分类 “艺闻” 下的文章

  • The Overlooked Radicalism of Impressionist Mary Cassatt &# …

    2018.10.19 · 发表评论

    In 2015, London’s National Gallery mounted the exhibition ‘Inventing Impressionism: The Man Who Sold a Thousand Monets’. I was deeply irritated by it. It is half a century since women art historians challenged the myth of a women-free art history and made visible both the women and the men who co-created not only Impressionism but modern art as a whole. Yet, the National Gallery was pedalling the tired and discredited tale of a heroic ‘band of brothers’ in modern art: a phrasing that was actually used for the publicity of the BBC series in 2006 called ‘The Impressionists’ when an elderly Claude Monet (Julian Glover) reminisced over the lives and loves of his pals Edgar Degas, Camille Pissarro and Pierre-Auguste Renoir.  – 2015,伦敦国家美术馆举办了“印象派”的展览:卖了一千个莫奈的人。我被它深深地激怒了。半个世纪以来,女性艺术史家对女性自由艺术史的神话发起了挑战,使女性和男性不仅共同创造了印象主义,而且共同创造了整个现代艺术。然而,国家美术馆却在抨击现代艺术中一支英雄的“兄弟乐队”的疲惫不堪、名誉扫地的故事:2006年,当年老的克劳德·莫奈(朱利安·格洛弗)回忆起这支名为“印象派”的英国广播公司系列节目时,这个短语实际上被用来宣传。他的朋友埃德嘉·德嘉、卡米耶·毕沙罗和Pierre Auguste Renoir的爱和爱。

  • Directors' Choice: Pick One Significant Work by a Wom …

    2018.10.19 · 发表评论

    Art Institute of Chicago 
    Calouste Gulbenkian Museum, Lisbon
    Courtauld Institute of Art, London
    Frans Hals Museum, Haarlem
    Guggenheim Museum Bilbao
    Hirshhorn Museum and Sculpture Garden, Washington
    Kunsthistorisches Museum, Vienna
    Kunstmuseum Bern
    Leslie-Lohman Museum of Gay and Lesbian Art, New York
    Louvre Museum, Paris 
    Magasin III, Stockholm
    Museum Ludwig, Cologne
    National Gallery, London
    National Gallery of Victoria, Melbourne
    National Gallery of Zimbabwe, Harare
    National Portrait Gallery, London
    Norval Foundation, Cape Town
    Parrish Art Museum, Long Island
    Tate Britain, London
    Yorkshire Sculpture Park, West Bretton – 芝加哥艺术学院

  • Brazilian Modernism: Feminism in Disguise – 巴西现代 …

    2018.10.19 · 发表评论

    The recent exhibition ‘Tarsila do Amaral: Inventing Modern Art in Brazil’, at New York’s Museum of Modern Art, credits the artist with creating the visual identity of Brazilian modern art. This begs the question: why did so many Brazilian women artists reject feminist discourse, even as their works struggled with similar issues addressed by their counterparts in the US and elsewhere? The most common explanation has been that Brazilian women artists, such as Do Amaral, had a prominent role in the visual arts and so didn’t need to fight for space or visibility. According to the critic and curator Paulo Herkenhoff, women were more than contributors to the visual arts in Brazil: they were the driving force of Brazilian art in the 20th century. – 最近在纽约现代艺术博物馆举办的“Tarsila do Amaral:在巴西发明现代艺术”展览,认为艺术家创造了巴西现代艺术的视觉特性。这就引出了一个问题:为什么这么多巴西女艺术家拒绝女权主义话语,即使她们的作品在美国和其他地方遭遇了类似的问题?最普遍的解释是,巴西女艺术家,如Do Amaral,在视觉艺术中具有突出的作用,因此不需要为空间或能见度而斗争。据评论家兼策展人保罗·赫肯霍夫说,在巴西,女性不仅仅是视觉艺术的贡献者:她们是20世纪巴西艺术的推动力。

