2015年8月31日 星期一

Rothko /The Power of Art - 《羅斯科傳》Mark Rothko, A Biography


In 1929 Rothko began teaching children at the Center Academy of the Brooklyn Jewish Center, a position he retained for more than 20 years. In the 1930s Rothko painted mostly street scenes and interiors with figures. Rejecting conventional modes of representation, he stressed an emotional approach to the subject--an approach he admired in children's art--and adopted a style characterized by deliberate deformations and a crude application of paint.

Mark Rothko
1.USA.GOV


Early in his career, Rothko was encouraged by the artist Max Weber (with whom he briefly studied at the Art Students League in New York in the mid-1920s) to work in a figurative style reminiscent of Cézanne. Rothko’s early work resembles nothing of the style for which he is renowned. ‪#‎Rothko‬ ‪#‎ArtAtoZ‬


http://1.usa.gov/1UcRtZ2






















Untitled (three nudes)


Mark Rothko


WWW.NGA.GOV





National Gallery of Art


In the late 1920s, Rothko met the modernist painter Milton Avery (1885-1965), whose simplified and colorful depictions of domestic subjects had a profound influence on Rothko's early development, particularly his application of paint and treatment of color. Avery's home became a meeting place for artists, who attended weekly life drawing sessions there. Rothko was in regular attendance. This is a profile portrait of Rothko, smoking a pipe, by Avery. The informality of the image speaks to the close friendship and mutual respect and admiration shared by the two artists.


‪#‎Rothko‬ ‪#‎ArtAtoZ‬


Milton Avery, "Rothko with Pipe," 1936, drypoint, brown-black ink on woven paper, National Gallery of Art, Ailsa Mellon Bruce Fund



參考翻譯


In 1929 Rothko began teaching children at the Center Academy of the Brooklyn Jewish Center, a position he retained for more than 20 years. In the 1930s Rothko painted mostly street scenes and interiors with figures. Rejecting conventional modes of representation, he stressed an emotional approach to the subject--an approach he admired in children's art--and adopted a style characterized by deliberate deformations and a crude application of paint.

‪#‎Rothko‬ ‪#‎ArtAtoZ‬

http://1.usa.gov/1MUdm9N

參考翻譯



Street Scene
Mark Rothko
1.USA.GOV





















































































































































































































Yale University Press


For you Rothko fans out there.





















How Marcus Rothkowitz Became Mark Rothko | Yale Press Log


Annie Cohen-Solal offers a detailed portrait of Mark Rothko, born Marcus...


BLOG.YUPNET.ORG
















Kimbell Art Museum


We continue our “Masters Sculptors and Painters” film series this Sunday at 2 p.m. in the Kahn Auditorium with the free screening of “Rothko’s Rooms,” which chronicles the life and work of American abstract artist Mark Rothko.

















Where would you hang your ‪#‎Rothko‬? Check out our @TateShop custom prints http://ow.ly/HYodW




















MoMA The Museum of Modern Art


On the final night of Hanukkah, wishing you peace and blessings.http://bit.ly/1wEeYNB


[Mark Rothko. "No. 10." 1950]




















(Alfredo Aldai/epa/Corbis)
(Alfredo Aldai/epa/Corbis)



What does a Rothko sound like?
By Robert Cottrell
From The Browser







*****It has been a deliberately slow, painstaking process, but 18 months after Mark Rothko's Black on Maroon was vandalised with quick drying and theoretically indelible graffiti ink Tate Modern has revealed the successful results of one of its most difficult restoration projects
Team of experts took 18 months to remove ink on vandalised works and restore 1958 canvas Black on Maroon
The Guardian|由 Mark Brown 上傳

 此節目引用引多 Rothko 自己的情境說法. 很好.
還提及著名的紐約Seagram大樓內的2.5百萬美元之"壁畫"受米開蘭基羅的影響
 Rothko最佩服 林布蘭和Turner.....
 2006  The Power of Art - Rothko
http://www.youtube.com/watch?v=pUMqFaP1wcg
 Simon Schama's J.M.W. Turner / Turner began his ca...

