#Art Peinture - National Gallery, Washington
#Millard_Sheets « Tenement Flats », 1933.
-
-
#Art Peinture - National Gallery, Washington
#Laszlo_Moholy_Nagy « Z VII », 1926.
-
#Art Peinture - National Gallery, Washington
#Lyonel_Feininger « Street of barns », 1914.
-
-
The early work of groundbreaking photojournalist Gordon Parks – in pictures
▻https://www.theguardian.com/artanddesign/gallery/2019/feb/14/gordon-parks-early-work-photography
Washington DC Government Charwoman, July 1942Photograph: Gordon Parks/Courtesy The Gordon Parks Foundation, National Gallery of Art, Washington and Library of Congress, Washington
#photographie -
▻https://www.theguardian.com/artanddesign/2019/feb/02/st-ivo-portrait-rogier-van-der-weyden-master-forger-eric-hebborn-nation
The painting is thought to represent the patron saint of lawyers and advocate of the poor. The figure appears to be holding what the gallery describes as “a legal document, which would be appropriate for Saint Ivo”.
Wright ridicules the haircut of the figure who is reading a text that is “gobbledegook” – “an impossibility for a long inscription in that period when artists only wrote inscriptions to be read”.Autant les nombreux arguments de Christopher Wright sont effectivement ceux d’un expert quand ils sont relatifs à la peinture, autant en matière capillaire, on voit bien qu’il n’y connait rien. Les Beatles n’ont jamais été coiffés comme l’homme qui lit de Rogier Van Der Weyden. Sinon je suis assez troublé, je suis allé contempler ce tableau comme bien d’autres flamands de la National Gallery du temps où je vivais en Angleterre, et c’est un sentiment étrange d’apprendre aujourd’hui que ce tableau est un faux éhonté.
-
Wright first briefly challenged the authenticity of the Saint Ivo 35 years ago in his book, The Art of the Forger, without suggesting Hebborn’s name. But it prompted the then National Gallery director to cancel Wright’s lunchtime lectures and order the bookshop to remove all copies – although staff held copies under the counter for visitors requesting one.
-
#Eric_Hebborn
▻https://fr.wikipedia.org/wiki/Eric_Hebborn• Drawn to Trouble, Mainstream, 1991
• The Art Forger’s Handbook, Overlook, 1997 (posthume)
• Confessions of a Master Forger, Cassell, 1997 (posthume, reprint de Drawn to Trouble, préfacé par Brian Balfour-Oatts)apparemment pas de traductions en français (il y a en allemand et italien).
-
@simplicissimus Oui, il aurait fait un bon candidat pour le documentaire d’Orson Welles à propos des faussaires, F For Fake.
-
-
Chicago Tribune - We are currently unavailable in your region
▻http://articles.chicagotribune.com/1997-01-05/news/9701050123_1_artifacts-looted-cambodianIn 1924, French writer Andre Malraux was arrested and imprisoned when he removed nearly a ton of stone carvings and ornaments from a temple in the remote Cambodian jungle and trundled them away in
Unfortunately, our website is currently unavailable in most European countries. We are engaged on the issue and committed to looking at options that support our full range of digital offerings to the EU market. We continue to identify technical compliance solutions that will provide all readers with our award-winning journalism.
-
LOOTED CAMBODIAN TREASURES COME HOME
New York Times News ServiceCHICAGO TRIBUNEJanuary 5, 1997 Phnom Penh
In 1924, French writer Andre Malraux was arrested and imprisoned when he removed nearly a ton of stone carvings and ornaments from a temple in the remote Cambodian jungle and trundled them away in oxcarts.
In 1980, starving refugees fleeing the terrors of the Khmer Rouge arrived at the border with Thailand lugging stone heads lopped from temple statues and ornate silverwork looted from museums.
Today the looting continues, from hundreds of temples and archaeological sites scattered through the jungles of this often-lawless country, sometimes organized by smuggling syndicates and abetted by antique dealers in Thailand and elsewhere.
Entire temple walls covered with bas-relief are hacked into chunks and trucked away by thieves. Villagers sell ancient pottery for pennies. Armed bands have attacked monks at remote temples to loot their treasures and have twice raided the conservation office at the temple complex of Angkor.
But the tide is slowly beginning to turn. With the Cambodian government beginning a campaign to seek the return of the country’s treasures, and with cooperation from curators and customs agents abroad, 1996 was a significant year for the recovery of artifacts.
Fifteen objects have come home, in three separate shipments from three continents, raising hopes that some of the more significant artifacts may be returned.
In July, the U.S. returned a small head of the god Shiva that had been seized by Customs in San Francisco. Cambodia is a largely Buddhist nation, but over the centuries its history and its art have seen successive overlays of Buddhist and Hindu influences. At some temples, statues of Buddha mingle with those of the Hindu deities, Brahma, Shiva and Vishnu.
In September, the Thai government returned 13 large stone carvings, some up to 800 years old, that had been confiscated by Thai police from an antique shop in Bangkok in 1990. Thai officials said the return was a gesture of good will meant to combat that country’s image as a center of antique trafficking.
And in December, a British couple returned a stone Brahma head that they had bought at auction. Its Cambodian origin was confirmed by a list, published by UNESCO, of 100 artifacts that had disappeared from an inventory compiled in the 1960s.
