标签为 “Gallery” 的文章

  • Why the Art World Needs to Stand Up to the UK’s ‘Humiliati …

    2018.08.15 · 发表评论

    With authors, curators and musicians recently denied entry, the UK is fast painting itself as a cultural pariah – 由于作者、策展人和音乐家最近拒绝进入,英国正在迅速将自己描绘成一个文化贱民。

  • Who’s the Real Ideologue? On Jordan Peterson’s Communist A …

    2018.08.15 · 发表评论

    Why does the ‘men’s rights’ guru to the alt-right surround himself with Soviet-era memorabilia, which he doesn’t even class as art? – 为什么《男性权利》的《奥尔特右派》围绕着苏维埃时代的纪念品,而他甚至不把它当作艺术呢?

  • 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

  • Interview: Ronan Bouroullec – 采访:Ronan Bouroullec

    2018.08.13 · 发表评论

    The Paris-based designer’s drawings for the 2018 campaign celebrate the beauty of line and formThis year’s marketing campaign for Frieze Fairs celebrates the beauty of line and form, with drawings by Paris-based designer Ronan Bouroullec for Frieze London and a focus on drapery in classical art at the National Gallery, for Frieze Masters.  – 基于巴黎的设计师为2018运动的绘画庆祝线条和形式的美丽今年的Freeses博览会的营销活动庆祝线条和形式的美丽,由巴黎设计师弗里泽伦敦Ronan Bouroullec的图纸和重点在古典艺术的帷幕。在国家美术馆,为弗里泽大师。


    2018.08.09 · 发表评论

    ALLISON KATZ - PERIOD (个展) 展览日期 2018年9月25日 - 2018年11月10日 开幕时间 2018年9...

  • My Skin is A Riot: Watching Maria Fusco’s ‘ECZEMA!’ – …

    2018.08.08 · 发表评论

    At the National Theatre of Wales, a performance alive with wild, tactile descriptions compels comparison between the eczema-sufferer and writer – 在威尔士国家剧院,一个充满野生、触觉描写的表演迫使湿疹患者和作家之间的比较。

  • 200 MoMA Union Members Hold Protest Ahead of Contract Nego …

    2018.08.08 · 发表评论

    In further news: former Venice Biennale director calls biennial model ‘stale, if not dead’; photographer Shahidul Alam charged over ‘provocative comments’ – 另一则新闻:前威尼斯双年展导演称双年展“过时,如果没有死”;摄影师Shahidul Alam指责“挑衅性评论”。

  • The Mystery of the Eichstatt Tapestry – 艾希斯塔特挂 …

    2018.08.07 · 发表评论

    The first public exhibition of a 15th-century altar-hanging prompts the question: who made it?In Sam Fogg gallery’s latest exhibition of medieval and renaissance textiles in London, a German tapestry went on public display for the first time in its recorded history. Dated at around 1480 and woven from wool and linen in varying colours and configurations, it unrolls to reveal five scenes from the Life of Christ, vertically separated by column-like bands. Read from left to right, the scenes chronicle Christ (identified by his cruciform halo) appearing to his followers after his resurrection. Dressed in radiant white, he lifts his hand in benediction to a kneeling Mary Magdalene; disguised in a grey cloak, he greets two disciples on the road to Emmaus; reduced to no more than his feet, he disappears from the frame and ascends to heaven; rematerializing in the form of a dove on the day of Pentecost, he imbues the Virgin and apostles with the Holy Spirit; and, finally, enthroned on a rainbow during the Last Judgment, he displays his wounds before a sea of bodies. – 第一次公开展示十五世纪祭坛悬挂的问题是:谁做的?在Sam Fogg画廊最近在伦敦展出的中世纪和文艺复兴时期的纺织品展览中,德国挂毯首次在其历史记录中公开展出。日期约为1480,并由羊毛和亚麻织成不同颜色和配置,它展开揭示五个场景从基督的生活,垂直分离的柱状带。从左向右读,基督复活后的纪事纪事(由十字架光环所辨认)出现在他的追随者身上。他身穿白皙的衣服,跪在跪着的Mary Magdalene身上,装扮成灰色斗篷,在埃玛斯的路上迎接两个门徒;他只不过是从脚下消失了,然后爬上了天堂,在一天的时间里以鸽子的形式重新化身。五旬节,他将圣母和使徒灌输给圣灵;最后,在最后一次审判中,在彩虹上登基,在一片尸体面前展示他的伤口。

  • 荒木经惟遭#MeToo 抗议,华沙团体称他利用“缪斯”欺凌女性

    2018.08.07 · 发表评论

    Poland’s feminist ‘Bison Ladies’ storm the Japanese artist’s Warsaw exhibition in solidarity with longtime model Kaori’s allegations of bullying – 波兰女权主义者“野牛女士们”风暴日本艺术家华沙展与长期模特Kaori的欺凌指控相辅相成