标签为 “Sculpture” 的文章

  • 德绍·包豪斯Bauhaus Dessau:清晰的阴影、清晰的线条和令人惊 …

    NEW! 2018.10.20 · 发表评论

    琳达·格兰特的小说《当我生活在现代》(2000年)以1940年代末的特拉维夫为背景,描述了残酷的沙漠气候对城市包豪斯建筑的影响。特拉维夫是一座由德绍进口的混凝土大都市,一个寒冷、灰色、雪白的德国地方。转移到地中海,这个地方无情地“通过它的薄白墙吸收热量”。由于包豪斯建筑没有提供遮荫或气流,酷热变得如此残酷,几乎成了一个支撑特征。

  • 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。”

  • The History of Washington D.C.’s National Museum of Women …

    2018.10.19 · 发表评论

    A sticker of Camille Claudel is on my collar and a woman is pounding at a wall; another, with dirty feet and a red party dress, is crawling the walls and slithering over shelves. In the next gallery, a house sprouts from a marble woman. Meanwhile, men in heavy-framed glasses and 1970s suits shake their heads, as if passing judgment on all that surrounds me. I’m at the National Museum of Women in the Arts in Washington, D.C., in ‘Women House’. The exhibition takes Judy Chicago and Miriam Schapiro’s seminal experiment in immersive art education ‘Womanhouse’ as its starting point. Back in 1972, Chicago and Schapiro started a Feminist Art Program at CalArts in a dilapidated house that became both classroom and exhibition space. A documentary about the course shows the work with performances limning out the monotonous expectations of a woman’s life, and the students in seminars-as-encounter-groups and feminist consciousness-raising, while the men in their suits respond with skepticism. – 我衣领上贴着卡米尔·克劳德尔的贴纸,一个女人在墙上摔来摔去;另一个女人穿着脏脚和红色礼服,在墙上爬来爬去,在架子上滑去。在下一个画廊,一个房子从大理石女人发芽。与此同时,戴着重框眼镜和70套西装的男人摇摇头,似乎对我周围的一切都做出了判断。我在D.C.华盛顿的美国国家妇女艺术博物馆,在“妇女之家”。展览以朱迪·芝加哥和米里亚姆·夏皮罗在沉浸式艺术教育“妇女之家”中的开创性实验为出发点。早在1972年,芝加哥和夏皮罗在CalArts的一个破旧的房子里开始了一个女权主义艺术计划,这个房子既成了教室,也成了展览空间。一部关于这门课的纪录片展示了这部作品的表演,勾勒出女性对生活的单调期望,参加研讨会的学生作为遭遇小组和女性主义意识的提高,而穿着西装的男性则以怀疑态度回应。

  • Directors' Choice: Pick One Significant Work by a Wom …

    2018.10.19 · 发表评论

    Art Institute of Chicago 
    Calouste Gulbenkian Museum, Lisbon
    Courtauld Institute of Art, London
    Frans Hals Museum, Haarlem
    Guggenheim Museum Bilbao
    Hirshhorn Museum and Sculpture Garden, Washington
    Kunsthistorisches Museum, Vienna
    Kunstmuseum Bern
    Leslie-Lohman Museum of Gay and Lesbian Art, New York
    Louvre Museum, Paris 
    Magasin III, Stockholm
    Museum Ludwig, Cologne
    National Gallery, London
    National Gallery of Victoria, Melbourne
    National Gallery of Zimbabwe, Harare
    National Portrait Gallery, London
    Norval Foundation, Cape Town
    Parrish Art Museum, Long Island
    Tate Britain, London
    Yorkshire Sculpture Park, West Bretton – 芝加哥艺术学院