In addition, Sebastien Cavalier, a UNESCO representative here, said he was expecting the return as early as next month of a 10th Century Angkorean head of Shiva that is now in the Metropolitan Museum in New York.
Six bronze pieces sent to the Guimet Museum in Paris for cleaning and safekeeping in the 1970s could also be returned in the coming months, he said.
Now with the launching in January of a major traveling exhibition of Khmer artifacts—to Paris, Washington, Tokyo and Osaka— accompanied by an updated catalog of some of Cambodia’s missing treasures, Cavalier said he hopes the returns will accelerate.
The exhibit will be on display in Paris from Jan. 31 to May 26, at the National Gallery in Washington from June 30 to Sept. 28, and in Japan from Oct. 28 to March 22, 1998.
But the pillage of artifacts continues at a far greater pace than the returns.
Government control remains tenuous in much of Cambodia and the Ministry of Culture has little money for the protection of antiquities. There is little check on armed groups and corrupt officials throughout the countryside, where hundreds of temples remain unused and unguarded or overgrown with jungle.
Truckloads of treasures regularly pass through military checkpoints into Thailand, art experts say. Heavy stone artifacts are towed in fishing nets to cargo ships off the southern coast. In Thailand, skilled artisans repair or copy damaged objects and certificates of authenticity are forged.
Most of Cambodia’s artistic patrimony remains uncatalogued, and Cavalier said there was no way to know the full extent of what had already been stolen over the last decades, or what remained scattered around the country.
-
-
The #Opioid Timebomb: The #Sackler family and how their painkiller fortune helps bankroll London arts | London Evening Standard
▻https://www.standard.co.uk/news/health/the-opioid-timebomb-the-sackler-family-and-how-their-painkiller-fortune-We sent all 33 non-profits the same key questions including: will they rename their public space (as some organisations have done when issues arose regarding former benefactors)? And will they accept future Sackler philanthropy?
About half the respondents, including the Royal Opera House and the National Gallery, where Dame Theresa Sackler is respectively an honorary director and a patron, declined to answer either question.
Of the rest, none said it planned to erase the Sackler name from its public space. The organisations’ positions were more guarded on future donations.
Only the V&A, Oxford University, the Royal Court Theatre and the National Maritime Museum said outright that they were open to future Sackler grants.
The V&A said: “The Sackler family continue to be a valuable donor to the V&A and we are grateful for their ongoing support.”
Millions for London: Where Sackler money has gone
MUSEUMS AND GALLERIESSerpentine Galleries
Grants received/pledged: £5,500,000
Used to fund (among other things): Serpentine Sackler Gallery
Will you accept future Sackler grants? Won’t sayTate
Grants received/pledged: £4,650,000
Used to fund (among other things): Sackler Gallery, Sackler Escalators, Sackler Octagon
Will you accept future Sackler grants? Won’t sayDulwich Picture Gallery
Grants received/pledged: £3,491,000
Used to fund (among other things): Sackler Centre for Arts Education
Will you accept future Sackler grants? Won’t sayV&A Museum
Grants received/pledged: £2,500,000
Used to fund (among other things): Sackler Courtyard
Will you accept future Sackler grants? YesThe Design Museum
Grants received/pledged: £1,500,000
Used to fund (among other things): Sackler Library and Archive
Will you accept future Sackler grants? No replyNatural History Museum
Grants received/pledged: £1,255,000
Used to fund (among other things): Sackler Biodiversity Imaging Laboratory
Will you accept future Sackler grants? Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”National Gallery
Grants received/pledged: £1,050,000
Used to fund (among other things): Sackler Room (Room 34)
Will you accept future Sackler grants? Won’t sayNational Portrait Gallery
Grants received/pledged: £1,000,000
Used to fund (among other things): Pledged grant still being vetted
Will you accept future Sackler grants? Being vetted. Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”The Garden Museum
Grants received/pledged: £850,000
Used to fund (among other things): Sackler Garden
Will you accept future Sackler grants? No replyNational Maritime Museum
Grants received/pledged: £230,000
Used to fund (among other things): Sackler Research Fellowships
Will you accept future Sackler grants? YesMuseum of London
Grants received/pledged: Refused to disclose grants received
Used to fund (among other things): Sackler Hall
Will you accept future Sackler grants? Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”Royal Academy of Arts
Grants received/pledged: Refused to disclose grants received
Used to fund (among other things): Sackler Wing, Sackler Sculpture Gallery
Will you accept future Sackler grants? Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”THE PERFORMING ARTS
Old Vic
Grants received/pledged: £2,817,000
Used to fund (among other things): Productions and projects
Will you accept future Sackler grants? Won’t sayRoyal Opera House
Grants received/pledged: £2,500,000
Used to fund (among other things): Won’t say
Will you accept future Sackler grants? Won’t sayNational Theatre
Grants received/pledged: £2,000,000
Used to fund (among other things): Sackler Pavilion
Will you accept future Sackler grants? Won’t sayShakespeare’s Globe
Grants received/pledged: £1,660,000
Used to fund (among other things): Sackler Studios
Will you accept future Sackler grants? Won’t sayRoyal Court Theatre
Grants received/pledged: £360,000