2005/12/31之作

失根記。場所的光華。 《羅斯科傳》
James Breslin 著《羅斯科傳》張心龍 冷步梅 合譯,台北:遠流出版社,1997
James Breslin, Mark Rothko, A Biography (Chicago: University of Chicago Press,
1993),
中文本計 608頁。如果翻譯加注(無,不過,它附原文,方便自己動手查),可能要再加 50頁。有人名和其主要作品之索引,更方便的是Amazon 網站可以全文索引,譬如說,中文索引不收的Barnes (費城外著名的美術藏品基金會;姓)等等。遠流出版社網站有些資料如目錄、「精彩內容」等等。

原書或許是版權關係,重要作品「斯格蘭大廈的壁畫」之圖,並沒將之收入 不過這在網路上可以找到。本書(中文)未標作品尺寸。
由於可能討論的主題相當多,我舉些方便的例子。
 
我認為引 Simone Weil之言:To be rooted is perhaps the most important and least recognized need of the human soul.
或許可以說明我將他一生點明為:(一生為)失根記。(創作增進)場所的光華。
超越也者,移植也者,異世界之闡釋: Rothko 喜歡前置詞 trans- 的字眼:transcend(這字本書用得相當多) translate transplant 等等( p.23, Dore Ashton noticed Rothko's fondness for words that have the prefix "trans," words like "transcend," or "translate," or "transplant."66 In Latin, the preposition "trans" means "across, to or on the farther side of, beyond, over." The English prefix suggests ..."

我認為將 a place 翻譯成「空間」不好。
"... projects he began to produce in 1958, Rothko could fill the walls of a room with such works, he would transplant himself (and others) into an environment where he did feel at home. "I have made a place." "
作品前我們面對的是孤絕、空虛、失落。 ……用作品來填滿房間的牆壁。
把自己和別人移值到他覺得舒適的環境。「我製造一空間」。
wall of light 似非"牆面上的光 "
Since by the end of the decade Rothko would be creating what have aptly been called "walls of light" whose declared purpose was the embodiment of tragic emotion, those remarks are very significant. ( p.359 13)
(13.) This expression was coined by Hubert Crehan in "Rothko's Wall of Light: Exhibition at Art Institute of Chicago," Arts Digest, Nov. 1, 1954, p. 19.

*****
「休斯頓教堂」一章,現在多稱為「羅斯科小教堂」( The Rothho Chapel)。
作者十幾年前去參觀之描述:
"... you to a foyer, with a desk along the opposite wall, where you can buy postcards, slides, copies of Susan Barnes's The Rothho Chapel, An Act of Faith, or, on the way out, you can inscribe your thoughts about the chapel ..."

比較有趣的提到 The Rothho Chapel, An Act of Faith這本書。

An Act of Faith 是西方的專名,值得有心的人沉思。
(faith:喩(1)信德;信仰;信條;信理;信奉:指人答覆天主愛的邀請,讓祂作心中的主人,並願意按照祂的旨意行事;拉丁文為 fides;是天主所賜三超德之一,其它二德是望德 hope、愛德 charity。(2)信心;信任。
faith, act of:(1)信心行為;啟發信德。(2)信德頌:習用祈禱文之一。)


act of faith
Behavior that shows or tests a person's religious or other convictions, as in Rock climbing with a new, inexperienced partner was a real act of faith. The term is a translation of the Portuguese auto da fé, which referred to the sentencing and execution of heretics (often by burning at the stake) during the Inquisition, when punishing heresy was thought to constitute an assertion of faith. In modern times it is used for more benign circumstances. [Early 1700s]

au·to-da-fé n., pl. au·tos-da-fé
Public announcement of the sentences imposed by the Inquisition. /The public execution of those sentences by secular authorities, especially by burning at the stake.
[Portuguese auto da fé : auto, act + da, of the + fé, faith.]


其他還有書名 False Security p.188 )是雙關語,我們可以了解美國在1920-30年代在證券市場和消費者研究等都很澎拜。

其他還有許多地名,如,『聖經中的犧牲以撒處』、紐約的 Horn & Hardartis a company that came to prominence as the proprietors of the first automat in New York City. Au·to·mat 1903 A trademark used for automated restaurant services in which food is dispensed from vending machines. )等等 都可以更深入了解。

2015年8月30日 星期日

Why the ‘Barcelona’ Pavilion is a modernist classic (Jonathan Glancey )

Design Icons

Why the ‘Barcelona’ Pavilion is a modernist classic



HIDE CAPTION
National pride
The German Pavilion was commissioned to represent Germany at the 1929 International Exhibition in Barcelona. (Corbis)
Mies van der Rohe’s German Pavilion in Barcelona is one of the most influential modernist buildings of the 20th Century, argues Jonathan Glancey.

