Earth 2012 Edition of 10 - jacquard tapestry Published by Magnolia Editions. Image © Kiki Smith 2012, courtesy of the artist, Pace Gallery and GALLERIA CONTINUA, San Gimignano, Beijing, Les Moulins, Habana. - 地球2012年10版-提花挂毯由木兰版出版。图片©Kiki Smith 2012，由艺术家、佩斯画廊和Continua画廊（Galleria Continua）提供，北京圣基米纳诺，哈瓦那Les Moulins。
Tapestry
6 篇
In the art-market documentary The Price of Everything (2018), Amy Cappellazzo of Sotheby’s suggests positioning works in a corporate atrium as a one-way route to career death. As the auctioneer sees it, once you wind up in the lobby, there’s no getting out. It seems an irresistibly knowing gesture, then, to mount an ambitious show of textile works – a medium, in a less appreciative era, synonymous with lobby art – within the entrance hall and stairwell of a 1960s corporate block. - 在艺术市场纪录片《万物价格》（2018）中，苏富比的艾米·卡佩拉佐（Amy Cappellazzo）建议将公司中庭中的作品定位为职业死亡的单行道。正如拍卖商看到的那样，一旦你在大厅里出现，就没有出去了。那么，在上世纪60年代一个商业街区的入口大厅和楼梯间举办一场雄心勃勃的纺织品展览似乎是一种不可抗拒的明智的姿态——一种媒介，在一个不那么欣赏的时代，与大堂艺术同义。
In further news: a long-lost tapestry owned by Henry VIII re-emerges; Kerry James Marshall’s Chicago Public Library mural withdrawn from auction - 另辟蹊径：亨利八世拥有的一幅失传已久的挂毯重现；克里·詹姆斯·马歇尔的芝加哥公共图书馆壁画退出拍卖
The origin tale of modern Singapore cultivates the image of a gleaming city rising from the wilderness – most recently rehashed in a certain hit film that makes a glib reference to the island being nothing but ‘jungle and pig farms’ before Chinese immigrants arrived, clearing the landscape and making themselves ‘crazy rich’ in the process. In this story, tigers are the antagonist, a feral threat it was impossible to eliminate completely: Singapore is an island, and tigers are excellent swimmers. As late as 1869, Alfred Russel Wallace wrote, in The Malay Archipelago, that ‘there are always a few tigers roaming about Singapore, and they kill, on average, a Chinaman every day’. - 现代新加坡的起源故事塑造了一个从荒野中崛起的闪闪发光的城市形象——最近在一部热门电影中重新演绎，这部电影巧妙地提到了在中国移民到来之前，这个岛除了“丛林和养猪场”之外别无他物。在这个过程中，让自己变得“疯狂富”。在这个故事中，老虎是敌人，一个无法完全消除的凶猛威胁：新加坡是一个岛屿，老虎是优秀的游泳运动员。早在1869年，阿尔弗雷德·拉塞尔·华莱士（Alfred Russel Wallace）在《马来群岛》（The Malay Archipelago）中就写道：“在新加坡到处游荡的老虎总是不多，平均每天会杀死一个中国人。”
There is a crucial distinction between art that addresses important subjects and important art. It can become difficult not to confuse the two. Art that engages with social injustice, human rights abuse, repressive regimes, environmental disaster, systematic prejudice and the myriad other vile ills of the current world can often wear its righteousness like a critical force field. - 重要的艺术和重要的艺术之间有着至关重要的区别。很难不混淆这两者。涉及社会不公正、践踏人权、专制政权、环境灾难、系统偏见和当今世界无数其他邪恶弊病的艺术，往往会像关键力量领域一样佩戴其正义。
The first public exhibition of a 15th-century altar-hanging prompts the question: who made it?In Sam Fogg gallery’s latest exhibition of medieval and renaissance textiles in London, a German tapestry went on public display for the first time in its recorded history. Dated at around 1480 and woven from wool and linen in varying colours and configurations, it unrolls to reveal five scenes from the Life of Christ, vertically separated by column-like bands. Read from left to right, the scenes chronicle Christ (identified by his cruciform halo) appearing to his followers after his resurrection. Dressed in radiant white, he lifts his hand in benediction to a kneeling Mary Magdalene; disguised in a grey cloak, he greets two disciples on the road to Emmaus; reduced to no more than his feet, he disappears from the frame and ascends to heaven; rematerializing in the form of a dove on the day of Pentecost, he imbues the Virgin and apostles with the Holy Spirit; and, finally, enthroned on a rainbow during the Last Judgment, he displays his wounds before a sea of bodies. - 第一次公开展示十五世纪祭坛悬挂的问题是：谁做的？在Sam Fogg画廊最近在伦敦展出的中世纪和文艺复兴时期的纺织品展览中，德国挂毯首次在其历史记录中公开展出。日期约为1480，并由羊毛和亚麻织成不同颜色和配置，它展开揭示五个场景从基督的生活，垂直分离的柱状带。从左向右读，基督复活后的纪事纪事（由十字架光环所辨认）出现在他的追随者身上。他身穿白皙的衣服，跪在跪着的Mary Magdalene身上，装扮成灰色斗篷，在埃玛斯的路上迎接两个门徒；他只不过是从脚下消失了，然后爬上了天堂，在一天的时间里以鸽子的形式重新化身。五旬节，他将圣母和使徒灌输给圣灵；最后，在最后一次审判中，在彩虹上登基，在一片尸体面前展示他的伤口。