Used to fund (among other things): Sackler Trust Trainee Scheme
Will you accept future Sackler grants? YesUNIVERSITIES/RESEARCH
University of Oxford
Grants received/pledged: £11,000,000
Used to fund (among other things): Bodleian Sackler Library, Keeper of Antiquities
Will you accept future Sackler grants? YesUniversity of Sussex
Grants received/pledged: £8,400,000
Used to fund (among other things): Sackler Centre for Consciousness Science
Will you accept future Sackler grants? Won’t sayKing’s College, London
Grants received/pledged: £6,950,000
Used to fund (among other things): Sackler Institute for Translational Neurodevelopment
Will you accept future Sackler grants? Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”The Francis Crick Institute
Grants received/pledged: £5,000,000
Used to fund (among other things): One-off funds raised via CRUK to help build the Crick
Will you accept future Sackler grants? N/AUCL
Grants received/pledged: £2,654,000
Used to fund (among other things): Sackler Institute for Musculo-Skeletal Research
Will you accept future Sackler grants? Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”Royal College of Art
Grants received/pledged: £2,500,000
Used to fund (among other things): Sackler Building
Will you accept future Sackler grants? Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”The Courtauld Institute of Art
Grants received/pledged: £1,170,000
Used to fund (among other things): Sackler Research Fellowship, Sackler Lecture Series
Will you accept future Sackler grants? Won’t sayRoyal Ballet School
Grants received/pledged: £1,000,000
Used to fund (among other things): Won’t say
Will you accept future Sackler grants? Won’t sayImperial College London
Grants received/pledged: £618,000
Used to fund (among other things): Knee research
Will you accept future Sackler grants? Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”Old Royal Naval College
Grants received/pledged: £500,000
Used to fund (among other things): Sackler Gallery
Will you accept future Sackler grants? Won’t sayOTHER
Royal Botanic Gardens, Kew
Grants received/pledged: £3,100,000
Used to fund (among other things): Sackler Crossing footbridge
Will you accept future Sackler grants? Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”Moorfields Eye Hospital
Grants received/pledged: £3,000,000
Used to fund (among other things): New eye centre (pledged only)
Will you accept future Sackler grants? Won’t sayThe London Library
Grants received/pledged: £1,000,000
Used to fund (among other things): The Sackler Study
Will you accept future Sackler grants? Won’t sayThe Prince’s Trust
Grants received/pledged: £775,000
Used to fund (among other things): Programmes for disadvantaged youth
Will you accept future Sackler grants? Subject to vetting that typically takes into account “reputational risk” and “all relevant new information about the donor in the public domain”Westminster Abbey
Grants received/pledged: £500,000
Used to fund (among other things): Restoration of Henry VII Chapel
Will you accept future Sackler grants? Won’t sayRoyal Hospital for Neurodisability
Grants received/pledged: £350,000
Used to fund (among other things): Won’t say
Will you accept future Sackler grants? No reply
cc @hlc
-
Rob Reich, an ethics professor at Stanford University, has said that non-profits taking future Sackler donations could be seen as being “complicit in the reputation-laundering of the donor”.
La liste ci dessus ne concerne que la GB mais en France la liste doit être longue aussi et encore plus aux USA et probablement un peu partout dans le monde.
But our FoI requests revealed that at least one major Sackler donation has been held up in the vetting process: namely a £1 million grant for the National Portrait Gallery.
The gallery said: “The Sackler Trust pledged a £1 million grant in June 2016 for a future project, but no funds have been received as this is still being vetted as part of our internal review process.
Each gift is assessed on a case-by-case basis and where necessary, further information and advice is sought from third parties.”
It added that its ethical fundraising policy sets out “unacceptable sources of funding” and examines the risk involved in “accepting support which may cause significant potential damage to the gallery’s reputation”.
-
What do the Sacklers say in their defence? The three brothers who founded Purdue in the Fifties — Arthur, Mortimer and Raymond — are dead but their descendants have conflicting views.
Arthur’s daughter Elizabeth Sackler, 70, said her side of the family had not benefited a jot from OxyContin, which was invented after they were bought out in the wake of her father’s death in 1987. She has called the OxyContin fortune “morally abhorrent”.
Her stepmother, British-born Jillian Sackler, who lives in New York and is a trustee at the Royal Academy of Arts, has called on the other branches of the family to acknowledge their “moral duty to help make this right and to atone for mistakes made”.
But the OxyContin-rich branches of the family have remained silent. Representatives of Mortimer’s branch — the London Sacklers — said nobody was willing to speak on their behalf and referred us to Purdue’s communications director, Robert Josephson. He confirmed that the US-based Sacklers — Raymond’s branch — would not speak to us either, but that a Purdue spokesman would answer our questions.
We asked the Purdue spokesman: does Purdue, and by extension the Sacklers, acknowledge the opioid crisis and a role in it?
“Absolutely we acknowledge there is an opioid crisis,” he said, from Purdue’s HQ in Stamford, Connecticut. “But what’s driving the deaths is illicitly manufactured #fentanyl from China. It’s extremely potent and mixed with all sorts of stuff.”
