Flecks of rare blue pigment found in a skeleton show women were also skilled manuscript painters 900 years ago - 骨骼中发现的罕见蓝色斑点表明，900年前，女性也是熟练的手稿画家。
Art History
21 篇
The year 2018 marked 40 years of reform and development in China. However, a gloomy reality has overshadowed the democratic aspirations that many within and outside of the country had associated with the implementation of a market economy. Initially reform and opening up served as an engine to transform China from an impoverished state to a formidable economic power. Yet the process of de-politicization following the student movement in 1989 set the ball rolling on a singular economic track. In 2018, mirroring the rise of right-wing strongmen across the world, everyday life and intellectual discussion have been increasingly subject to tightened surveillance and controls as President Xi consolidates his own powerbase. - 2018年是中国改革开放40年的一年。然而，令人沮丧的现实掩盖了国内外许多人与实行市场经济有关的民主愿望。最初，改革开放是中国从一个贫穷国家转变为一个强大经济力量的引擎。然而，1989年学生运动之后的去政治化进程使经济走上了一条奇特的轨道。2018，反映了右翼强人在世界各地的崛起，日常生活和知识分子的讨论越来越受到严密的监视和控制，因为席总统巩固了自己的权力基础。
In 2018, I found myself drawn to shows dealing with magic and shamanism, and so I look back at the year with a sense of enchantment. Tender entanglements of dystopian visions and individual mytholo-gies are part of a recent artistic trend characterized by hybridity, transformation and a belief in material. - 在2018年，我发现自己被处理魔法和萨满教的节目所吸引，所以我带着一种迷人的感觉回顾这一年。反乌托邦的幻象和个人神话的温柔纠缠是最近艺术趋势的一部分，其特点是杂合、转化和对物质的信仰。
Siegel will divide her time between New York, Berlin and London, leading on frieze’s print and digital publishing - 西格尔将在纽约、柏林和伦敦之间分配时间，领导弗里兹的印刷和数字出版。
In further news: Berlin cultural institutions rally against far-right; Tate Liverpool to stage first UK show dedicated to Keith Haring - 进一步的消息：柏林文化机构联合起来反对极右派；泰特·利物浦为基思·哈林举行英国首场演出
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。
In the third of a series, timed with the specially-themed November-December issue of frieze, we asked five artists, curators and writers, whose work has been involved with the challenges of decolonizing culture, to discuss the projects that have informed their thinking – from exhibitions and publications to more intangible and transient networks, whose effects are often more felt than documented, though no less significant. - 在系列文章的第三期，以特别主题的11月至12月的弗里兹杂志为时间点，我们邀请了五位艺术家、策展人和作家，他们的作品涉及非殖民文化的挑战，来讨论从展览和公共场所了解他们思想的项目。更多的无形和瞬态网络，其效果往往比记录的感觉，虽然不那么重要。
Researchers have compiled an illustrated resource that throws light on overlooked female artists from the 15th to 19th centuries - 研究人员已经编纂了一个图示的资源，从第十五到第十九个世纪吸引了被忽视的女性艺术家。
In a darkened temperature-controlled room sit several seminal artworks the public has never seen. Hoards of could-be national treasures populate vast storage vaults. All of them out of view and consideration. What makes an artwork acquired by a museum worthy of wall space, while others are locked away? While efforts have been made behind the scenes to balance collections through acquiring more work by people of colour, this isn’t always reflected in what public eyes see. Hoisting up this much-needed discussion about what museums choose to collect and to show, ‘Speech Acts: Reflection-Imagination-Repetition’ at Manchester Art Gallery curated by Hammad Nasar with Kate Jesson, impels viewers to consider art history’s negative space and also the ways in which our encounters with art are inherently shaped by what is shown and what isn’t. - 在黑暗温度控制的房间里坐着一些公众从未见过的精巧艺术品。囤积的财宝可能是国家宝藏中的巨大储藏库。所有这些都是不可见的和考虑的。是什么使得艺术品被一个有墙空间的博物馆所获得，而另一些则被锁住了呢？虽然人们在幕后通过获取有色人种更多的作品来平衡收藏，但这并不总是反映在公众眼中。在哈马德·纳萨尔和凯特·杰森共同主持的曼彻斯特美术馆举办的“演讲行为：反思-想象-重复”展览会上，展开了关于博物馆选择收藏和展览的迫切需要的讨论，促使观众思考艺术史的消极空间以及我们如何看待艺术史。与艺术的相遇本质上是由所展示的和不存在的来塑造的。