他曾包裹纽约被忽略的“生命、美和可能性”

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他曾包裹纽约被忽略的“生命、美和可能性”
He Wrapped Landmarks in Fabric. Years Later, His Art Turned Up in a Dumpster.

来源：纽约时报 2022-06-29 10:52

The gauze-wrapped building towered over New York City's East Village like a bandaged wound. It was May 1979 and the artist, Francis Hines, had covered an abandoned five-story tenement with 3,500 yards of white fabric, loosely sealing inside the littered drug needles and crumbled walls.	被纱布包裹的建筑就像包扎着绷带的伤口，耸立在纽约东村。那是1979年的5月，艺术家弗朗西斯·海因斯用3200米长的白色织物覆盖了一座废弃的五层住宅，将四处散落的毒品针头和残墙断壁松垮地封存了起来。
At the time, a friend of Hines said, the soft, billowing installation brought “life, beauty and possibility” to the East Village, then an emblem of civic neglect.	当时，海恩斯的一位朋友说，这个柔软蓬起的装置为东村带来了“生命、美和可能性”，它象征着被市民忽略的角落。
Hines earned a pinch of critical acclaim for wrapping this and other New York City structures, including the Washington Arch, in fabric, before he disappeared from the art world. He died in 2016 at 96.	在海恩斯从艺术界消失之前，他用织物包裹了这座建筑和包括华盛顿拱门在内的其他纽约市建筑，赢得了评论界的些许赞誉。他于2016年去世，享年96岁。
His work was rediscovered a year later by Jared Whipple, a Connecticut man who found hundreds of Hines' paintings in a dumpster and who has since made it his mission to get Hines the attention he thinks the artist deserves.	一年后，海因斯的作品被重新发现。康涅狄格州人杰瑞德·惠普尔在一个垃圾场里发现了数百幅海因斯的画作，此后，他将帮海因斯得到他应得的关注作为自己的使命。
In the past five years, Whipple, 40, has pored over Hines' journals, corresponded with the artist’s friends and relatives and dug up archival footage. His work as a self-taught Hines scholar will reach a milestone this week when some of the paintings found in the dumpster are exhibited for sale.	过去五年里，40岁的惠普尔仔细阅读了海因斯的日记，与这位艺术家的朋友和亲戚通信，还找出了影像档案。本周，在垃圾场发现的一些画作将被展览出售，作为一名自发研究海因斯的学者，这次展览对惠普尔的工作将具有里程碑意义。
The solo exhibition opens Thursday at the Hollis Taggart gallery in Southport, Connecticut, and will be accompanied by a smaller presentation in New York City.	此次个展将于周四在康涅狄格州绍斯波特的霍利斯·塔加特画廊开幕，同时还将在纽约市举行一场小型展览。
Hines' escape from obscurity began in September 2017, when Whipple was invited to a rundown barn by a friend who had been hired to clear it out and knew Whipple liked to salvage discarded material.	海因斯的作品重见天日的过程始于2017年9月，当时惠普尔的一个朋友受雇清理一个破旧的谷仓，他知道惠普尔喜欢搜寻废弃材料，便邀请了他。
In a dumpster outside he found neat stacks of hundreds of canvases wrapped in heavy plastic and assumed it was the work of a hobbyist.	在谷仓外的垃圾堆里，他发现了整齐堆放的数百幅用厚塑料布包裹的布面油画，以为是某位业余爱好者的作品。
“As we started opening them up, that’s when we realized there might be something more to it,” Whipple said.	“等到开始把它们拆开的时候，我们意识到这些东西可能不一般，”惠普尔说。
Whipple, a mechanic who also does building maintenance for churches, said he was drawn to the brightly colored depictions of smashed cars and car parts. He decided to haul the collection to his warehouse, where he spent more than a decade building an indoor skateboarding park.	惠普尔是一名机械师，同时也为教堂做建筑维护工作，他说他被画作上以鲜艳的色彩描绘的损毁汽车和零件所吸引。他决定将作品运到他的仓库——他花了十多年时间在里面建了一座室内滑板公园。