–—
Philip Hopwood, 56, whose addiction to OxyContin and other opioids destroyed his £3 million business and his marriage, said: “If the Sackler family had a shred of decency, they would divert their philanthropy to help people addicted to the drugs they continue to make their fortune from.
“The non-profits should be ashamed. At the very least they should be honest about the source of their funds.
The V&A should rename their courtyard the OxyContin Courtyard and the Serpentine should call their gallery the OxyContin Gallery.
“The money that built these public spaces comes from a drug that is killing people and ruining lives. They can no longer turn a blind eye. I’d feel sick to walk into a Sackler-named space.”
-
Napp pharmaceutical est la labo de Mortimer, la branche londonnienne de la famille Sackler, Purdue et la version US. En verirfiant sur le site de Napp illes y vendent bien de l’Oxycontin et co.
▻http://napp.co.uk/products/healthcare-professionals/analgesia
-
-
Lego Says Refusing Ai Weiwei Was a Mistake- artnet News
▻https://news.artnet.com/art-world/lego-admits-refusing-ai-weiwei-mistake-483794
Un petit dernier pour la route, les excuses de #lego
Lego Admits Refusing to Supply Artist and Activist Ai Weiwei Was a Mistake
The Lego vice-chairman says the decision was taken by a low-level employee.
Amah-Rose Abrams, April 28, 2016
Ai Weiwei in Lego Room (2015) Photo: courtesy of the National Gallery of Victoria
Ai Weiwei in Lego Room (2015)
Photo: courtesy of the National Gallery of VictoriaLego vice-chairman Kjeld Kirk Kristiansen has said that the company’s refusal to supply Ai Weiwei with a bulk order last year was a mistake.
“It was an internal mistake,” Kristiansen told the Wall Street Journal, adding that the decision to refuse the order was taken by a low level employee, who took the company’s policy too literally, and that the board was not involved.
“It is a typical example of what can go wrong in a big company,” said Thomas Kirk Kristiansen, son and successor of Kjeld Kirk Kristiansen.
-
A More Accurate World Map Wins Prestigious Japanese Design Award
To design a map of the world is no easy task. Because maps represent the spherical Earth in 2D form, they cannot help but be distorted, which is why Greenland and Antarctica usually look far more gigantic than they really are, while Africa appears vastly smaller than its true size. The AuthaGraph World Map tries to correct these issues, showing the world closer to how it actually is in all its spherical glory.
http://images.mentalfloss.com/sites/default/files/styles/insert_main_wide_image/public/mapmapamp.png 
http://images.mentalfloss.com/sites/default/files/styles/insert_main_wide_image/public/16G141127_03_880x660-1.png
▻http://mentalfloss.com/article/88138/more-accurate-world-map-wins-prestigious-japanese-design-award
#projection #cartographie #visualisation #monde
cc @fil @rekaQuestion d’Elisabeth Vallet :
your take, Philippe Rekacewicz, Cristina Del Biaggio ?
Et je rajouterai... et @fil ?-
-
Moi je dis que j’aime bien cette idée de rejeter sur les bord de la carte l’Europe, l’Australie-NZ et l’Amérique du Nord qui franchement me font tellement honte que ça ne méritent pas beaucoup mieux. Je pense même qu’il faudrait les « disqualifier cartographiquement » encore mieux ! J’avais déjà fait une petite tentative en 2010 ’"anciennes puissances stagnantes sinon sur le déclin"
-
-
@philippe_de_jonckheere c’est génial cette image, et j’adore Jasper Johns - Une source ? une piste pou retrouver cette merveille ?
-
Ben en fait pour la citer, je l’ai cherchée et je n’ai trouvé que celle-là. En revanche je dois pouvoir la scanner depuis un catalogue que j’ai à la maison, j’essaye d’y penser prochainement.
Cela ne m’étonne pas d’un cartographe d’être sensible à la beauté des toiles de Jasper Johns. Mais alors pas du tout.
-
C’est plus encore, Jasper Johns, Lyonel Feininger, Paul Klee pour ne citer que ls principaux, mais aussi Konrad Klapheck, Edward Hopper, Johannes Itten ont été et restent les sources inépuisables de mes inspirations. C’est injuste en fait, il y en a d’autres.
-
J’espère bien pour toi qu’il y en a d’autres, et même quelques femmes...
-
Sur le site de Chad Rossouw (pas très facile à trouver, en tous cas pas par la navigation dans le site)
▻http://chadrossouw.com/dymaxionSans doute au Museum Ludwig à Cologne, mais je ne trouve pas d’autres images.
-
@simplicissimus C’est effectivement de cette page que j’ai trouvé l’image en question. Je vais tâcher de retrouver mon catalogue de JJ
-
Jasper Johns. ’Map (Based on Buckminster Fuller’s Dymaxion Air Ccean World), 1967. Hans Namuth and Judith Wechsler, 1990. Distributed by MoMA, Circulating Film Library. From the MoMA description: ’a portrait of the artist at work. The film begins in 1972 with Johns repainting Air Ocean World based on Buckminster Fuller’s dymaxion Map. Johns work is traced over the next eighteen years. His Untitled, 1973, with its cross-hatching, flagstones, and anatomical parts become recurrent motifs, as Johns begins to imbed skulls and severed arms in them. The paintings become more personal as Johns gradually ’drops the reserve’ in his recent series, ’The Seasons’. The film culminates with Johns working on the final state of the etching based on ’The Seasons’. There is no narration as such. Jasper Johns speaks at various points, John Cage reads Johns’ statements, then rearranged through a computerized method based on the I Ching, curator Mark Rosenthal comments on several stages of Johns’ work, and Christopher Ricks reads passages from Beckett’s Foirades/Fizzles.’