  • Female Patrons Throughout History – 历史上的女性赞助人

    2018.10.19 · 发表评论

    For more than 3,000 years, patronage of art and architecture has been a noteworthy path for women’s agency and self-expression. Over recent decades, patronage studies – which bring together issues of personal and group identity, political power and cultural production – have come to occupy a significant place in the history of art. It is well known that, in many cases, informed and intelligent patrons took an active role in shaping the character of the works they commissioned. The English term ‘patron’ comes from the Latin patronus (protector of clients or dependents, specifically freedmen), which is, in turn, derived from pater (father). Thus, the term ‘patronage’ is inherently gendered and, in nearly all cases, female patrons worked within the limitations of patriarchal societies. Yet, from Antiquity to the present day, women have requested (and collected) works of art and have commissioned buildings and urban interventions. It is important to stress that the patronage systems of the past were based on social stratification and inequalities in power and economic standing – so, in general, patronage by both women and men was the province of elites, who had the means to extend commissions. Some art historians have used the neologism ‘matronage’ when discussing women patrons but, along with most scholars working on the topic today, I prefer to use the traditional – albeit gendered – term patronage.  – 3000多年来,赞助艺术和建筑一直是妇女自我表现和代理的重要途径。近几十年来,赞助研究——将个人和群体身份、政治权力和文化生产等问题结合在一起——在艺术史上占据了重要的地位。众所周知,在许多情况下,知情和聪明的赞助人在塑造他们委托的作品的性格方面起到了积极的作用。英语术语“patron”来源于拉丁语的patronus(客户或受抚养人的保护者,特别是自由人),而后者又来源于pater(父亲)。因此,术语“赞助”具有固有的性别,在几乎所有情况下,女性赞助人在父权社会的限制下工作。然而,从古代到现在,妇女已经要求和收集艺术品,并委托建筑和城市干预。必须强调的是,过去的资助制度是建立在社会分层、权力和经济地位不平等的基础上的——因此,一般来说,男女资助都是精英阶层的所在地,精英阶层有扩大佣金的手段。一些艺术历史学家在讨论女性赞助人时,使用了新词“主客观”,但与大多数学者讨论今天的话题相比,我更喜欢使用传统的——尽管是性别的长期赞助。

  • The Black Female Figure – 黑人女性形象

    2018.10.19 · 发表评论

    In 1864, the renowned abolitionist stronghold of Boston no doubt seemed the perfect place for Mary Edmonia Lewis to regroup after her trial in Oberlin, Ohio, and veritable expulsion from college. The community that boasted the first co-educational and racially inclusive school had failed to protect her from the prolific racism that permeated the US. Yet, the little we know of this eminent 19th-century sculptor demonstrates that Lewis was nothing if not resilient.  – 1864年,波士顿著名的废奴主义据点无疑是玛丽·爱德蒙娜·刘易斯在俄亥俄州奥伯林受审并被逐出大学后重新集结的理想地方。自诩为第一所男女同校、种族包容的学校的社区未能保护她免受遍及美国的多产种族主义的侵害。然而,我们对这位杰出的19世纪雕塑家所知甚少,说明Lewis是一个没有弹性的人。

  • A Strange Portrait of a Former Lover – 一个陌生情人 …

    2018.10.19 · 发表评论

    After the dissolution of their turbulent relationship, Oskar Kokoschka commissioned an accurately proportioned re-creation of Alma Mahler in 1918 – 在他们动荡的关系解体后, Oskar Kokoschka委托 精确地按比例重新创建了Alma Mahler 

  • The Best Shows in London During Frieze Week – 伦敦时 …

    2018.10.19 · 发表评论

    Richard Wilson 20:50, 1987, installation view. Courtesy: © the artist and Hayward Gallery; photograph: Mark Blower – 理查德·威尔森20∶50,1987,安装视图。礼貌:艺术家和海沃德画廊;照片:Mark Blower

  • Critic’s Guide to Berlin Art Week – 评论家柏林艺术周 …

    2018.10.18 · 发表评论

    Candice Breitz, TLDR, 2017, 13-channel video installation. Courtesy: Goodman Gallery, Johannesburg, Kaufmann Repetto, Milan, KOW, Berlin – Candice Breitz,TLDR,2017, 13通道视频安装。礼貌:Gooman画廊,约翰内斯堡,Kaufmann Repetto,米兰,KOW,柏林