For more than half a century, the ‘Barcelona Pavilion’ haunted the imagination of modern architects worldwide. Here was one of the most enticing, beautiful and refined buildings of all time, and yet it had stood for no more than a few months before it was pulled down. All that was left, from 1930, of this exquisite structure by the great German architect Ludwig Mies van der Rohe (1886-1969) were drawings and photographs.
Even then, these were enough to inspire imperfect lookalike designs over several decades in the guise of new houses and art galleries. The reason this beautiful pavilion with its geometric arrangement of shimmering glass and marble planes – its slimline roof supported by eight of the slenderest chromed-steel columns– had been so short lived was that it had been nothing more, if nothing less, than a temporary exhibition space.
Set high on Montjuic, a hill overlooking the harbour of Barcelona, the pavilion was visited by hundreds of thousands of people. It was commissioned by the Weimar Republic; and its job was to advertise a new, progressive, democratic and modern Germany, a decade on from the Treaty of Versailles and the carnage of World War I. And, yet, this vision of the future was no starkly functional ‘machine for living’. No: the German Pavilion, to give Mies’s 1929 triumph its proper name, was realised in rich and stunning materials: four shades of tinted glass, along with marble, onyx, chromed steel and travertine.


travertine

 
音節
trav • er • tine
発音
trǽvərtìːn
[名][U]温泉沈殿物:石灰華の一種でイタリアでは建材.

onyx


 
音節
on • yx
発音
ɑ'niks | ɔ'n-
onyxの変化形
onyxes (複数形)
[名]
1 [U][C]《宝石》縞瑪瑙(しまめのう), オニキス.
2 [U]黒色.
━━[形]黒い, 漆黒の.

Out of this world
Set on a travertine plinth, its gleaming, offset walls created subtle spatial illusions enhanced by sunlight, and moonlight, shimmering and sparkling from both the rich building materials and from the rectangular pool that permeated the structure. Walking through the pavilion, with reflections of sun-dappled water playing on the underside of the roof, and breezes wafting through open walls, it was hard to tell interior from exterior. It was built quickly, as you expect of an exhibition stand, and yet the quality of the materials Mies chose meant that the German Pavilion looked as if it would last for decades rather than months. The roof – a thin plane of concrete render over steel – appeared to float over the structure, creating the extraordinary effect of a building that was at once substantial and ethereal.
This dreamlike sensation was reinforced by the fact that there was nothing to see inside beyond the architecture itself, save for a single sculpture of a female nude - Alba, or Dawn, by the German artist George Kolbe - and the architect’s new leather and chrome steel Barcelona chairs. While other nations worked hard to show what they were made of through rich and eclectic displays of art and design, Weimar Germany chose to represent itself through this minimalist and ethereal pavilion alone.

Master builder
Mies went on to great heights. Alongside Le Corbusier, Frank Lloyd Wright and Alvar Aalto, he has long been considered one of the masters of 20th Century Modern architecture. Germany, however, was under Nazi rule within just three years of the closure of the 1929 Barcelona Expo. Despite trying to win commissions, Mies was considered anathema by the new regime. The last principal of the Bauhaus – closed, under government pressure, in 1933 – he went to the Institute of Technology (ITT), Chicago, four years later, where he created a school of thought and design. A US citizen from 1944, he produced such magnificent buildings as the seemingly timeless bronze-clad Seagram Tower (1958) on New York’s Park Avenue. His cool, rational architecture – “less is more” he said, famously – was adopted by young modern architects worldwide, initially perhaps for the better, but as the quality dropped with quantity, for the worse. Less had become a bore.
The memory of the Barcelona Pavilion, however, lived on. It had demonstrated how beautiful and lyrical modern architecture could be. And, as modernism came increasingly under attack in the 1970s and 80s – accused of ugliness and even brutality – the aesthetic and cultural value of the pavilion only grew. In 1983, the Fundacio Mies van der Rohe was set up in Barcelona with the aim of recreating the legendary pavilion. Compelling, captivating and utterly enchanting, the replica opened in 1986. And, partly as a result, there was indeed a revival of purist modernism in Europe and the United States in the late Eighties and through the following decade.
Nothing, though - no prince, no planning authority, no public inquiry – could ever deny the beauty of, nor dent the reputation of the Barcelona Pavilion. Today, the perfect replica is open to the public everyday, a design as exquisite in its own modern way as a Greek temple, and so very happily sited in what – certainly in terms of architecture, design and urban planning – is, by common consent, one of the world’s greatest cities.
If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter.


