标签为 “拍卖” 的文章

  • 赠票VIP | 多元化的艺博会模式,欢迎新一代的藏家——专访亚洲当 …

    2019.10.02 · 发表评论

    艺博会能激发大众对艺术的热爱,一个从未涉足美术馆的人,也可能在参观过一次艺博会后开启毕生的艺术探索之旅。

  • Emily Mast’s Messages in a Bottle – 艾米莉·马斯特的 …

    2019.02.17 · 发表评论

    What do we gain from straining to decipher a language at the edge of our understanding? In struggling to find the right word to say? Continuous Wave (2019), Emily Mast’s project for the RU.in.ART lounge at Frieze Los Angeles — floats these questions like bubbles, offering brief moments of reflection and connection. – 在我们理解的边缘,通过努力去破译一种语言,我们能得到什么?在努力寻找合适的词语时?连续波(2019年),艾米丽·马斯特为洛杉矶中楣的Ru.in.Art酒廊设计的项目——像气泡一样漂浮着这些问题,提供短暂的思考和联系时刻。

  • What Kind of Platform do Young Artists Need to Jump-Start …

    2019.02.15 · 发表评论

    The Crest Theatre first opened on Christmas Day, 1940, and though it has changed hands – and names – several times since then, the Art Deco façade sitting on Westwood Boulevard has always been a head-turner; located near the UCLA campus, the building had continued to catch Kristy Edmunds’s eye over the years. The Executive and Artistic Director for the Center for the Art of Performance (CAP) at UCLA had been able to gain access to the 500-seat space for the occasional performance (the venue was originally a theatre for live performance built for Frances Seymour Fonda before being converted to a newsreel cinema during WWII), but felt that its potential was still left untapped. – 克雷斯特剧院于1940年圣诞节首次开张,尽管从那时起它已经易手改名了好几次,但坐落在韦斯特伍德大道上的装饰艺术总让人头晕目眩;这座建筑位于加州大学洛杉矶分校附近,多年来一直吸引着克里斯蒂·埃德蒙兹的目光。加州大学洛杉矶分校(UCLA)表演艺术中心(CAP)的执行和艺术总监已经能够获得500个座位的临时演出空间(该场地原本是为弗朗西斯·西摩·方达建造的现场演出剧院,二战期间改为新闻片电影院),但他认为它的潜力仍然没有开发。

  • ‘I Am Not the Problem’: Warren B. Kanders Responds to Whit …

    2018.12.25 · 发表评论

    In further news: Paris museums close after Gilets Jaunes protests; Candice Breitz demands release of aid worker – 进一步的消息:Gilets Jaunes抗议后巴黎博物馆关闭;Candice Breitz要求释放援助人员

  • Tactile Dialogues: Textile Art from 1970s to Now – …

    2018.11.20 · 发表评论

    In the art-market documentary The Price of Everything (2018), Amy Cappellazzo of Sotheby’s suggests positioning works in a corporate atrium as a one-way route to career death. As the auctioneer sees it, once you wind up in the lobby, there’s no getting out. It seems an irresistibly knowing gesture, then, to mount an ambitious show of textile works – a medium, in a less appreciative era, synonymous with lobby art – within the entrance hall and stairwell of a 1960s corporate block. – 在艺术市场纪录片《万物价格》(2018)中,苏富比的艾米·卡佩拉佐(Amy Cappellazzo)建议将公司中庭中的作品定位为职业死亡的单行道。正如拍卖商看到的那样,一旦你在大厅里出现,就没有出去了。那么,在上世纪60年代一个商业街区的入口大厅和楼梯间举办一场雄心勃勃的纺织品展览似乎是一种不可抗拒的明智的姿态——一种媒介,在一个不那么欣赏的时代,与大堂艺术同义。

  • The Secret to Being a Successful Artist Revealed! – …

    2018.11.13 · 发表评论

    The most heralded artists from the last four decades share one thing in common, according to a new study – 一项新的研究表明,过去四年里最著名的艺术家有一个共同点。

  • US Galleries Mobilize in Support of Democrats Ahead of Tod …

    2018.11.06 · 发表评论

    In further news: a long-lost tapestry owned by Henry VIII re-emerges; Kerry James Marshall’s Chicago Public Library mural withdrawn from auction – 另辟蹊径:亨利八世拥有的一幅失传已久的挂毯重现;克里·詹姆斯·马歇尔的芝加哥公共图书馆壁画退出拍卖

  • 未知的数——谭勋个展 (个展)

    2018.10.31 · 发表评论

    2006年中国艺术市场井喷,拍卖公司不停地把绘画的价格往上推,似乎所有的资金都在进入艺术圈,这是大家对艺术信心最足的时刻。在这个背景下,当时OCAT的创始人黄专找到我,与浦江华侨城的领导商谈,想要在这里做一个十年的艺术项目。因为上海浦江华侨城的特点就是两平方公里的房地产项目,计划是要开发十年。我们就以十年为一个节点,我做第一个开头,后面每年一个艺术家的展览。凑巧的是,我其实15年前(1992年)就有一个想法,想找一个地方做一个持续一生的艺术项目,浦江华侨城的空间特点给我了这个机会,于是就有了《偏离17.5度》的落地。

  • India’s Art World Hit by Sexual Assault Claims; Kochi Bien …

    2018.10.24 · 发表评论

    In further news: world’s biggest arts venue lands in Taiwan; Brooklyn’s Signal gallery to closeRiyas Komu. Courtesy: Wikimedia Commons – 另一则新闻是:世界上最大的艺术会场在台湾登陆;布鲁克林的信号画廊。礼貌:维基媒体共享