Whipple learned the identity of the artist after finding one of the paintings signed with his full name, Francis Mattson Hines. An online search led Whipple to a book that Hines' wife, Sondra Hines, self-published about her husband’s most recognized work: the Washington Arch installation. In 1980, he used 8,000 yards of white polyester to wrap the arch as part of a fundraising campaign by New York University to restore the monument.	惠普尔在这些画作里找到一幅签有弗朗西斯·马特森·海因斯全名的画作，得知了这位艺术家的身份。通过网上搜索，惠普尔找到了一本由海因斯的妻子桑德拉·海因斯自费出版的书，讲的是她丈夫最知名的作品：华盛顿拱门装置。1980年，作为纽约大学修复纪念碑筹款活动的一部分，他使用7000多米长的白色涤纶布料将拱门包裹了起来。
Francis Hines, who worked as a commercial illustrator, continued to sculpt, paint and sketch after the momentous installation but failed to attract significant attention from gallerists.	从事商业插画工作的弗朗西斯·海因斯在那次重要的装置艺术之后继续创作雕刻、绘画和素描，但未能引起多少画廊的注意。
For decades, he would ship his finished work to a barn in Watertown, Connecticut, that he rented for storage and had used as his main studio in the 1970s, Whipple said.	惠普尔说，海恩斯租下了康涅狄格州沃特敦的一个谷仓，几十年来，他将完成的作品运送到那里，并在1970年代将其用作他的主要工作室。
In the past decade or so, the owners of the barn repeatedly asked Hines to move the art because they wanted to sell the property.	由于谷仓的主人想卖掉那处物业，在过去十年左右的时间里一再要求海因斯搬走这些艺术品。
He never did. Instead, he let the protected art pile up under dirt, grime and animal feces, leaving the project for another day — or another person. After Hines died, his family took the things that meant the most to them, leaving behind the trove that Whipple found.	他并没有这样做，而是任灰尘、污垢和动物粪便覆盖这些包好的艺术品，让作品集留待他日——或留给另一个人。海因斯死后，他的家人带走了对他们来说最有意义的东西，留下了惠普尔发现的这些宝藏。
Whipple has an insatiable appetite for information about the artist and has contacted his friends and associates, who have shared photos, video and letters. Whipple spent two years searching for a photographer, Ken Hellberg, who let him search his basement for 35 mm slides of Hines' work.	惠普尔如饥似渴地搜集这位艺术家的信息，并联系了他的朋友和同事，他们给他看了照片、影像和信件。惠普尔花了两年时间寻找摄影师肯·赫尔伯格，他允许惠普尔在他的地下室搜索留存在35毫米幻灯片里的海因斯作品。
Rev. Alan Johnson, 78, who knew Hines for decades and considered him one of his closest friends, said that he was grateful for Whipple’s discovery and persistence.	78岁的艾伦·约翰逊牧师与海因斯相识数十年，当他是自己最亲密的朋友之一，他说他感谢惠普尔的发现和坚持。
Johnson was an official of the United Church Board for Homeland Ministries, which sponsored the East Village project in 1979, and was interviewed by the Times about it in 1979:	约翰逊是家园牧师联合教会委员会的官员，该委员会于1979年赞助了东村的艺术装置，并在1979年接受了《纽约时报》的采访：
“Francis Hines has chosen a place of the city that’s in trouble and brought something of life, beauty and possibility to it,” Johnson said.	“弗朗西斯·海因斯选择了这座城市的一个深陷困境的地方，并为它带来了一些生机、美和可能性，”约翰逊说。
Johnson said Sondra Hines, who died in 2013, would have appreciated that her husband’s work was gaining new recognition. In one catalog of his work, Francis Hines wrote a dedication to her: “Without her talents and devoted work much of what I am about would never see the light of day.”	约翰逊说，2013年去世的桑德拉·海因斯如果知道丈夫的作品正在重新获得认可，将会十分感激。弗朗西斯·海因斯在一个作品目录中为她写了一篇献词：“没有她的才华和全心全意的奉献，我所从事的大部分工作都将永远不会问世。”
