Jacqueline Bishop & Douglas Bourgeois
这两位艺术家是路易斯安那州的当地人，其风格体现了当地深邃思想的奥秘，以及在其历史和文化方面独特的感受。他们是长期的朋友，都把这个地方称之为家，并”艺术家活动家”的某种意义上具有类似的共同点，他们在工作中揭示了环境的真谛以及我们的现代世界。The two artists are natives of Louisiana, a place that embodies profound mystery in its history, culture, and distinctive landscape. Bishop and Bourgeois, long-standing friends, both respond to the place they call home and are also, in a sense, “artist activists,” finding common ground in their efforts to reveal essential truths about the environment and our modern world in their work.

Jacqueline Bishop (出生 1955) 认为自己主要是一个风景画家, 她精心渲染, 郁郁葱葱的动植物图像, 诗意地暗示了生态问题, 同时突出了微妙的平衡, 自然世界的美丽以及人类对它的影响。
Jacqueline Bishop (born 1955) considers herself primarily a landscape painter, and her meticulously rendered, lush imagery of flora and fauna poetically alludes to ecological issues while highlighting the delicate balance between the beauty of our natural world and humankind’s impact upon it.

Douglas Bourgeois从二十世纪五六十年代的青年时期开始接受了家乡路易斯安那州的熏陶，在此期间，他通过印刷，广播和电视媒体在全国各地传播美国文化，在作品中，他年轻的经历深刻地塑造了他艺术的内容和特点。
Douglas Bourgeois (born 1951) also derives inspiration for his art from his home state of Louisiana and from his youth there in the 1950s and 1960s, during which he was culturally educated through the print, radio, and television media that distributed popular culture to Americans in all parts of the country. His youthful experiences have profoundly shaped the content and character of his art throughout his careen

Douglas Bourgeois

抽象是东海岸艺术创作喜欢的样式, Douglas Bourgeois 让他的艺术从现实主义有机地增长，利用流行的文化对象和图标展示了他对人类在辨别个人身份方面基本斗争的迷恋。

这货特别着迷于音乐表演者, 他的许多作品, 如1992年的‘’流行歌手‘’，融合了表演和宗教仪式的概念作为精神感受，包含了戏剧性的意图以及对舞台艺术的参考, 有目的地传达情感强度和戏剧表现。在二十世纪八十年代代初, Bourgeois 开始详细阐述他的 “舞台般的” 展示风格，利用三维度创建组合式的箱结构，进一步展示和提升了人物的艺术风格。

虽然 Bourgeois 的风格源自于他年轻时期的通俗文化，但他的作品包含了更多的社会和政治题材以及社会批判，如 1994，艺术家利用扭曲 Refrigerator 的力量, 在似乎熟悉的环境中安置了看似不协调的元素和特点，和我们以消费为基础的美国物质文化。像Bishop一样, 他也专注于人与自然的关系和工业化对环境的潜在影响, 特别是在新奥尔良北部密西西比河沿岸的化工厂的建造, 使艺术家的形象, 如 ‘’Dollcake1995在海上, ”，天空和水扰乱的强烈, 化学颜色与维多利亚时代的风格在娃娃和 Crinolines 之间形成了对比反差。

Bourgeois 描绘了真实的每一幅图像, 甚至是天使与罪人打情骂俏，弃绝的神圣和亵渎相互作用。将我们的 “一次性文化” 进行尖锐对比，描述了我们复杂的现代社会。

At a time when abstraction remained the style favored by the art establishment of the East Coast, Douglas Bourgeois allowed his art to grow organically from a realist style, utilizing the close depiction of popular culture objects and icons to demonstrate his fascination with the basic human struggle in discerning a personal identity.

Fascinated specifically with musical performers, many of his compositions such as Pop Singer, 1992, meld the concepts of performance and religious ritual as spiritual experiences. His compositional settings are theatrical by intent-they contain references to stagecraft and purposefully convey the emotional intensity and drama of performance. In the early 1980s Bourgeois began to elaborate upon his “stage- like” presentations by moving them into three dimensions, creating assemblage/box constructions, which further allude to reliquaries as they enshrine the characters he elevates by his art.

While Bourgeois’s work is grounded in the popular culture of his youth, several of his works incorporate more social and political subject matter. The social critique found in works such as Refrigerator, 1994, derives its power from the artist’s wry juxtaposition of seemingly incongruous elements assembled within environments that appear familiar and characteristic of our consumer-based American material culture. Like Bishop, he has also focused on man’s relationship with nature. The potential environmental impact of industrialization, particularly the construction of chemical plants along the Mississippi River north of New Orleans, has led the artist to images such as Dollcake at Sea, 1995. The sky and water roil with intense, chemical-like color contrasting with the Victorian-era references in the figure of the doll and her crinolines.

Bourgeois depicts every image as equally real, even those interactions of the sacred and profane symbolized by angels cavorting with sinners and reprobates. Our “disposable culture’ is placed in sharp relief and takes center stage in his depictions of our complex modern society.

Bishop, Bourgeois和其他几个路易斯安那州的画家被称为’梦幻般的意象’，因为这些艺术家往往主要是在做一个形式上的比喻，但他们的形象倾向于神秘主义、精神和魔法。作为一个沉浸在欧洲和加勒比多个文化和精神的地方，路易斯安那州的社会和景观启发了一个独特的艺术特色，植根于它特有的过去，也反映了当今社会活力和丰富多彩。

Bishop, Bourgeois, and several other Louisiana painters have been referred to as ‘Visionary Imagists’ because these artists tend to work primarily in a figurative genre, but their imagery tends toward mysticism, the spiritual, or the magical. As a state steeped in multiple European and Caribbean cultural and spiritual traditions, Louisiana’s society and landscape have inspired distinctive artworks rooted in its unique past that also reflect its vibrant, frequently colorful present day society.

MMFA(Montgomery Museum Fine Arts)为两位艺术家的特展，以上英文自展内说明，中译Hydy，参考：
https://en.wikipedia.org/wiki/Douglas_Bourgeois
http://cacno.org/artists/douglas-bourgeois
https://www.knowlouisiana.org/entry/jacqueline-bishop