  • Female Patrons Throughout History – 历史上的女性赞助人

    2018.10.19 · 发表评论

    For more than 3,000 years, patronage of art and architecture has been a noteworthy path for women’s agency and self-expression. Over recent decades, patronage studies – which bring together issues of personal and group identity, political power and cultural production – have come to occupy a significant place in the history of art. It is well known that, in many cases, informed and intelligent patrons took an active role in shaping the character of the works they commissioned. The English term ‘patron’ comes from the Latin patronus (protector of clients or dependents, specifically freedmen), which is, in turn, derived from pater (father). Thus, the term ‘patronage’ is inherently gendered and, in nearly all cases, female patrons worked within the limitations of patriarchal societies. Yet, from Antiquity to the present day, women have requested (and collected) works of art and have commissioned buildings and urban interventions. It is important to stress that the patronage systems of the past were based on social stratification and inequalities in power and economic standing – so, in general, patronage by both women and men was the province of elites, who had the means to extend commissions. Some art historians have used the neologism ‘matronage’ when discussing women patrons but, along with most scholars working on the topic today, I prefer to use the traditional – albeit gendered – term patronage.  – 3000多年来,赞助艺术和建筑一直是妇女自我表现和代理的重要途径。近几十年来,赞助研究——将个人和群体身份、政治权力和文化生产等问题结合在一起——在艺术史上占据了重要的地位。众所周知,在许多情况下,知情和聪明的赞助人在塑造他们委托的作品的性格方面起到了积极的作用。英语术语“patron”来源于拉丁语的patronus(客户或受抚养人的保护者,特别是自由人),而后者又来源于pater(父亲)。因此,术语“赞助”具有固有的性别,在几乎所有情况下,女性赞助人在父权社会的限制下工作。然而,从古代到现在,妇女已经要求和收集艺术品,并委托建筑和城市干预。必须强调的是,过去的资助制度是建立在社会分层、权力和经济地位不平等的基础上的——因此,一般来说,男女资助都是精英阶层的所在地,精英阶层有扩大佣金的手段。一些艺术历史学家在讨论女性赞助人时,使用了新词“主客观”,但与大多数学者讨论今天的话题相比,我更喜欢使用传统的——尽管是性别的长期赞助。

  • The Black Female Figure – 黑人女性形象

    2018.10.19 · 发表评论

    In 1864, the renowned abolitionist stronghold of Boston no doubt seemed the perfect place for Mary Edmonia Lewis to regroup after her trial in Oberlin, Ohio, and veritable expulsion from college. The community that boasted the first co-educational and racially inclusive school had failed to protect her from the prolific racism that permeated the US. Yet, the little we know of this eminent 19th-century sculptor demonstrates that Lewis was nothing if not resilient.  – 1864年,波士顿著名的废奴主义据点无疑是玛丽·爱德蒙娜·刘易斯在俄亥俄州奥伯林受审并被逐出大学后重新集结的理想地方。自诩为第一所男女同校、种族包容的学校的社区未能保护她免受遍及美国的多产种族主义的侵害。然而,我们对这位杰出的19世纪雕塑家所知甚少,说明Lewis是一个没有弹性的人。

  • The Mysterious Selfies of Monsieur Bascoulard – Mons …

    2018.10.19 · 发表评论

    What first caught my attention was a photograph taken in 1944. A handsome young man addresses me confidently through the camera. The image is black and white but the dress he’s wearing – floor-length, full-skirted, with a satin sheen – is clearly striped in bright hoops of colour. Its style is more 19th century than mid-20th; the setting a country lane in the sunshine. Earlier in the year, this same young man had adopted a more conventionally photogenic pose, leaning back and gazing away from the camera, like a female movie-star in a publicity still. That time he was safely indoors, in what looks to be an un-staged corner of a photographic studio. – 首先引起我注意的是一张1944拍摄的照片。一个英俊的年轻人通过摄像机自信地向我讲话。照片是黑白相间的,但是他穿的裙子——地板长,全裙子,缎子光泽——明显地镶有鲜艳的花环。它的风格比十九世纪中旬还要多;在阳光下设置一条乡间小巷。今年早些时候,这个年轻人采取了更传统的拍照姿势,向后仰,目不转睛地盯着镜头,就像一个女电影明星在公开场合一样。那一次,他安全地呆在室内,看上去像是摄影棚的一个非舞台角落。

  • A Strange Portrait of a Former Lover – 一个陌生情人 …

    2018.10.19 · 发表评论

    After the dissolution of their turbulent relationship, Oskar Kokoschka commissioned an accurately proportioned re-creation of Alma Mahler in 1918 – 在他们动荡的关系解体后, Oskar Kokoschka委托 精确地按比例重新创建了Alma Mahler 

  • Eye in the Sky: What a Surveillance Blimp in Amish Country …

    2018.10.19 · 发表评论

    On 28 October 2015, a US military surveillance blimp rampaged across rural Pennsylvania after breaking its tether above Maryland  – 2015年10月28日,一艘美国军用侦察飞艇在马里兰州上空打破束缚,横扫宾夕法尼亚州的农村地区。

  • The Strange Story of Harry Clarke’s Rejected Stained Glass …

    2018.10.19 · 发表评论

    A 1926 boozy sketch for a commission intended for the League of Nations building in Geneva was declined for being ‘too bacchanalian’ – 1926年,为日内瓦国际联盟大楼准备的委员会草拟的醉酒草图被拒绝了,因为它“太 bacchanalian”了。