f7\u5668\u5de5\u827a\u7684\u6781\u81f4\u8c61\u5f81\u2014\u2014\u4e0e\u5f53\u4ee3\u7b26\u53f7\u5f62\u6210\u5f3a\u70c8\u5f20\u529b\uff0c\u90a3\u4e9b\u82e5\u9690\u82e5\u73b0\u7684\u88c2\u7eb9\u4e0e\u7455\u75b5\uff0c\u6620\u7167\u51fa\u4f55\u53ef\u4eba\u5728\u4f5c\u54c1\u4e2d\u6240\u6355\u6349\u7684\u90a3\u4e2a\u8106\u5f31\u800c\u4e0d\u65ad\u6f14\u53d8\u7684\u8eab\u4efd\u3002\u6211\u4e5f\u6b23\u8d4f\u5d4c\u5165\u74f7\u74f6\u753b\u9762\u4e2d\u5bf9\u4e2d\u56fd\u6c61\u67d3\u95ee\u9898\u7684\u9690\u6666\u8bc4\u6ce8\u2014\u2014\u90a3\u8885\u8885\u5347\u817e\u7684\u6d53\u70df\uff0c\u53d6\u4ee3\u4e86\u7530\u56ed\u8bd7\u610f\u4e2d\u60ef\u5e38\u51fa\u73b0\u7684\u67f3\u6811\u6216\u7af9\u5b50\u3002\u6700\u590d\u6742\u3001\u4e5f\u7565\u4ee4\u4eba\u4e0d\u5b89\u7684\u4e00\u5e45\u81ea\u753b\u50cf\uff0c\u4ece\u53e6\u4e00\u4e2a\u89d2\u5ea6\u8be0\u91ca\u4e86\u4e00\u4e2a\u91cd\u8981\u4e3b\u9898\uff1a\u4e00\u4f4d\u5e74\u8f7b\u7684\u534e\u88d4\u7f8e\u56fd\u827a\u672f\u5bb6\uff0c\u5982\u4f55\u4e0e\u4e00\u4e2a\u4f1f\u5927\u4f20\u7edf\u5171\u5904\u2014\u2014\u90a3\u4e2a\u4f20\u7edf\u751a\u81f3\u5305\u542b\u5979\u81ea\u5df1\u7684\u5bb6\u65cf\uff08\u5979\u7684\u53d4\u7236\u662f\u82cf\u5dde\u5907\u53d7\u5c0a\u5d07\u7684\u4e66\u753b\u5bb6\uff09\u3002\u753b\u4e2d\uff0c\u827a\u672f\u5bb6\u518d\u6b21\u7a7f\u900f\u53e4\u5178\u5927\u5e08\u753b\u4f5c\u7684\u5e73\u9762\uff0c\u4ece\u4e2d\u7834\u8327\u800c\u51fa\u3002\u8fd9\u8fdc\u4e0d\u662f\u5bf9\u4f20\u7edf\u4e0e\u4e2a\u4eba\u624d\u534e\u7684\u5b81\u9759\u6c89\u601d\uff0c\u5b83\u540c\u65f6\u4e5f\u89e6\u53ca\u4e86\u8bb8\u591a\u5728\u7f8e\u56fd\u6c42\u5b66\u7684\u4e2d\u56fd\u5b66\u751f\uff0c\u5728\u5b66\u6821\u4e0e\u201d\u5bb6\u4e61\u201d\u4e4b\u95f4\u6240\u611f\u53d7\u5230\u7684\u90a3\u79cd\u4e0d\u9002\u4e0e\u6495\u88c2\u3002\u8fd9\u4efd\u4e61\u6101\u5728\u300aNeglected Ramen Hangout\u300b\u4e2d\u4ee5\u66f4\u4e3a\u7ec6\u817b\u7684\u65b9\u5f0f\u88ab\u5524\u8d77\u2014\u2014\u8fd9\u5e45\u9519\u89c6\u753b\u63cf\u7ed8\u7684\u662f\u4e00\u5757\u624b\u673a\u5c4f\u5e55\uff1a\u5bbf\u820d\u91cc\u7684\u5979\uff0c\u6b63\u4e0e\u8fdc\u5728\u82cf\u5dde\u7684\u670b\u53cb\u89c6\u9891\u901a\u8bdd\uff0c\u800c\u90a3\u4f4d\u670b\u53cb\u6b63\u6253\u8da3\u5979\uff0c\u8bf4\u5979\u66f4\u6c89\u6d78\u5728\u9762\u524d\u7684\u62c9\u9762\u91cc\uff0c\u800c\u4e0d\u662f\u5c4f\u5e55\u4e2d\u7684\u81ea\u5df1\u3002<\/p>\n\n\n

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\"\"
\u300aNeglected Ramen Hangout\u300b<\/figcaption><\/figure>\n<\/div>\n\n\n


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Reflections on the Paintings of Bonnie He<\/kbd><\/strong><\/p>\n\n\n\n


