标签为 “British Museum” 的文章

  • Art Dealer’s Family Hire Detectives to Find Nazi-Looted De …

    NEW! 2018.11.16 · 发表评论

    In further news: UK threatens to leave UNESCO; Pace team up with Christo 2274.jpg Edgar Degas, Portrait of Mlle. Gabrielle Diot, 1890. Courtesy: Art Recovery International – 另一则新闻:英国威胁离开联合国教科文组织;与克里斯托合作步伐

  • Where Do We Go From Here: Coffee, Care, and Restitution &# …

    2018.11.02 · 发表评论

    On 16 February , Black Panther was released in the US to a tidal wave of excitement, especially in the African American community – and why not, given its unapologetic blackness, its undeniable coolness and its overall excellence. Featuring great acting, sumptuous costumes, luscious landscapes, action, intrigue, CGI etc., Black Panther had something for everyone – including, as it turns out, people in the art world. Fifteen minutes into the movie, after a few crucial plot points are pinned down, we see an establishing shot: a gleaming white Richard Meier building with a gaudy ‘Museum of Great Britain’ sign on the front. This is the High Museum of Art in Atlanta, Georgia, standing in as a fictionalized version of the British Museum, we suppose. The next shot is that of a person we will come to know as Killmonger, his back facing us, looking at a vitrine filled with African artifacts. He has apparently requested that the curator in charge of the installation – a soignée white woman who saunters in with a coffee cup and a falsely modest hesitation in her voice – be summoned so he can ask some sly questions: – 2月16日,“黑豹”号在美国被放行,掀起了一阵兴奋的浪潮,特别是在非洲裔美国人社区——鉴于它无可辩解的黑暗、不可否认的冷静和它的整体优秀,为什么不放行?黑豹以出色的表演、华丽的服装、美妙的风景、动作、阴谋、CGI等为特色,每个人都有自己的东西,包括艺术界的人。电影开始15分钟,在确定了几个关键的情节要点后,我们看到了一幅建立镜头:一幢闪闪发光的白色理查德·梅尔建筑,前面有一个华丽的“大不列颠博物馆”标志。这是格鲁吉亚亚特兰大的高等艺术博物馆,我们认为它是大英博物馆的一个虚构的版本。下一个镜头是我们将要认识的杀戮贩子,他背对着我们,看着装满非洲人工制品的玻璃瓶。显然,他已经要求召集负责这个装置的馆长——一个带着咖啡杯和假装谦虚的犹豫声闲逛的白人老妇人——来,这样他可以问一些狡猾的问题:

  • Where Do We Go From Here: Coffee, Care, and Black Panther …

    2018.11.02 · 发表评论

    On 16 February , Black Panther was released in the US to a tidal wave of excitement, especially in the African American community – and why not, given its unapologetic blackness, its undeniable coolness and its overall excellence. Featuring great acting, sumptuous costumes, luscious landscapes, action, intrigue, CGI etc., Black Panther had something for everyone – including, as it turns out, people in the art world. Fifteen minutes into the movie, after a few crucial plot points are pinned down, we see an establishing shot: a gleaming white Richard Meier building with a gaudy ‘Museum of Great Britain’ sign on the front. This is the High Museum of Art in Atlanta, Georgia, standing in as a fictionalized version of the British Museum, we suppose. The next shot is that of a person we will come to know as Killmonger, his back facing us, looking at a vitrine filled with African artifacts. He has apparently requested that the curator in charge of the installation – a soignée white woman who saunters in with a coffee cup and a falsely modest hesitation in her voice – be summoned so he can ask some sly questions: – 2月16日,“黑豹”号在美国被放行,掀起了一阵兴奋的浪潮,特别是在非洲裔美国人社区——鉴于它无可辩解的黑暗、不可否认的冷静和它的整体优秀,为什么不放行?黑豹以出色的表演、华丽的服装、美妙的风景、动作、阴谋、CGI等为特色,每个人都有自己的东西,包括艺术界的人。电影开始15分钟,在确定了几个关键的情节要点后,我们看到了一幅建立镜头:一幢闪闪发光的白色理查德·梅尔建筑,前面有一个华丽的“大不列颠博物馆”标志。这是格鲁吉亚亚特兰大的高等艺术博物馆,我们认为它是大英博物馆的一个虚构的版本。下一个镜头是我们将要认识的杀戮贩子,他背对着我们,看着装满非洲人工制品的玻璃瓶。显然,他已经要求召集负责这个装置的馆长——一个带着咖啡杯和假装谦虚的犹豫声闲逛的白人老妇人——来,这样他可以问一些狡猾的问题:

  • 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。

  • Judy Chicago Hits Back at ‘Dinner Party’ Criticism – …

    2018.08.14 · 发表评论

    In further news: UK class gap impacting young people’s engagement with the arts; Uffizi goes digital; British Museum helps return Iraqi antiquities – 另一则新闻:英国阶级差距影响年轻人与艺术的接触;Uffizi走向数字化;大英博物馆帮助返回伊拉克古物