例如首發的包浩斯經典椅──《巴塞隆納椅》(Barcelona Chair),此椅的設計精髓不瞞你說其實就在於椅腳,但此椅究竟是O型腿、X型腿、還是M字腿呢?還有還有,《巴塞隆納椅》身為包浩斯家具的代表作,但設計師密斯凡德羅其實在製造過程中嚴重犯了包浩斯設計的大忌!究竟設計師犯了什麼錯誤?而《巴塞隆納椅》又有哪3個設計亮點?椅子控們快跟著小編一起來破解《巴塞隆納椅》的設計重點吧!http://goo.gl/cEYvHm

2020 東京奧運:字體設計全公開

[新聞] 2020 東京奧運:字體設計全公開
七月底,2020 東京奧運正式宣佈採用佐野研二郎設計的商標,消息發佈後,被兩名歐洲設計師指控抄襲,不排除提告。八月初,佐野召開記者會分享設計理念和過程,表示雖然是使用類似的元素設計商標,但背後的考量和理念完全不同,並公佈這套商標演化出的全套原創英文字體,除了 26 個字母外,還有數字和標點符號,設計完整且具延展性。先撇開設計指控的後續發展,佐野的設計理念獲得不少的肯定。Logo 上的紅點延續自亀倉雄策為 1964 年東京奧運設計海報中的太陽元素,也代表運動員強烈跳動的心臟;之所以選擇 T 字結構為 Logo 的形體,則是融合東京(Tokyo)、團隊(Team)和未來(Tomorrow)的意涵,傳遞出 2020 東京奧運將能展現出團結一心的樂趣,迎向更光明的未來:http://www.biosmonthly.com/contactd.php?id=6379

「柒先生(Julien Malland Seth)




獨/巡迴世界藝術家「柒先生」 將赴台與偏鄉學童作畫
全世界知名的法籍街頭藝術家「柒先生(Julien Malland Seth)」即將來台!由《ETtoday東森新聞雲》獨家掌握到柒先生,八月將與台灣在地藝術家合作,在花蓮、台東及新竹三座小學進行彩繪,..


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TRAVEL.ETTODAY.NET · 10,626 次分享 ·2015年7月27日




藝術家柒先生 繪萬安國小新亮點 | 台灣百寶鄉 | 地方 | 聯合新聞網
全球知名的法籍街頭藝術家「柒先生(Julien Malland Seth)」今年響應「為愛上色」計畫,為台灣3所偏鄉小學彩繪,其中台東縣池上鄉萬安國小振興分校已完成,在當地掀起一陣轟動。分校主任邱強義說,連台北的粉絲都來朝聖。


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UDN.COM 聯合新聞網 · 7,336 次分享 ·2015年8月25日





2015年8月29日 星期六

爭議:Why Brutalist buildings frighten us


They are often described as ‘concrete monstrosities’ – why are people so scared of them?

Sex, death and Rodin: aged 66,The Cambodians...THE ETERNAL IDOL


"Damn braces us, wrote William Blake. Hell is energy, and energy is eternal delight. This world of sex and death is, for Auguste Rodin, simply the human condition"

Rodin’s long-lost statue of a man locked in a fight with a serpent is an orgy...
THEGUARDIAN.COM|由 JONATHAN JONES 上傳






[ARTWORK OF THE WEEK] Rodin, aged 66, attended a performance given in the Pré-Catelan, Paris, by a troupe of Cambodian dancers, who had accompanied King Sisowath of Cambodia on his official visit to France: “There is an extraordinary beauty, a perfect beauty, about these slow, monotonous dances, which follow the pulsating rhythm of the music… [The Cambodians] have taught me movements I had never come across anywhere before…”
Learn more : http://ow.ly/NegD4



http://www.musee-rodin.fr/en/collections/sculptures/eternal-idol

AUGUSTE RODIN (1840 -1917)

THE ETERNAL IDOL

Circa 1890-1893
Plaster
H. 73.2 cm ; W. 59.2 cm ; D. 41.1 cm
S.1044
Like so many others, the two figures of this group came from The Gates of Hell. Circa 1890, Rodin combined them to form a new independent work, which must have been an instant success, since a bronze was cast in 1891 and an enlargement, carved in marble,was commissioned in 1893 by Rodin’s friend, the painter Eugène Carrière. The plaster shown here is a cast of this marble, made at Rodin’s request because he liked to keep track of his works in this way – or possibly because he wanted to rework the group in other versions.