There is a dual nature to being a child prodigy in the arts. As anyone familiar with the biographies of Mozart, Picasso, Mendelssohn, or the many child actors who become celebrated before they are teenagers knows, early recognition of unexpected talent brings excitement and opens doors to advanced training opportunities. The flip side of a fast start, however, is the challenge of managing expectations, navigating the transition from innocence to experience, and avoiding the perils of repetition and stagnation. For Bonnie Keren He, whose childhood portraits from her middle school years were on view at the local county museum where I was director, the intervening years have brought not just technical development\u2014you can see it in her handling of perspective and the convincing draftsmanship (for me, the test is the way she puts hands on the canvas)\u2014but also a certain intellectual growth that manifests itself in the thematic and iconographical content of her works.<\/p>\n\n\n\n


This development is most notable in her \u201caction paintings\u201d and her self-portraits, which tap a certain flair for drama that the artist has nurtured in her other serious artistic pursuit, dance. The points of intersection between the two media are frequently seen in this exhibition, nowhere more dynamically than in Hairography, a Jackson Pollock\u2013style web of whipping gestures created when the artist soaked her long black hair in ink and turned herself into a dancing paintbrush, accompanied by a hip-hop soundtrack. The physicality of the work reminds us not just of the action painting of Pollock in all its freedom but also of Yves Klein\u2019s blue Anthropometries, created with \u201cliving brushes\u201d who were dancers and models.<\/p>\n\n\n\n


What unites dance and portraiture in these works? Gesture becomes the central language, and the core of the exhibition for me is the kinetic hand movements that animate the self-portraits. With bold, thrashing strokes that combine the energy of a dancer and the precision of a painter, Bonnie He in AI Versus Naked Eye bursts from the space of the painting, coming out of a vocabulary of symbolic motifs\u2014reminiscent of teendom, pop culture, and personal iconography\u2014to confront viewers with an earnest, slightly confrontational stare. It reminds me of one of my favorite paintings from the Renaissance, Parmigianino\u2019s Self-Portrait in a Convex Mirror, a virtuoso piece that the artist painted on a wooden hemisphere exactly the size of a mirror, exactly replicating the outward thrust of his right hand, his painting hand. The work is the inspiration for one of my favorite examples of ekphrasis, the poetic response to works of art: John Ashbery\u2019s poem of the same title. As Ashbery, who was a superb art critic and an artist, observes in the poem, the paining is \u201cchiefly his reflection, of which the portrait\/Is the reflection once removed.\u201d As the poet knew, the contrast between external and internal realities makes a portrait as faithfully realistic as this into a debate between what is seen and what remains unseen. This kind of psychological and philosophical exploration of what a mirror offers is inherent in self-portraiture, and when Bonnie He replaces a paint brush with a cosmetic brush, she adds a dash of comic introspection that goes with the background images of cosmetics and bubble tea.<\/p>\n\n\n\n


In another self-portrait, The Calamity of Modern Legacy, the doubling of the mirror uses the juxtaposition of classical media\u2014a Jingdezhen vase, the epitome of Chinese mastery in the medium of porcelain\u2014against contemporary symbols creates a striking tension, the subtle cracks and imperfections echoing the fragile, evolving identity that Bonnie He captures so vividly in her work. I also admire the sly commentary on China\u2019s pollution problem that is embedded in the image on the vase, thick wolf smoke rising in the air instead of the customary willow tree or bamboo in a pastoral scene. The most complex, and slightly troubling, self-portrait offers another interpretive take on this important theme of how a young Chinese-American artist copes with a great tradition that includes members of her own family (her uncle is an esteemed artist and calligrapher in Suzhou), as the artist once again launches herself through the plane of the Old Master painting, essentially rupturing it as she emerges. This is far from a peaceful meditation on tradition and the individual talent, and it addresses as well the discomfort that many Chinese students in the United States feel both in school and \u201cback home.\u201d This nostalgia is more poignantly invoked in Neglected Ramen Hangout, the trompe l\u2019oeil depiction of a phone screen during a zoom call between her dorm room and a friend back in Suzhou who is razzing the artist for being more absorbed in her ramen than in her.<\/p>\n\n\n\n


Bonnie Keren He\u2019s work demonstrates a rare synthesis of technical skill, conceptual depth, and performative energy. Her ability to unite dance and painting in a coherent artistic language shows not only mastery over multiple media but also a mature understanding of identity, expression, and gesture. Her exhibition coincides with my own show dedicated to Mei Lanfang, the legendary Peking opera star who conquered Broadway on tour in 1930. There are many points of contact. Both Mei and Bonnie He in her choreography knew how meaning is conveyed beyond language and drama in the dance, and I note that Bonnie is a great proponent of the use of \u201cwater sleeves\u201d in her choreography, a hallmark of the movement that Mei used to completely transform the stodgy male tradition of opera. Art should always move us in mysterious ways. The self-portraits and performative works in this exhibition are more than visual exercises; they are living explorations of personal and artistic growth. Bonnie He\u2019s innovative approach, combining the immediacy of dance with the permanence of painting, marks her as an artist of exceptional promise, whose work will continue to develop even as it challenges, inspires, and engages audiences for years to come.<\/p>\n\n\n\n

Charles A. Riley II, PhD
The author is the director of the China Institute Gallery in New York and the former director of the Nassau County Museum of Art. He is the author of 49 books on art, including the recently published Picasso in a New Light, and has curated exhibitions in Asia, Europe and the United States. He is a professor at Clarkson University and a frequent commentator on the arts for such media sources as the BBC, CGTN, CCTV, CNN, CBS and other outlets.<\/p>\n","protected":false},"excerpt":{"rendered":"

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