▻http://www.onsitereview.ca/storage/johns%20film.jpg?__SQUARESPACE_CACHEVERSION=1405954682982
▻http://www.onsitereview.ca/miscellanea/2014/7/21/air-ocean-world.htmlet le film
▻http://judithwechsler.com/films/jasper-johns-take-an-object -
-
et encore :)
Ocean
1996
Jasper Johns
lithograph, working proof with ink
National Gallery of Art, Washington, Patrons’ Permanent Fund and Special Friends of the National Gallery of Art. Art © Jasper Johns/Licensed by VAGA, New York, NY
10Ocean is the title of a 90-minute dance choreographed by Merce Cunningham and first performed by his dance company in 1994. This is one of three working proofs Johns made while developing a lithographic edition of Ocean to benefit the company founded by Cunningham, who is represented in the two portraits. The geometric structure recalls that of Johns’ painting Map (Based on Buckminster Fuller’s Dymaxion Air Ocean World) of 1967–1971. The implied 19-triangle format echoes the 19-part structure of Cunningham’s dance.
▻http://www.nga.gov/exhibitions/2009/editions/template/index.shtm -
-
Encore un de ces chouettes fils de discussion sur seenthis, où l’on part d’un point pour arriver à un autre, parfaitement inescompté. En revanche je ne parviens pas du tout à remettre la main sur mon catalogue de Jasper Johns
-
Je te promets @philippe_de_jonckheere, ce n’est pas moi qui te l’ai emprunté !
Au passage, un article de The New Yorker sur Buckminster Fuller
Dymaxion Man
The visions of Buckminster Fuller.
▻http://www.newyorker.com/magazine/2008/06/09/dymaxion-manet sinon, pour en revenir à JJ
▻https://www.reddit.com/r/MapPorn/comments/302230/jasper_johns_1967_painting_map_based_onI saw this in the Museum Ludwig in Cologne
https://i.redditmedia.com/qZ_DoNpAa7L8JvitFlBdFYIB5kCs_xbLSVllqQkvL3k.jpg?w=1024&s=fdb1a7f8b170ea47935eab15464375d4 
https://lh3.googleusercontent.com/-TNEJFSrCUdw/VIkWWV95vLI/AAAAAAAAJ7k/Pk5e7LHJulo/w819-h614-n-o/IMG_20141202_143639370.jpg
(tout cela en contournant Pinterest qui me demandait mon sexe si je voulais m’inscrire) -
@philippe_de_jonckheere Lioubov Popova évidemment (j’ai honte même de pas lavoir cité en premier heureusement que tu es là pour me rappeler à ces manquements)
-
@odilon Tu n’étais nullement soupçonnée (manquerait plus que ça).
Sinon sur la deuxième partie du film, je ne parviens toujours pas à me réconcilier avec le travail de Jasper Johns à partir de 1980, à partir des Seasons , j’ai l’impression que tout d’un coup la force picturale s’en est allée, comme si sa confrontation volontaire d’avec les grands maîtres ne tournait pas en sa faveur, ce qui me surprend. Il me semble par exemple qu’il devrait au contraire exister un pont naturel entre sa pratique, take an object, et justement de se saisir des thèmes des grands maîtres, mais que voulant jouer au plus malin, cela finit par échouer. Et cela échoue de la même manière que Warhol, dans la même direction, s’est ridiculisé et, ce faisant, a clairement montré les limites de sa démarche, son caractère seulement pictural, quand ce n’est pas publicitaire dans le traitement, alors que Rauschenberg, au contraire, tire son épingle du jeu, de ce jeu-là (des références aux grands maîtres), sans doute parce que cela reste de la peinture, et non un travail qui reste au niveau de l’image.
-
-
Alex Janvier - National Gallery of Canada | National Gallery of Canada
▻http://www.gallery.ca/en/see/collections/artist.php?iartistid=2709
Signalé par Elisabeth Vallet
What I love about art is that it is what I am. It makes my spirit and my spiritual life complete. There isn’t any other reason.” 2001
Alex Janvier is one of Canada’s most acclaimed contemporary painters. His work is informed by his cultural and spiritual heritage as well as the history of modernist abstract painting.
Janvier was one of ten children born to Mary and Alex Janvier on the Le Goff Reserve of the Cold Lake First Nations, in northern Alberta. Janvier credits the beadwork and birch bark basketry of his mother and other relatives as having major influence on his painting style.
-
Assent | Oscar Raby
▻http://oscarraby.net/wp/assentOscar Raby is a multimedia artist looking into the contemporary and future ways of storytelling. His experience working in projects at the Memory and Human Rights Museum in Chile as well as the National Gallery of Victoria in Australia has allowed him to explore how history is built and reconstructed by the curated narrative of institutions. His interest lies in using New Media to rearrange that narrative by facilitating the interaction between audience and artefacts.
