标签为 “Photography” 的文章

  • Friends, Possibly Lovers: Two Shows Journey Through Artist …

    2018.10.18 · Friends, Possibly Lovers: Two Shows Journey Through Artistic Collaboration in the Modern Era – 朋友,可能是情侣:现代艺术合作的两次旅程已关闭评论

    The definition of a couple is elastic in the Barbican’s ‘Modern Couples’ exhibition. Tracking the role of collaboration and creative influence, the show brings together more than 40 artistic partnerships active during the first half of the 20th century. Some ‘couples’ include more than two people; some are not romantic in nature; and some fluctuate in nature. With around 600 items including books, letters and snapshots on show, the exhibition offers an alternative history of the Modern period, told through the relationships between artists rather than as a series of heroic tales. This often involves recasting the muse as a collaborator, but it is also about making visible the cross-fertilization of ideas between pairs working within larger groups. The show surveys a range of media, from the photographic experiments of Lucia Moholy and László Moholy-Nagy, to Virginia Woolf and Leonard Woolf’s experiments in publishing with the Hogarth Press, or the interiors made by Eileen Gray and Jean Badovici, who are described in a delightfully ambiguous turn of phrase as ‘friends or possibly lovers’. – 在巴比肯的“现代夫妇”展览中,情侣的定义是有弹性的。跟踪合作和创造性影响的作用,展览汇集了活跃在20世纪上半叶的40多个艺术伙伴关系。有些“夫妻”包括两个人以上,有些人在本质上不浪漫,有些人在自然界波动。展览上展出了大约600件展品,包括书籍、信件和快照,展品提供了现代时期的另类历史,通过艺术家之间的关系来讲述,而不是一系列英雄故事。这通常涉及将缪斯女神重塑为合作者,但它也涉及使在大型团队中工作的两个人之间的思想相互渗透变得可见。该节目调查了一系列媒体,从露西娅·莫霍利和拉兹洛·莫霍利-纳吉的摄影实验,到弗吉尼亚·伍尔夫和伦纳德·伍尔夫在霍格斯出版社出版方面的实验,或者是艾琳·格雷和让·巴多维奇的内部实验,这些实验都以令人愉悦的、模棱两可的方式被描述。短语的意思是“朋友或爱人”。

  • From Negatives to Pixels: Alternative Histories at the V&a …

    2018.10.18 · From Negatives to Pixels: Alternative Histories at the V&A’s Photography Centre – 从负片到像素:V&AMA摄影中心的另类历史已关闭评论

    On a recent train journey, I overheard a woman, inspired by an especially picturesque landscape, remark to her travelling companion: ‘I should get a photo of that…where’s my phone?’ There is nothing immediately unusual about this in 2018. Though in no history of photography that I’ve ever encountered has Alexander Graham Bell’s name appeared. Despite this, for the past decade, the most common implement used to make photographs is indeed a telephone. And the perception is that the camera is in the phone, not the other way round. Nobody ever says, ‘I need to make a call, where’s my camera’. – 在最近的一次火车旅行中,我偶然听到一位受风景特别优美启发的妇女对她的旅伴说:“我应该拍张照片……我的手机在哪里?”在2018,这件事没有什么不寻常的地方。虽然我从未见过摄影史,但亚历山大·格拉汉姆·贝尔的名字却出现了。尽管如此,在过去的十年中,最常用的制作照片的工具实际上是一部电话。感觉是相机在电话里,而不是反过来。没有人会说:“我需要打个电话,我的相机在哪里。”

  • Frieze艺术博览会:把摄政公园改造成世界创意之都‘Transformin …

    2018.10.12 · Frieze艺术博览会:把摄政公园改造成世界创意之都‘Transforming Regent’s Park Into The World’s Capital of Creativity’ –已关闭评论

    “弗雷兹伦敦与弗雷兹大师”2018在展销会上的出席率创下历史新高,销量强劲。弗雷兹伦敦与弗雷兹大师2018在10月7日星期日闭幕,此前,各部门和市场各阶层的画廊对私人收藏品和机构的销量强劲。

  • 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 · 荒木经惟遭#MeToo 抗议,华沙团体称他利用“缪斯”欺凌女性已关闭评论

    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

  • Than Hussein Clarks's Politics of Melodrama – …

    2018.08.06 · Than Hussein Clarks's Politics of Melodrama – 比Hussein Clarks和039的情节剧政治已关闭评论

    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 · Visual Essay: Tools – 视觉散文:工具已关闭评论

    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 · Glasgow After the Fire: What Has Been the Impact on the Wider Arts Community? – 火灾后的格拉斯哥:对更广泛的艺术界有什么影响?已关闭评论

    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 · The Vengeful Genie: a Report from the Inaugural Lahore Biennale – 复仇神怪:来自拉合尔双年展的报告已关闭评论

    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 · Critic’s Guide to the Best Shows in Lisbon – 评论家在Lisbon最佳节目指南已关闭评论

    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