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further news: a long-lost tapestry owned by Henry VIII re-emerges; Kerry James Marshall’s Chicago Public Library mural withdrawn from auction – 另辟蹊径:亨利八世拥有的一幅失传已久的挂毯重现;克里·詹姆斯·马歇尔的芝加哥公共图书馆壁画退出拍卖

  • 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。

  • Where Do We Go From Here: Coffee, Care, and Black Panther …

    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:

  • New York Film Festival 2018: Home to Experimental Works wi …

    2018.10.24 · 发表评论

    The Projections sidebar of the 2018 New York Film Festival – home of a variety of works grouped together under the experimental/avant-garde banner – is perhaps not the first place that one would go in search of star performances in the traditional sense, but then this year’s opening night film, Gabriel Abrantes and Daniel Schmidt’s Diamantino (2018) is nothing if not an outlier. A populist underground film doing blockbuster scale on a budget, it gives Carloto Cotta, in the title role, as good a comic role as any actor has had this year. He plays a dull-minded, chisel-chested Portuguese footballer with a Cristiano Ronaldo-esque sartorial sensewhose grinning guilelessness makes him an easy manipulated mark for a right-wing junta bent on pulling off a mad science scheme that will lead to the country’s exit from the EU.     – 2018年纽约电影节的《放映》侧栏——各种作品汇集在一起,打着实验/前卫的旗号——也许不是人们在传统意义上寻找明星表演的第一站,但是今年的首个夜场却开始了。M,Gabriel Abrantes和Daniel Schmidt的Diamantino Diamantino(2018)不是孤立点。这是一部在预算上制作大片的民粹主义地下电影,它让卡洛托·科塔在片名中扮演了与今年任何演员一样好的喜剧角色。他饰演一位头脑迟钝、胸膛尖刻的葡萄牙足球运动员,有着克里斯蒂亚诺·罗纳尔多式的裁缝感,露齿而笑的朴实无华使他成为右翼军政府容易操纵的标志,而右翼军政府一心想搞出一个疯狂的科学计划,导致葡萄牙退出欧盟。γ

  • One Take: Luke Willis Thompson ‘_Human’ – 一个拍摄: …

    2018.10.19 · 发表评论

    The final line of Frantz Fanon’s impassioned anti-colonial book, Peau noire, masques blancs (Black Skin, White Masks, 1952), is rendered, in English, as follows: ‘O my body, make of me always a man who questions!’ 1 Published in the same year that the term Third World was coined by anthropologist Alfred Sauvy, Fanon’s closing prayer forged a new link between anatomy and the destiny of those that Europe colonized, whose bodies were trafficked into bondage. Routing a sense of corporeal novelty through his own vexed identification with manhood, Fanon’s prayer undermines any attempt to privilege normative masculinity. In asking his body to make of him ‘a man who questions’, Fanon sets himself in opposition to the colonial father who expects a body to mutely follow. As we continue to reckon with the malignant colour-coded hierarchies that we have inherited from slavery and colonialism, so Fanon’s declaration echoes. His term for this legacy’s lingering presence upon the body, ‘a racial epidermal schema’ 2, remains a crucial theoretical phrase for working through our own era, one in which, as cultural theorist Paul Gilroy notes: ‘screens rather than lenses now mediate the pursuit of bodily truths.’ 3 – 弗朗茨·法农充满激情的反殖民主义著作《黑色的珠儿,白色的面具》(黑皮肤,白色的面具,1952)的最后一行用英语写道:“我的身体,让我永远成为一个有问题的人!”同年,人类学家阿尔弗雷德·索维(Alfred Sauvy)创造了“第三世界”这个术语,法农的闭幕式祈祷在解剖学与欧洲殖民者的命运之间建立了新的联系,欧洲殖民者的尸体被贩卖成奴隶。范农的祈祷通过自己对男性身份的烦恼认同,消除了肉体上的新奇感,削弱了任何赋予男性规范特权的企图。在要求他的身体使他成为一个“有问题的人”时,法农把自己置于殖民地父亲的对立中,他希望一个身体默默地跟随他。当我们继续考虑我们从奴隶制和殖民主义中继承下来的恶性的颜色编码等级制度时,范农的宣言引起了共鸣。他对这种遗留物在身体上挥之不去的存在“种族表皮图式”2,仍然是贯穿我们这个时代的关键理论用语,正如文化理论家保罗·吉尔罗伊指出的那样,在这个理论用语中,“屏幕,而不是镜头,现在调解了对身体真理的追求。”

  • Mourning and Melancholy in the History of Class Struggle i …

    2018.10.19 · 发表评论

    Vast sky overhead, plains stretching toward the horizon – O, pioneers! For centuries, in the US, a myth of the West has been a cudgel to beat onward a national (and nationalist) idea of prosperity and freedom, wrested in blood. It’s a fairy tale largely told through popular films, television programmes and novels. In these stories, cowboys and homesteaders embody a loner ideal of rugged individualism inextricably linked to a surging free market, striking gold for Christ in the Mormon State of Deseret. But, against this perception of a boundless US interior, the actual political history of the Plains offers up countless examples of the limits capitalism has placed on the region and its political imagination. Given that much of this history plays almost no part in our popular images of the West, we might turn to recent and newly restored art and, in particular, film and photography, for images that re-assert the primacy of the working class in this region. These works also resist the melancholy that has been pervasive in the leftist retelling of the rise and fall of the US labour movement. There are two histories of the region – a landscape conjoined in desert, plains, beaches and old-growth forest, stretching west of the Mississippi to the glinting Pacific and curtailed only by the artificial borders with Canada and Mexico. First, one of so-called manifest destiny; second, one of work. – 浩瀚的天际,平原向地平线延伸—-O,拓荒者!几个世纪以来,在美国,西方的神话一直是一根棍子,用来打败在鲜血中挣扎的民族(以及民族主义者)的繁荣和自由观念。这是一个童话故事,主要通过流行的电影、电视节目和小说来讲述。在这些故事中,牛仔和家园主们体现了一种孤独的理想,这种理想与激增的自由市场密不可分,在摩门教的笛斯特州为基督敲出金牌。但是,与这种认为美国内陆无边无际的观点相反,大平原的实际政治历史提供了无数的例子,说明资本主义对该地区及其政治想象力的限制。鉴于这段历史中的大部分几乎不在我们对西方流行的印象中扮演任何角色,我们可能会转向最近和新近恢复的艺术,尤其是电影和摄影,来寻找那些重申该地区工人阶级首要地位的图像。这些作品也抵御了美国劳工运动兴衰的左翼复述中弥漫的忧郁情绪。这个地区有两段历史——沙漠、平原、海滩和古老的森林交织在一起,从密西西比州西部一直延伸到闪烁的太平洋,只因与加拿大和墨西哥的人工边界而受到限制。首先,一个所谓的命运;第二,一个工作。