The title, The Eternal Idol, is very much in the Symbolist vein explored by Rodin at this time. For him, however, the form was always more important than the subject, and poetic titles like these were only given after the work was completed, sometimes in the course of discussions with writer friends.
- See more at: http://www.musee-rodin.fr/en/collections/sculptures/eternal-idol#sthash.PXrgMj7m.dpuf


Jan Steen


Image: Jan Steen, The Dancing Couple, 1663, oil on canvas, National Gallery of Art, Washington, Widener Collection





National Gallery
Jan Steen is best known for his witty scenes of domestic life, such as 'The Effects of Intemperance': http://bit.ly/1CrQC9F
The child throwing roses to the pig illustrates a popular saying about foolish behaviour ('To throw roses before swine'). You can see the picture in Room 22, which focuses on 17th century Dutch painting.


As in many of Jan Steen's paintings, the coarse subject of 'The Effects of Intemperance' is in sharp contrast to the refined rendering of the various textures of the objects on the floor and the shimmering fabrics: http://bit.ly/1K0Zn36

2015年8月28日 星期五

Modern Man: The Life of Le Corbusier, Architect of Tomorrow. By Anthony Flint. Le Corbusier, Pavillon de l’Esprit Nouveau, Paris, 1925


Le Corbusier (and his ego) changed the way people thought about architecture. He died 50 years ago today http://econ.st/1PAq3Wl
Modern Man: The Life of Le Corbusier, Architect of Tomorrow. By Anthony Flint. New Harvest; 256 pages; $25. Buy from Amazon.com FEW doubt that Charles-Edouard...
ECON.ST






[Focus] A l'exposition internationale des arts décoratifs de 1925, Le Corbusier présente le pavillon de l’Esprit Nouveau, prototype d'un "immeuble-villa" destiné à s'insérer dans un ensemble urbain à taille humaine.
Visitez l'exposition pour en savoir plus :https://www.centrepompidou.fr/id/coy8gny/roy7xge/fr
Le Corbusier, Pierre Jeanneret, Pavillon de l’Esprit Nouveau, Paris, 1925 © FLC, ADAGP, Paris 2015


Pavillon de l`Esprit Nouveau (Paris/1925)

於1927年定居於巴黎之後,他邂逅了對其有決定性影響的立體派。企圖以立體派的觀點對其創造思維的定位,Le Corbusier 仍以發 L ’Esprit Nouveau 的文章發展出一套審美理論。在這些文章中, 後來集結成書,以 Vers une archirecture 之名發表於1923年,隨後以L'Art décoratif d'aujourd'hui (The Decorative Arts of Today)。勒.柯比意的Urbanisme (Urbanism)發表於 1925年,為其建築意念作最精闢的報告。

2015年8月27日 星期四

Man Ray

Man Ray - Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Man_Ray
Man Ray (born Emmanuel Radnitzky, August 27, 1890 – November 18, 1976) was an American visual artist who spent most of his career in France. He was a ...

Man Ray (Emmanuel Radnitzky) | MoMA

www.moma.org/collection/artists/3716
Man Ray (Emmanuel Radnitzky). Gioco di Scacchi Chess Set. 1971 · Man Ray (Emmanuel Radnitzky). Chess Set. 1920-26. Man Ray (Emmanuel Radnitzky).

Man Ray Trust - Offical Site

www.manraytrust.com/
Official trust established by Juliet Man Ray the wife of Man Ray.

Man Ray was born Emmanuel Radnitzky on this day in 1890.http://bit.ly/1Jm4hlp
[Man Ray (Emmanuel Radnitzky). "Untitled." 1931. The Museum of Modern Art, New York. © 2015 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris]



Solomon R. Guggenheim Museum
In 1935, Marcel Duchamp published "Rotoreliefs," a set of 6 double sided discs meant to be spun on a turntable at 40–60 rpm. Duchamp and Man Ray filmed early versions of the spinning discs for the short film "Anémic Cinéma" http://gu.gg/QbCH8


Solomon R. Guggenheim Museum 的相片。