标签为 “Photography” 的文章

  • The Jailing of Bangladeshi Photographer Shahidul Alam Is a …

    2018.08.14 · 发表评论

    The arrest of the photojournalist for ‘provocative comments’ over Dhaka protests makes clear that personal liberty across the region is a sham – 在达卡抗议活动中对摄影记者的“挑衅性评论”的逮捕表明,该地区的个人自由是虚假的。

  • 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

  • Who is the Subject of Climate Change? – 气候变化的主 …

    2018.08.06 · 发表评论

    Thoughts on an unpredictable series of local disastersCommissioned photography by Matthieu LavanchyMonday, 9 April 2018. 4:35am – 关于一个不可预知的地方灾难系列的想法由Matthieu LavanchyMonday委托摄影,2018年4月9日。凌晨4点35分

  • Open Letters to Adrian Piper – 给Adrian Piper的公开信

    2018.08.06 · 发表评论

    On the occasion of her MoMA retrospective, six missives to the artist from her peersAdelita Husni-Bey
    Thomas Chatterton Williams
    Aaron Flint Jamison
    Pope.L
    Kameelah Janan Rasheed
    Dread Scott
      – 在她妈妈的回忆录之际,她从彼得萨德丽塔(Husni Bey)的六个艺术家的遗漏。

  • Than Hussein Clarks's Politics of Melodrama – …

    2018.08.06 · 发表评论

    The artist queers the canonical histories of art and theatre, pointing to how things might actively and fantastically engage in being otherwise – 艺术家怪异于艺术和戏剧的典范历史,指出事物是如何积极地和不可思议地参与其他事物的。

  • Visual Essay: Tools – 视觉散文:工具

    2018.08.05 · 发表评论

    The artist Simon Starling photographs Giorgio Griffa’s studio in TurinThis visual essay is the continuation of a collaboration with the Turin-based painter Giorgio Griffa, which began last year following the discovery of a very particular brush at an urushi [lacquer] workshop in Wajima, Japan. Only 5 cm wide with a flat wooden handle, the brush is employed to apply the critical final coat of lacquer to tableware and furniture in this painstaking, and seemingly anachronistic, process, which dates back to the prehistoric Jomon period (14,000–1,000 BCE). Crucially, its bristles are made from the hair of Japanese women pearl divers or ama. I purchased one of these highly evocative objects with the intention of using it in an artwork yet, for some time, I was daunted by the idea of making marks with it. In May last year, however, I found myself sitting with Giorgio at a dinner to celebrate his participation in the Venice Biennale and realized there and then that I should ask him to collaborate on the work. There seemed to be something in the nature of the brush that aligned with his measured yet exuberant (and often calligraphic) mark-making. His generous response consisted of three cypher-like, ink-on-paper works organized within a grid of folds that led, in turn, to a series of similarly gridded annotations on my part – annotations which reconnected that very particular tool to its origins.

    When I arrived with my 8 x 10-inch plate camera to photograph Giorgio’s studio in late December last year, I found a small trestle table in the middle of the main space with a pile of neatly folded canvases sitting on top. (The artist has used exclusively unstretched, unprimed pieces of canvas, burlap and linen as supports for his paintings since the mid-1970s.) This modest stack – no higher than 30 cm – would comprise, I was told, the entirety of his forthcoming solo exhibition at Camden Arts Centre, London. In folded form, the paintings asserted a quiet materiality; the textiles – in a range of white, cream and brown hues – often frayed at the edges. Even when hung, simply with pins along the top edge, the works retain a sense of being objects that exist resolutely in time and space. Seeing this little stack of paintings and, later, the studio’s remarkable archive – which houses much of the artist’s output from the last 40 years or more – in geological strata-like piles, I realized that I’d brought the right tool to photograph the space. The slowness (exposures can last many minutes), insistent materiality and process-oriented nature of large-format, silver-based photography rhymed with Giorgio’s practice in ways that I hadn’t fully anticipated: even the camera’s gridded, ground-glass focus screen seemed to echo his paintings’ structuring folds. The resulting images are, I hope, a celebration of the lean economy and subtle materiality of these extraordinary artworks.  – 艺术家西蒙·斯塔林拍摄Giorgio Griffa的工作室在TurinThis视觉散文是继续与都灵的画家吉奥吉奥格里夫合作,从去年开始发现一个非常特别的刷子在乌鲁木齐[漆]车间在日本轮岛。只有5厘米宽,有一个扁平的木制手柄,刷子被用来将油漆的最终涂层涂抹到餐具和家具上,这是一种痛苦的,似乎是过时的工艺,可以追溯到史前的乔门时期(14000—1000 BCE)。最重要的是,它的鬃毛是由日本妇女珍珠潜水员或AMA的头发制成的。我买了其中的一个高度唤起的对象,目的是使用它在一个艺术品,但有一段时间,我感到害怕的想法做标记与它。然而,去年5月,我发现自己和吉奥吉奥坐在一起庆祝他参加威尼斯双年展,并意识到我应该请他在这项工作上合作。在画笔的本质上似乎有一些东西与他测量的,但仍然旺盛的(通常是书法)标记相一致。他慷慨的回应包括三个类似于Cyfer-Script的墨水,在一个折叠的网格中组织起来,这导致了一系列类似的网格注释在我的部分-注释中重新连接了一个非常特殊的工具到它的起源。

  • Glasgow After the Fire: What Has Been the Impact on the Wi …

    2018.08.05 · 发表评论

    Cancelled events and financial woes have left neighbours such as CCA and its cultural tenants in a state of limbo – 被取消的事件和金融危机使CCA及其文化租户等邻国陷入了困境。

  • The Vengeful Genie: a Report from the Inaugural Lahore Bie …

    2018.08.04 · 发表评论

    Grouping 50-plus artists from across the subcontinent and beyond, LB01 brought to light the charged links between art and politics – 将50个以上的艺术家从整个次大陆以及其他地区分组,LB01揭示了艺术与政治之间的联系。

  • Critic’s Guide to the Best Shows in Lisbon – 评论家 …

    2018.08.04 · 发表评论

    From Sol Calero’s playful clichés of Latin America to an homage to British modernist architect Alison Smithson – 从索拉卡莱罗《拉丁美国的顽皮咒》到英国现代主义建筑师Alison Smithson的敬意