Mary Bates Neubauer
玛丽·贝茨·纽鲍尔


MARY BATES NEUBAUER, Professor and Head of Sculpture, Herberger Institute for Design and the Arts.

EDUCATION
1981 - M.F.A. Indiana University, Ford Fellow, Bloomington, Indiana
1973 - B.F.A. Colorado State University, Fort Collins, Colorado

EMPLOYMENT
1996-Present: Arizona State University, Tempe, AZ, Professor, Area Head-Sculpture 2006-Present;
1994-5: Anglia Polytechnic University, (now Anglia-Ruskin University) Cambridge, England, Fulbright Fellow;
1982-96: Sonoma State University, Rohnert Park, CA, Professor, Sculpture,
Dept. Chair 1986-9;
1981-2: The Johnson Atelier Technical Institute for Sculpture, Princeton, NJ, Dept. Head, Chasing.

EXHIBITIONS
She has participated in numerous solo and group exhibitions nationally and
internationally.


玛丽·贝茨·纽鲍尔 (Mary Bates Neubauer) 现任美国亚利桑那州大学贺伯格设计与艺术学院教授及雕塑系主任。
教育经历
1981 年印第安纳州大学艺术学硕士
(Indiana University)
1973 年科罗拉多州大学艺术学士
(Anglia Polytechnic University)
职业经历
1996至今, 美国亚利桑那州大学 (Arizona State University) 教授, 自2006年任地区雕塑系主任。
1994 - 1995 英格兰剑桥镇安格利亚理工大学 (Anglia-Ruskin University) 。
1982 - 1996, 加州 (Rohnert Park) 诺那特公园市索诺马州立大学雕塑系教授,
1986 - 1989 年期间任系主任。
1981 - 1982, 纽泽西州普林斯顿市约翰逊阿特莱雕塑技术学院,雕塑系主任
参展经历:
曾多次参加国际国内个展及群展,如英国、法国等。2008年参加中国北京、上海、重庆举办的数码石雕展。

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ARTIST STATEMENT:

My recent sculptures, prints, and public artworks use information obtained through digital and numerical processes to create visual imagery. Illuminated photograms, laser-scanned images, animations, and rapid prototypes are combined with more traditional casting and replication techniques in artworks that address the natural world as well as the metropolitan environments in which many of us now live. I am interested in contemporary science and its data-gathering methods. My artworks take a new and highly visual look at constantly streaming information about our surroundings. I believe that scientific, numerical, and technical data may be interpreted in a visually compelling manner, and that these new visualizations can aid in a deeper understanding of the world, including its long-term geophysical transformations as well as its daily cycles and rhythms of growth and change.

The surfaces and translucency of my sculptural and virtual artworks give them properties of inner life and animation despite their digitally archived nature, pointing out qualities of inherent spirituality, tactile beauty, and luminosity. While the work retains the touch of the artists’ hand, it also reveals the artifacts of the digital processes through which it has been taken, such as layering, texturing, and rasterization.

Recent research into the visual transcription of numerical data streams involves collecting historical and near-real-time statistics from the various instruments which are constantly recording details of our surroundings, such as climate, solar activity, water levels, traffic flow, energy expenditure, and population flux. Incoming information is translated in several steps, from columns of numbers to 3D visual patterns. Captured and interpreted through video displays as evolving animations, this streaming data is intended to keep the viewer informed with a lively, ongoing sense of the immediate activity and functions of the world. Visualizations of larger historical cycles of events are encapsulated in the form of 3D computer prototypes and prints, as well as larger sculptures. Through this work, viewers are given new ways of seeing previously inaccessible information. The intent is to provide an easily readable way of understanding the living functions of our surroundings through incoming data, formerly only statistically decipherable. This type of inside information can give us a new view of the complexity of our natural and urban environments as functioning entities with hidden, and fascinating, lives of their own.



艺术家的话:

我近期的雕塑、数码喷绘图和公共艺术作品等, 都是采用数码或数字处理来创造视觉形象。例如, 添加了灯效的黑 影照片, 激光扫描的图片, 动画以及快速建模的模型等, ——我将这些数字化过程与传统的人工复制与铸造技术相融 合, 去探讨自然界以及我们所居住的都市环境。我对于当代科学以及科学的数据采集方法有着浓厚的兴趣, 因此我的 艺术作品也是以一种全新的、视觉化的方式去关注不断更新的环境信息。我认为各类科技信息数据可以以一种视觉上 更有说服力的方式来诠释, 这种新的信息视觉化成果能帮助我们深化对周遭世界的理解, 这包括对长期地理演变以及 每日地理发展变化的双方面认识。

尽管我的虚拟艺术作品以及实体雕塑都具有数字特征, 但作品的半透明感及表面处理赋予了其内在生命和动感特征, 这体现出作品本身固有的精神性、质感美以及光感特征。我的作品既保存了艺术家手工的自然触感, 同时也通过一些 细节展现了数码科技处理后的艺术效果, 如层叠, 表面纹理以及光栅化等。

最近的数字流视觉化过程研究涉及到同时收集历史数据和实时数据。人们利用各种仪器不断地记录我们生活环境的详 细情况, 比如气候, 太阳活动, 水位变化, 交通状况, 能源消耗, 人口数量等等。然后将所收集到的信息进行分步解 析, 最终把一栏一栏的数字转换为3D视觉模式。通过视觉影像方式去获取数据流并诠释出来, 我们能给观者提供一个 更生动, 持续和直观的方式去了解周遭世界的运作。对时间跨度更大的事物发展周期的视觉化, 则是通过计算机3D模 型、数码喷绘图和大型雕塑来实现的。通过这个过程, 观者能多角度地观看以前无法看到的信息。相比以前晦涩难懂 的统计数据, 数字流视觉化旨在对复杂的人类自然环境和居住环境提供全新而易懂的解读——环境更像是有着自己生 命的客体, 隐藏着无限玄机。

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