Johnson said Whipple was an ideal guardian of his friend’s art because he approaches projects with a practical, hands-on style in keeping with Hines' philosophy that “art is solving problems.”	约翰逊说，惠普尔完美地守护了他的这位朋友的艺术作品，因为他秉持一种务实的、亲力亲为的态度，这符合海因斯“艺术就是解决问题”的理念。
Jonathan Hines, Hines' son, said in a statement provided by Whipple that it was “fate” that a figure outside the art world discovered his father’s art and that it would not have happened if he had decided to keep the art, instead of throwing it away.	在惠普尔提供的一份声明中，海因斯的儿子乔纳森·海因斯说，父亲的作品被艺术界之外的人发现是“命中注定”，如果父亲决定保留这些艺术品，而不是扔掉，这个故事就不会发生。
The Connecticut gallery that will be exhibiting Hines' work starting this week specializes in bringing attention to lost and forgotten art. The gallery’s owner, Hollis Taggart, was introduced to the Hines collection by art historian Peter Hastings Falk.	将于本周开始展出海因斯作品的康涅狄格画廊专门关注丢失和被遗忘的艺术。艺术史学家彼得·黑斯廷斯·福尔克向画廊老板霍利斯·塔格特介绍了海因斯收藏。
Taggart said he was struck by how Hines used pastels on board, then wrapped the paintings with fabric, something he had not seen before.	塔格特说，海因斯在画板上使用粉彩，然后用织物包裹画作，这让他印象深刻，他从未见过这样的做法。
“In today’s contemporary market, there is a big interest in alternative mediums, you see a lot of works that are made out of fabrics, ceramics, installations, wall hangings, things like that,” Taggart said. “What he was doing with fabric on paintings kind of fits what a lot of artists are doing today with using alternative mediums.”	“在现在的当代艺术市场中，人们对另类媒介产生了浓厚的兴趣，你会看到很多由织物、陶瓷、装置、壁挂之类的东西制成的作品，”塔格特说。“他在绘画上用织物做的东西，有点符合当今许多艺术家使用另类媒介的作品。”
The exhibition may look like the culmination of the Francis Hines project, but Whipple said it is just one more step forward in his mission to get recognition for the artist.	展览可能看起来像是弗朗西斯·海因斯计划的高潮，但惠普尔说这只是他为让这位艺术家获得认可而迈出的一步。
He is also working on a documentary about Hines and hopes to see the artist’s work exhibited in a major New York City museum.	他还在制作一部关于海因斯的纪录片，并希望看到这位艺术家的作品在纽约市的主要博物馆展出。
Whipple and Johnson conceded that Hines had been a man of the moment and did not share concerns about his legacy.	惠普尔和约翰逊承认海因斯相信活在当下，对自己的身后声名并不太上心。
In an interview with the Times in 1979, Hines made clear that he was not precious about his work, after someone set fire to the East Village installation, eating away a swath of the gauzy fabric.	在1979年接受《纽约时报》采访时，海因斯明确表示他并不珍惜自己的作品，此前有人放火烧毁了东村的装置，大面积纱布被毁。
“Whatever happens, happens,” Hines said. “It’s almost part of the process. Your work becomes subject to all kinds of things, including weather and vandalism.”	“要发生的都会发生，”海因斯说。“这几乎是整个过程的一部分。你的作品会受到各种因素的影响，包括天气和故意破坏。”

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他曾包裹纽约被忽略的“生命、美和可能性”He Wrapped Landmarks in Fabric. Years Later, His Art Turned Up in a Dumpster.

他曾包裹纽约被忽略的“生命、美和可能性”
He Wrapped Landmarks in Fabric. Years Later, His Art Turned Up in a Dumpster.