标签为 “Picture Piece” 的文章

  • L.A.U.F.O – L.A.U.F.O

    2018.08.05 · 发表评论

    The Triforium – Los Angeles’s weirdest and most reviled public artwork – awakes from a long slumber – Angeles最诡异、最受人诟病的公共艺术品——从长眠中醒来

  • 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。

  • Tea and Creatures with Leonora Carrington – Leonora …

    2018.08.05 · 发表评论

    Chloe Aridjis recalls taking tea with the great Surrealist in her home in MexicoOver time, even the numbers 194 on her front door seemed to grow more creaturely, the first gatekeepers one encountered upon arrival, followed by Leonora Carrington herself, swathed in grey. Her home in Mexico City was a chessboard of Mexican sunlight and European shadow – much of the house was stone-chilly and austere, but then you’d step into a patch of sun or come face-to-face with one of her sculptures, an eruption of life emerging from the murk. After a brief greeting, she would lead you from the entrance to the kitchen. The kettle would already be on, an old metal thing rattling over the fire, while her two Siamese cats, Monsieur and Ramona, silently patrolled the premises. – Chloe Aridjis回忆起在MexicoOver的家里和伟大的超现实主义者一起喝茶,甚至她的前门上的数字194似乎变得更加有创意,第一个门卫一到达就遇到了,接着是Leonora Carrington自己,穿着灰色的衣服。她在墨西哥城的家是墨西哥阳光和欧洲阴影的棋盘——大部分的房子都是冰冷的石头,但是你会踏上一片阳光,或者与她的雕塑面对面地面对,从阴暗中出现生命的爆发。简短的问候之后,她会带你进入厨房的入口。水壶已经开了,一个旧金属的东西在炉火上嘎嘎作响,而她的两只暹罗猫Monsieur和雷蒙娜静静地巡视着房子。

  • The Polychrome Reconstruction of the Prima Porta Statue &# …

    2018.08.05 · 发表评论

    To what extent did the ancients colour their sculptures?Polychrome reconstruction of the Prima Porta statue of Augustus, 2004. Painted plaster cast made after a prototype by P. Liverani, Vatican Museums, Rome, height 2.2 m. Courtesy: Ashmolean Museum of Art and Archaeology, Oxford. – 古人对雕塑的色彩有多大程度?多色重建普利马波塔奥古斯都塑像,2004。由罗马梵蒂冈博物馆P. Liverani的原型制作的石膏石膏模型,高度2.2米礼貌:阿什莫尔艺术博物馆和考古学,牛津。

  • Picture Piece: Stuart Hall with Sleeping Child – 图 …

    2018.08.05 · 发表评论

    Decoding the image of Stuart Hall manning a crèche at the Women’s Liberation Movement conferenceA few months ago, this image of the late Stuart Hall, cultural theorist and political activist, appeared on my Twitter feed. Lying half-supine in light-coloured pants, a barely read newspaper cast to one side, Hall looks like he could be on a beach with a sleeping child slung across his chest.

    ‘Stuart Hall manning the crèche at the first Women’s conference at Ruskin College, Oxford, in 1970 ’ read the tweet bannering the image. The use of the noxious verb ‘manning’ and the truncation of the conference’s full name aside, the problem with this interpretation is the fist-bump emoji. Hall is conducting the basic human task of childcare: why does this appear so radical in 2017?

    A friend suggested that the scene is being viewed as a utopia. It is meant to remind us of the revolutionary ideas, such as the conference crèche, which never came to pass. Indeed, I’ve never seen a crèche at a conference. One of the tricky things about claiming this image as utopian is that utopias tend to ignore infrastructural details such as childcare, meal preparation and rubbish removal. They imagine a world in which such things just happen, seamlessly, without notice or concern.

    Look closer into the background of this image. There is a woman, her back to the camera, body bent over a child, reading perhaps. I wonder how many books, albums, artworks, made by men and women, have been assisted by labour such as this – invisible, unacknowledged, unpaid? Taken out of its private archive and posted for public celebration, this image centres a male scholar as a leftist hero to women, when what he is doing should be seen as merely routine. I can only imagine Hall would be horrified to be cast in such a light. Men should care for children without expecting credit. Once they do, perhaps we can finally begin to imagine a more ambitious and inspiring utopia for people of all genders. This is what the Women’s Liberation Movement conference – its full title – was all about. – 在几个月前的《妇女解放运动会议》上,Stuart Hall manning译作了一张《CR Ce Che》的图像,这张已故的斯图亚特·霍尔、文化理论家和政治活动家的形象出现在我的推特上。在一条浅颜色的裤子里躺着一半仰卧着,一张几乎看不见的报纸扔到一边,霍尔看起来像是躺在海滩上,一个睡着的孩子从胸口垂下来。

  • Bones, Thugs, Harmony – 骨头、暴徒、和声

    2018.08.05 · 发表评论

    X-ray records in the Soviet UnionArtistic offerings in Joseph Stalin’s Soviet Union were highly regulated, to put it lightly. Literature was redacted, radio frequencies were blocked and Stalin himself was appointed chief film censor. As German Marxist theorist and activist Clara Zetkin recalled, Lenin had pioneered this approach some years before: ‘Every artist’, he said, ‘has the right to create freely […] But then, we are Communists, and ought not to stand idly by and give chaos free rein.’ – 苏联Joseph Stalin在苏联苏联提供的艺术作品中的X射线记录受到了高度的管制。文学被修改,无线电频率被封锁,斯大林本人被任命为电影审查员。正如德国马克思主义理论家和活动家克拉拉·蔡特金回忆的那样,列宁几年前就开创了这种方法:“每一个艺术家,”他说,“有权利自由地创造……但是,我们是共产主义者,不应该袖手旁观,放任混乱。”

  • Ippon Matsu: the ‘Miracle Pine’ – Ippon Matsu:“奇 …

    2018.08.05 · 发表评论

    An image of the sole survivor tree after the 2011 tsunami in Japan Dying ‘Miracle Pine’ cut down for preservation, 2012. Courtesy: Getty Images – 在日本的2011次海啸中,一棵唯一的幸存者树被砍掉,用于保存,2012。礼貌:Getty形象

  • Picture Piece: Secret Symbol – 图片:秘密符号

    2018.08.05 · 发表评论

    Josef Albers's secret symbol for the Manuscript society at Yale UniversitySecrecy is power. But too much secrecy can be as counterproductive as too little. If people don’t know a secret exists, they can’t covet it – or fear it. Hence the accord struck by Yale University’s senior societies, such as Skull and Bones or Wolf’s Head: sub-masonic groups whose rules and rituals are kept clandestine but whose windowless gothic revival and neo-classical clubhouses – or ‘tombs’– are hidden in plain sight on the streets of New Haven. – 约瑟夫·亚伯斯和39是耶鲁大学手稿学会的秘密象征,是权力。但是太多的保密可能会适得其反。如果人们不知道一个秘密存在,他们就不能觊觎它——或者害怕它。因此,耶鲁大学的高级社团,如骷髅会或保鲁夫的头颅,达成了一致:亚共济会团体,其规则和仪式保持秘密,但其无窗哥特式复兴和新古典会所或“坟墓”隐藏在街道上。纽黑文的