In 2013 he completed a Masters degree in Animation and Interactive Media at the Royal Melbourne Institute of Technology where the subject of his research was Portraiture in New Media. His graduating work, the Virtual Reality documentary Assent, has been part of festivals in Australia, Canada, USA, Mexico, the Netherlands and the UK. Assent received the Audience Award for Cross-platform at Sheffield Doc/Fest 2014. -
Artist Ai Weiwei banned from using Lego to build Australian artwork | Art and design | The Guardian
▻http://www.theguardian.com/artanddesign/2015/oct/24/artist-ai-weiwei-banned-by-lego-to-build-artwork-australian-exhibitionChinese dissident artist Ai Weiwei says Danish toymaker Lego has refused his studio’s request for a bulk order of the plastic toys on political grounds.
In an Instagram post on Friday evening, the artist said Lego had refused the bulk order in September, quoting the company as saying it “cannot approve the use of Legos for political works”.
The artist’s accusation follows news this week that British firm Merlin Entertainments will open a Legoland park in Shanghai in conjunction with a Chinese partner. That announcement, timed to coincide with Chinese president Xi Jinping’s state visit to the UK, seems to have prompted the artist’s Instagram post.
–—
Ai Weiwei swamped by Lego donation offers after ban on use for ’political’ artwork | Art and design | The Guardian
▻http://www.theguardian.com/artanddesign/2015/oct/25/ai-weiwei-swamped-by-lego-donation-offers-after-ban-on-use-for-politicaChinese dissident artist Ai Weiwei has been inundated with Lego brick donation offers after the Danish toy maker refused a request for a bulk order of the plastic toys on political grounds.
Artist Ai Weiwei banned from using Lego to build Australian artwork
Read moreOn Friday, the artist said Lego refused his studio’s request for an order to create an artwork about free speech to be shown at the National Gallery of Victoria in Australia for an Andy Warhol/Ai Weiwei exhibition in December.
–—
Artist Ai Weiwei hits out over Lego ’censorship’ - BBC News
▻http://www.bbc.com/news/entertainment-arts-34630829Artist Ai Weiwei has accused Lego of “censorship and discrimination” after the company refused to let him to use its bricks in a new exhibition.
Lego refused a bulk order for bricks that were to be used in a new artwork about political dissidents as part of an exhibition in Melbourne, Australia.
Toymaker Lego said it never sold directly to anyone wanting to use its product to make a political statement.
The artist has since been deluged with offers of Lego from supporters.
-
Toujours pas compris ce qui l’empêche d’aller acheter des legos dans un magasin ? Il voulait un prix de gros ?
-
en fair sur le site Lego tu peu commender les pièces a l’unité en choisissant la couleur et tout alors que dans les magasins tu n’as que les boîtes qui suivent un model. Je pense que Ai Weiwei veut des pièces « sur mesure » et pas 800 boîtes du dernier Lego star war.
J’en profite pour ? Lego qui fait deja des boîtes machistes et maintenant de la lèche au PCC.
-
J’entends bien, mais je ne vois pas ce qui l’a obligé à déclarer bonjour, je suis un artiste contemporain chinois et je voudrais acheter des briques pour faire un truc anti PCC
(Si ce n’est que sur ▻http://shop.lego.com/fr-FR/Pick-A-Brick-ParTheme c’est pas évident de mettre plus de 999 briques par article)
Enfin, bon, c’est juste par curiosité de comprendre comment cette histoire se retrouve dans la presse et comment quelqu-un-e de chez lego a été assez débile pour déclencher ça. -
Désolé j’avais pas compris ta question @grommeleur
Je pense que le bon de commende devait être au nom de Ai Weiwei ou au nom de son atelier. Vu les quantités que Ai Weiwei emploi, il y a des chances que sa commande soit tout de même assez atypique et facile à remarqué dans les commandes des usines. Les legos doivent venir de Chine ainsi que l’atelier dans lequel les boites sur mesures sont confectionnées. ▻http://www.usinenouvelle.com/article/lego-pose-ses-briques-en-chine.N193464Et le signalement dans la presse peut venir de Ai Weiwei qui est pas content et à les moyens de le faire savoir.
-
-
-
Enjoy two of the most dramatic riverside walks in London and hear the voices of people whose lives have been entwined with the Thames. These sound walks take place at some of the most fascinating stretches of the river Thames. You can listen as you walk with a CD player, ipod or MP3 player. Click on the links below to explore the trails
▻http://www.memoryscape.org.uk
#son #ballade_sonore #rivière #fleuve #Londres #Angleterre #UK
cc @daphne-
Echoes of Blackburn Meadows
The most recent stint of conservation work at Blackburn Meadows by BTCV is now in its final stages. Over the past four weeks, volunteers have worked in all weathers to complete the vital improvements that will lay the foundations for Echoes of Blackburn Meadows. Tasks have comprised draining footpaths, laying new surfaces and removing masses of unwanted litter, bracken and Buddleia.
