标签为 “团体” 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。

  • The Best Art Exhibitions in Seoul – 汉城最佳艺术展

    2018.11.13 · 发表评论

    Choi Jeong Hwa, ‘Blooming Matrix’ MMCA SEOUL 5 September 2018 – 10 February 2019Choi Jeong Hwa is the fourth artist to be selected for the annual MMCA Hyundai Motor Series to show ambitious new works in the Korean capital. Filling MMCA’s cavernous galleries can be a tall order for most artists, but Choi is no stranger to filling vast spaces, usually employing great quantities of cheap, disposable items found on the streets and at local flea markets. – Choi Jeong Hwa,“开花矩阵”

  • 比艺术节拥有更多群展,共享画廊展登录雅典

    2018.11.12 · 发表评论

    共享画廊展于2016年在伦敦开始,试图在常规的艺术模式之外形成一个以画廊结构为主体的,艺术行业中的“couch surfing”——一种国际性质的免费互助,年轻的商业画廊为其国际同行们提供地板和墙面的展示空间,分享联系和扩展国际网络,而无需缴纳参加艺术博览会的高昂费用。共享画廊已经走向了全球,在纽约,墨西哥城和上海都有产生销售,参与者人数正在增加:去年在纽约,16家曼哈顿画廊接纳了从中国到墨西哥的20家海外画廊。其中,总部位于伦敦的Carlos / Ishikawa画廊是常设参展机构:Condo共享画廊展即由其联合创始人Vanessa Carlos建立。

  • 在芝加哥试图卖掉他的壁画后,Kerry James Marshall结束了他的 …

    2018.11.09 · 发表评论

    In further news: Italian government cracks down on art crime; and screening live arts performances fails to diversify audiences  – 另辟蹊径:意大利政府严厉打击艺术犯罪,现场放映艺术表演未能使观众多样化 

  • Do Museum Wall Labels Hide Artists’ Misogyny? Gauguin and …

    2018.11.08 · 发表评论

    Artist Michelle Hartney has created #MeToo-inspired wall labels to call out the abusive actions of art history’s icons – 艺术家Michelle Hartney创建了一个由Myoto启发的墙面标签,以唤起艺术史图标的辱骂行为。

  • ‘Most of These Items Are Not Art’: Native American Advocac …

    2018.11.07 · 发表评论

    The museum is including Indigenous pieces in its American wing for the first time – but did it consult with tribal representatives? – 博物馆首次将土著艺术品纳入其美国展区,但它是否与部落代表进行了磋商?

  • Frederick Wiseman's ‘Beating Heart’ of Rural American …

    2018.11.07 · 发表评论

    Frederick Wiseman’s new documentary, Monrovia, Indiana (2018) opens with a series of bucolic shots of rural Americana before moving inside to a meeting of a small church group. ‘Remember,’ a middle-aged man wearing a cross tells those gathered, ‘when He started this whole thing, everything was perfect. We messed it up. We brought the tribulations.’ – 弗雷德里克·怀斯曼的新纪录片《印第安纳州蒙罗维亚》(2018)以美国乡村的一系列田园风光开场,然后进入一个小型教会团体的会议。“记住,”一个背着十字架的中年人告诉那些聚集在一起的人,“当他开始这一切时,一切都很完美。”我们把事情搞糟了。我们带来了苦难。

  • 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: 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: