标签为 “摄影” 的文章

  • The Artificial Divide Between Fine Art and Textiles is a G …

    NEW! 2018.11.14 · 发表评论

    An imposing wooden structure bisected with lines of thread greets visitors head-on at the entrance of the current Anni Albers show at the Tate Modern. The contraption – a shaft countermarch loom – is echoed at the end of the exhibition, with a Structo Artcraft loom that was used by Albers herself. As the UK’s first major retrospective of Alber’s work, the galleries are filled with over 350 objects, ranging from her geometric wall hangings to textiles for interiors and architecture, her writing, and prints and drawings. Bookending the exhibition with the tools of her trade ensures the method of creation is kept at the very heart of the show: this is unapologetically about a textile artist.  – 在泰特现代美术馆举办的当前安妮·阿尔伯斯展览的入口处,一座雄伟的木结构被线条分割成两半,迎面迎接来访者。这个装置——轴式逆行织机——在展览结束时与阿尔伯斯自己使用的结构艺术织机相呼应。作为英国对艾伯作品的第一次主要回顾,画廊里摆满了350多件物品,从她的几何壁挂到室内和建筑用纺织品、她的写作、印刷品和绘画。用她所从事的行业的工具预订展览会确保了创作方法始终是展览的核心:这毫无疑问是关于一个纺织艺术家的。

  • 摄影师在日益自动化的图像文化中扮演什么角色?

    2018.11.08 · 发表评论

    Who are photographs for? Who are photographs by? Increasingly, the answer to both questions is, more or less, machine: images are captured by autonomous, or semi-autonomous devices in the act of gathering data for artificial intelligences. – 照片是给谁的?照片是谁的?这两个问题的答案或多或少地越来越多地是机器:图像是由自主或半自主设备在为人工智能收集数据时捕获的。

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further news: a long-lost tapestry owned by Henry VIII re-emerges; Kerry James Marshall’s Chicago Public Library mural withdrawn from auction – 另辟蹊径:亨利八世拥有的一幅失传已久的挂毯重现;克里·詹姆斯·马歇尔的芝加哥公共图书馆壁画退出拍卖

  • The Triumphant Return of Sheffield's Art Scene – …

    2018.11.06 · 发表评论

    For over a year, a significant hole was left in Sheffield’s art scene as two of the city’s most significant galleries, Site Gallery and S1 Artspace, were closed for redevelopment. The absence of a significant institutional presence had seen Site and S1 become hugely important to the city, making their closure keenly felt. While S1’s development is still ongoing, the July opening of their current space, followed by the September opening of Site’s newly expanded home, trebling the gallery in size, felt like a triumphant return.  – 一年多来,在谢菲尔德的艺术舞台上留下了一个重大的漏洞,因为这个城市最重要的两个画廊,即Site Gallery和S1 Artspace,被关闭进行重建。由于缺乏重要的机构存在,Site和S1对城市变得极其重要,使得他们强烈地感受到了封闭。虽然S1的开发仍在进行中,但7月份他们目前的空间开放,9月份新扩建的房屋开放,使画廊的规模增加了两倍,感觉像是凯旋而归。

  • What, Exactly, Is a ‘Giallo’ Film? – 确切地说,什么 …

    2018.11.05 · 发表评论

    With Italian director Luca Guadagnino’s new film Suspiria, based on Dario Argento’s 1977 film of the same name, and last month’s Argento retrospective at Metrograph in New York, ‘giallo’ – Italy’s popular name for thrillers – would seem to be the genre della giornata. Yet with its supernatural core and hyperbolic stylization, Argento’s Suspiria barely qualifies as giallo at all. As for Guadagnino’s version – pointedly not a remake – it bears as much relation to the genre as the recent faux perfume-ad gialli tributes of director duo Bruno Forzani and Hélène Cattet. – 随着意大利导演卢卡·瓜达尼诺根据达里奥·阿金托1977年的同名电影改编的新片《猜疑》,以及上个月在纽约地铁的阿金托回顾展,“Gillo”——意大利惊悚片的流行名称——似乎是“della giornata”类型。然而,凭借其超自然的核心和双曲线程式化,Argento的怀疑几乎没有资格作为杰拉洛。至于瓜达尼诺的版本——显然不是翻拍——与最近导演布鲁诺·福尔扎尼和赫尔琳·卡特特的人造香水广告嘉莉致敬一样与该类型有着密切的关系。

  • 马修·戴·杰克逊——新风景画 (个展)

    2018.11.04 · 发表评论

    “每一件作品都是对探索的沉思,过去藏于现在之中,是科技的关键话语,也是我们长久以来想要打开潘多拉 盒子的执着。“

  • 水墨经验 II (群展)

    2018.11.04 · 发表评论

    本次展览将展出12位艺术家创作的绘画、摄影、影像和装置作品,展览以“水墨经验”为主题来重新审视“水墨”,以此探讨“水墨”在当代的可能性及与之相关的深层文化议题。

  • 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: The Global Visual Economy – …

    2018.11.02 · 发表评论

    In the postcolonial study of Asia and the non-Western world, the act of comparison has usually meant using Euro-American standards to judge non-Euro-American cultures. In the academic realm of literary studies, this has translated into questions such as: does China have the epic? Does India or Japan have the novel? Does Korea have science fiction? These enquiries echo earlier European views that cultures in Asia and Africa have no history, philosophy, religion or literature to speak of. We are now at some distance from such ethnocentric views but the longterm effects of their comparative assertions remain influential. – 在亚洲和非西方世界的后殖民研究中,比较行为通常意味着使用欧美标准来评判非欧美文化。在文学研究的学术领域,这一问题转化为:中国有史诗吗?印度或日本有这部小说吗?韩国有科幻小说吗?这些调查反映了早期欧洲人的观点,即亚洲和非洲的文化没有历史、哲学、宗教或文学可言。我们现在与这种以种族为中心的观点相去甚远,但他们比较论断的长期影响仍然存在。