▻http://www.sheffieldelectricity.com/uploads/blackburn-meadows-power-station-1.JPG
▻http://www.sheffieldelectricity.com
#Sheffield -
Scottish National Gallery soundwalk
We* wanted to create a soundwalk through the Old Town, narrated by interviews with people working in various jobs across central Edinburgh. We soon, however, saw this as a long-term project, after numerous refusals from potential interviewees.
After we received the cold shoulder to do an interview with the proprietors of the seasonally blind Christmas Shop, we headed to Oxgangs, a 1950s suburb to the city’s southwest. The area has some striking signage and architecture, particularly the bell tower of St. John’s church.We took the number 4 bus back in to the city centre, and walked east. Posters for a Scottish photography retrospective in the Scottish National Gallery drew us in. The exhibit was strong, but it was small, so we walked around the permanent collection. As we walked through the rooms among the paintings and marble busts, we got on to the topic of gallery audio tours. How fun would it be to make our own? The idea started to unfurl and was built over repeat trips.
We realized there was a wealth of re-interpretations to be made, as we started to assign songs and other texts that seemed to fit, however esoterically, with what we were seeing. We also paid attention to the experience of being in the gallery, especially the sounds of each room.
The Scottish National Gallery soundwalk is an audio tour played out in real time that can be listened to anywhere (try it out in your local gallery).
▻http://12gatestothecity.com/projects/scottish-national-gallery
#art #musée -
P r o j e c t D e t a i l : A R e c o r d o f F e a r
A Record of Fear was a commission for Contemporary #Art in Historic Places, a partnership between the National Trust, English Heritage and Commissions East in which three artists were invited to create new work inspired by historic properties.
Once a secret military testing site and now a nature reserve, #Orford_Ness temporarily played host to a series of audio and video works exploring aspects of broadcast and transmission.
The viewing gallery of the #Black_Beacon building - used to develop an experimental navigation device - was the location for an audio work, which used manipulated sound recordings from the Ness. Visitors were invited to listen carefully to what is already there as well as what is generally inaudible to the human ear. An array of contact mics, hydrophones, ultrasonic recorders and regular microphones had been used to capture the subtle ambient sounds of the site.
The Exmoor Choir were invited to perform madrigals in some of the remaining military buildings, once used for environmental testing of the atomic bomb. The human presence singing songs of love and an awareness of the passing of time provided a poignant counterpoint to the stark and disturbing interiors. A specially commissioned piece by Yannis Kyriakides entitled “U” provided a meditation on the passing of time.
For one-day only, visitors were allowed to enter some normally inaccessible test laboratories that become locations for sound installations, including the sited recording of a working centrifuge at AWE Aldermaston which was formerly in use at AWRE Orfordness.
▻http://www.lkwilson.org/index.php?m=proj&id=26&sub=images&prev=
-
Experimental Research Network
The Experimental Research Network is a space for academics, artists and anyone else who has an interest in creative experimentation with research practice.
Currently, the network includes academics using experimental audio and visual methods in their research, researchers using experimental narrative, textual and print-based methods, sound artists, avant-garde film makers, photographers, performance artists and musicians.
The aims of the Network are:
– To actively promote and encourage experimentation within research practice, helping to create an enlarged and enlivened sense of what research might encompass
– To initiate and coordinate experimental research events – conferences, workshops, meetings
– To distribute and share information about relevant events and funding opportunities
– To foster new links between individuals and institutions working experimentally with research methods
In short, we aim to bring together people who are using creative, innovative, novel, or risky research practices in their work, regardless of their location, affiliation or research topic, in a way that is mutually supportive, intellectually stimulating and fun. If this sounds like your thing, why not join us?
The Experimental Research Network was initiated in 2010 by Dr Michael Gallagher and Jonathan Prior, both currently based at The University of Edinburgh, Scotland. It developed out of an international training and networking project funded by the UK Economic and Social Research Council (ESRC).
-
-
Finding Robert
Frank, OnlineThe cover image for the U.S. edition of “The Americans,” Robert Frank’s epochal #book, spoke volumes about the state of the nation in the mid-#1950s. The tightly-cropped photo shows passengers in the windows of a #New_Orleans trolley assuming their place in the social order of the Jim Crow South — progressing from a black woman in the rear to white children and adults up front (slide 4).
The contact sheet that contained the image showed that Mr. Frank had photographed the city from multiple perspectives, but he ultimately selected the frame that most dramatically and symbolically captured New Orleans’ racial hierarchy. Learning this photo’s backstory would be impossible without the ability to view Mr. Frank’s contact sheet. Now, such important archival material, typically reserved for scholars and curators, is just a click away. Launched by the National Gallery of Art in time for photographer’s 90th birthday in November, the Robert Frank Collection Guide is an extraordinary resource for the general public and researchers alike.
The online guide is a first for a photographer in the National Gallery collection. Mr. Frank’s work was selected because it constitutes the museum’s largest and most complex holding by a single photographer. Spanning his career from 1937 to 2005, the collection includes more than 8,000 items, including vintage and later prints, work prints, negatives, contact sheets, technical material, recordings, and ephemera. Nearly all of these artifacts were acquired from Mr. Frank in stages over the past twenty-five years.
The guide’s production was overseen by Sarah Greenough, senior curator and head of the department of photography at the National Gallery, with a web team that included Sarah Gordon, who wrote most of site’s content, and John Gordy, who designed it.
