标签为 “Frieze Masters” 的文章

  • New Database ‘A Space of One’s Own’ Celebrates the Women A …

    2018.11.02 · 发表评论

    Researchers have compiled an illustrated resource that throws light on overlooked female artists from the 15th to 19th centuries – 研究人员已经编纂了一个图示的资源,从第十五到第十九个世纪吸引了被忽视的女性艺术家。

  • Frieze Donates to Children & the Arts – 弗里泽捐 …

    2018.11.01 · 发表评论

    We are pleased to announce that Frieze has been able to donate £19,000 to Children & the Arts, the Charity Partner for Frieze London and Frieze Masters 2018 through proceeds from the cloakrooms onsite at the fairs. – 我们很高兴地宣布,FrIEZE已经能够通过FLAEZE伦敦和Fruez Mrand 2018的慈善伙伴捐赠19000英镑给儿童和艺术。

  • Just 14% of English Heritage’s Blue Plaques Celebrate Wome …

    2018.11.01 · 发表评论

    English Heritage has conceded that there are not enough commemorative blue plaques for women and is calling on the public to nominate celebrated women from history to be included in the scheme. – 英国文化遗产组织承认没有足够的蓝色纪念牌匾供妇女纪念,并呼吁公众从历史上提名有名的妇女参加该计划。

  • Laura Hoptman to curate Spotlight – Laura Hoptman到 …

    2018.10.24 · 发表评论

    Executive Director of The Drawing Center will oversee section at Frieze New York and Frieze Masters 2019 – 素描中心执行董事将监督弗里泽纽约和弗里泽大师2019节

  • The History of Washington D.C.’s National Museum of Women …

    2018.10.19 · 发表评论

    A sticker of Camille Claudel is on my collar and a woman is pounding at a wall; another, with dirty feet and a red party dress, is crawling the walls and slithering over shelves. In the next gallery, a house sprouts from a marble woman. Meanwhile, men in heavy-framed glasses and 1970s suits shake their heads, as if passing judgment on all that surrounds me. I’m at the National Museum of Women in the Arts in Washington, D.C., in ‘Women House’. The exhibition takes Judy Chicago and Miriam Schapiro’s seminal experiment in immersive art education ‘Womanhouse’ as its starting point. Back in 1972, Chicago and Schapiro started a Feminist Art Program at CalArts in a dilapidated house that became both classroom and exhibition space. A documentary about the course shows the work with performances limning out the monotonous expectations of a woman’s life, and the students in seminars-as-encounter-groups and feminist consciousness-raising, while the men in their suits respond with skepticism. – 我衣领上贴着卡米尔·克劳德尔的贴纸,一个女人在墙上摔来摔去;另一个女人穿着脏脚和红色礼服,在墙上爬来爬去,在架子上滑去。在下一个画廊,一个房子从大理石女人发芽。与此同时,戴着重框眼镜和70套西装的男人摇摇头,似乎对我周围的一切都做出了判断。我在D.C.华盛顿的美国国家妇女艺术博物馆,在“妇女之家”。展览以朱迪·芝加哥和米里亚姆·夏皮罗在沉浸式艺术教育“妇女之家”中的开创性实验为出发点。早在1972年,芝加哥和夏皮罗在CalArts的一个破旧的房子里开始了一个女权主义艺术计划,这个房子既成了教室,也成了展览空间。一部关于这门课的纪录片展示了这部作品的表演,勾勒出女性对生活的单调期望,参加研讨会的学生作为遭遇小组和女性主义意识的提高,而穿着西装的男性则以怀疑态度回应。

  • 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。

  • 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。