“Because of the size, scope, and complexity of our Frank Collection,” Ms. Greenough said, “I realized many years ago that we needed such a finding guide. Yet it was while I was working on our exhibition and publication ‘Looking In: Robert Frank’s The Americans’ that I fully understood how hard it could be determine all the different iterations — from contact sheets, to work prints, to finished exhibition prints — that we might have of any one image. From then on, I knew that it was a project we had to undertake.”
Ms. Greenough would appear to be the perfect steward of Mr. Frank’s archive. She discovered “The Americans” in college and remembered being particularly fascinated by one photograph, “Canal Street, New Orleans,” especially by the expression on the face of a young girl being carried by her father.
“The girl seemed to express all the confused, uncertain feelings I had as a young person about American society and culture,” Ms. Greenough said. “That picture, along with others in ‘The Americans,’ made me realize for the first time how profoundly moving and important photography could be when done by someone like Robert Frank.”
Ms. Greenough’s scholarship on Mr. Frank reached its apex in “Looking In,” the traveling exhibition she organized for the National Gallery in 2009. The show was uncommonly rigorous, revealing myriad details about the conception and creation of “#The_Americans.” It was also visually bracing. Vintage photographs of differing sizes were arranged in groups that followed the sequencing of the book, producing dramatic shifts in scale, emphasis, and visual points of view.
Contact sheets and work prints provided greater context for the exhibition, and contributed to a viewing experience that was wholly different from reading “The Americans,” yet offering an array of new facts and observations about it. One wall, for example, was covered with tattered work prints, yielding insights into Mr. Frank’s process of selecting and rejecting images for the final work.
Like the exhibition, the catalog for “Looking in” was distinguished by its rigorous scholarship. Its expanded, special edition, which included the full contents of “The Americans,” as well as scholarly essays, facsimiles of contact sheets, photographer notes and correspondences, and other archival materials, functioned much like a massive and comprehensive finding guide, though limited to only one of Mr. Frank’s projects.
The online collection guide captures much of this dynamism. While it includes only a modest portion of the museum’s holdings at this point, it provides access to a broad range of images and information. And like “Looking In,” it helps us to better understand the work of one of the most important and influential photographers of the past seventy-five years. It also serves as a template for the National Gallery’s next online guide, documenting its large collection of Alfred Stieglitz photographs.
Ms. Greenough anticipates that the guide will serve a number of audiences and functions. “We hope that the general public will find it an informative overview of Frank’s work and his seminal contributions to American art and culture,” she said. “We also expect that scholars and photographers who want to study Frank’s work in-depth will discover vast amounts of information about him and his art that is not available anyplace else.”
Maurice Berger is a research professor and the chief curator at the Center for Art Design and Visual Culture at the University of Maryland, Baltimore County, and a consulting curator at the Jewish Museum in New York.
▻http://lens.blogs.nytimes.com/2015/01/14/finding-robert-frank-online/?module=BlogPost-Title&version=Blog%20Main&contentCollection=Mul
#robert_frank #photo #photographie #photo #reportage #USA #Us
-
The #Tate Digitizes 70,000 Works of Art; Now Adding 52,00 Letters, Photographs & Sketchbooks from British Artists
If you’re like me, one of the first items on your itinerary when you hit a new city is the art museums. Of course one, two, even three or four visits to the world’s major collections can’t begin to exhaust the wealth of painting, sculpture, photography, and more contained within. Rotating and special exhibits make taking it all in even less feasible. That’s why we’re so grateful for the digital archives that institutions like the Getty, LA County Museum of Art, the Metropolitan Museum of Art, the National Gallery, and the British Library make available free online. Now another museum, Britain’s Tate Modern, gets into the digital archive arena with around 70,000 digitized works of art in their online gallery.
http://cdn8.openculture.com/wp-content/uploads/2014/12/Nigel-Henderson.jpg 
http://cdn8.openculture.com/wp-content/uploads/2014/12/Josef-Herman-e1419224120456.jpg 
http://cdn8.openculture.com/wp-content/uploads/2014/12/David-Jones-Sketch.jpg
▻http://www.openculture.com/2014/12/the-tate-digitizes-70000-works-of-art.html
#photographie #esquisses #digitalisation #art #open_source -
Australia: National Gallery of Victoria patrons denounce selloff of Detroit masterpieces - World Socialist Web Site
▻http://www.wsws.org/en/articles/2014/01/03/nagv-j03.html
Australia: National Gallery of Victoria patrons denounce selloff of Detroit masterpieces
By our reporters
3 January 2014World Socialist Web Site reporters recently spoke with people outside the National Gallery of Victoria (NGV) in Melbourne about plans by the unelected financial manager of Detroit, Kevin Orr, to sell off part of the Detroit Institute of Arts priceless art collection in order to pay the American city’s wealthy bondholders.
Founded in 1861, the NGV is Australia’s oldest art gallery, maintaining a collection of 68,000 works of art, including pieces by major international figures such as Pablo Picasso, Rembrandt, Anthony van Dyck, Mark Rothko, William Blake and many others. The reporting team distributed WSWS articles to patrons of the gallery, located in Melbourne’s arts precinct.
#detroit #états-unis #art #musées
