2017年4月25日 星期二

Jim Dine


Jim Dine is an American pop artist. He is sometimes considered to be a part of the Neo-Dada movement. Wikipedia
BornJune 16, 1935 (age 81 years), Cincinnati, Ohio, United States


‘I knew I was an artist, I was always going to be an artist.’
Hear from Jim Dine on his process and constant innovation. Many of his works feature in our #AmericanDream exhibition, charting US art from the 1960s to today. Find out more: http://ow.ly/Rh8D30b9xuZ

Jim Dine’s willingness to experiment with a range of techniques has marked him out as a truly individual artist – his current work is as innovative as ever
APOLLO-MAGAZINE.COM

New York City’s Museum of Trash; The Drive-Thru Museum



Tucked away on the second floor of an East Harlem garage, the Treasures in the Trash Museum features items saved from the landfill over three decades by Nelson Molina.  Read More →
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It is a drive-thru, but not the usual kind. It’s billed as the world’s first drive-thru art and antique gallery.

A wealth of local folk art, unusual collections, antiques and curios, without ever leaving your car.
ATLASOBSCURA.COM

2017年4月24日 星期一

納豆劇場 Nadou Theatre: 布袋戲歌唱劇《水手》台原偶戲團


有些動作快的團隊已經眼明手快的來登記免費攝影時段了。
是的,免費的攝影時段!!!
 
需要你付出的只有拍攝創意,讓納豆來提供你美美的大平台。
 
我們提供場地,提供場燈、舒適的換裝空間,劇場內找得到可以當道具的也歡迎借用,如果你需要音樂塑造拍攝情境,劇場的音響喇叭音質也是妥妥的。
你可以好好利用納豆劇場原有的空間氛圍,當然你也可以自備白背版把他當做攝影棚使用:)
 
這麼好的大平台,你還不來嗎?





台原偶戲團 02-2556-8909
法國女高音x台灣布袋戲-布袋戲歌唱劇《水手》
last ones:周4~周日
 納豆劇場 (台北市大同區西寧北路79號)


法國女高音x台灣布袋戲 
布袋戲歌唱劇《水手》



法國女高音與台灣布袋戲的邂逅,東西方傳統經典的革新合作, 
共譜跨越國界,關於愛情、友誼、別離與重逢的故事


荷蘭漢學博士╱偶戲專家 羅斌 編導 
法國女高音 羅安娜 Anne Rodier 
國樂唱作琴人 張士能 
布袋戲青年偶師 郭建甫 
義大利偶師 馬士儒 

故事大綱 
以19世紀中法戰爭為背景,新婚的法國水手,因戰爭不得已離開新婚妻子,前往從不曾去過的亞洲。水手所搭乘的船在途中遭遇颱風沉沒,落海的水手大難不死,漂流至基隆岸邊被台灣人救起。在台灣,水手與當地人交遊、逛廟會、品小吃,直至戰爭無情的觸角侵入這塊樸實的土地。為避免在戰場上與朋友對峙,水手暗地保護著自己台灣的友人,最終卻為流彈所傷,生死未卜。 
在法國老家,年輕婦人收到丈夫在戰亂中失蹤,可能已經陣亡的通知信,傷心欲絕的婦人,去到與丈夫離別的港邊,娓娓唱起那首彼此初戀的情歌…… 

歌曲 
Jean-Jacques Rousseau 1712-1778 « Que le jour me dure! » 
Charles-Philippe Lafont 1781-1839 «Le départ du jeune marin » 
Jean-Baptiste Lully 1632-1687 « Le héros que j’attends » 
Etienne-Nicolas Méhul 1763-1817 « Le Chant du Départ » 
Giulio Romolo Caccini 1551 –1618 « Ave Maria » 
« Tourdion » (17世紀法國飲酒歌) 

法國女高音 羅安娜Anne Rodier 
羅安娜出生於法國貝濟耶(Béziers),蒙特利埃音樂學院畢業後,師事E. Saurova,1999年加入Joelle Vautier的音樂劇大師班。2012年首度受邀來台演出,與知名指揮家Y. Paget及台北市立交響樂團合作的《法蘭斯香頌》,獲得觀眾熱烈回響。擁有獨具一格、溫暖的聲線以及音樂廣達三個八度的天賦,讓羅安娜的演唱領域悠遊於歌劇、法國及德國藝術歌曲,為樂壇當前炙手可熱的女高音。曾獲皮卡第歐洲大賽等首獎、歌唱大師比賽卓越貝郎獎、克萊蒙費朗國際歌唱比賽獲頒馬迪‧梅絲普蕾法文藝術歌曲獎(Mady Mesplé Award-Grand Prix de Mélodie Française)等。 

台原偶戲團 
台原偶戲團成立於2000年,演出戲碼橫跨傳統與現代戲劇領域,演出場域更從台灣出發,遍及全球四十多個國家。台原偶戲團擅長以現代劇場調度融合各種形式的偶戲,並加入演員、原創音樂、多媒體等元素,另闢嶄新和有創意的路,延續和增進傳統偶戲藝術之美。創團以來持續與歐、美、亞精英劇團與演員合作交流,創作出高水準的劇場作品。

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圖像裡可能有房屋和戶外

Jean-Baptiste Carpeaux, a French Artist of Multiple Passions

Jean-Baptiste Carpeaux - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Jean-Baptiste_Carpeaux
Jean-Baptiste Carpeaux (11 May 1827 – 12 October 1875) was a French sculptor and painter during the Second Empire under Napoleon III.

The Passions of Jean-Baptiste Carpeaux - The Metropolitan ...

www.metmuseum.org › HomeExhibitions
Carpeaux, Jean-Baptiste Carpeaux, Ugolino, passions.



Musée d'Orsay (officiel) 新增了 4 張相片。
11小時 · 
En 1863, l'architecte Charles Garnier fait appel à Carpeaux pour l'un des goupes de trois personnages devant rythmer la façade du futur nouvel opéra de Paris. Carpeaux ne respecte pas le programme puisqu'il imagine un groupe, "La Danse", avec de neuf figures au lieu des trois prévues. Mais Garnier accepte la proposition ne voulant pas priver "la France d'un morceau qui sera certes un chef-d'œuvre".
Lorsque la sculpture est dévoilée au public en 1869, elle choque les plus conservateurs. Un critique écrit : "Des femmes, excitées par le Génie de la danse, mènent une ronde entraînante […]. Voilà, dans toute son horreur, en quoi consiste l'obscénité de ce groupe". Une nuit, un inconnu lance une bouteille d'encre noire sur l'œuvre, et face au scandale l'empereur Napoléon III décide l'enlèvement du groupe. Mais la guerre de 1870 éclate et "La Danse" reste en place. Elle sera bien retirée en 1964, mais pour la protéger des attaques du temps et être remplacée par une copie exécutée par Paul Belmondo. L'original est aujourd'hui conservé au musée d'Orsay.
Exposition Carpeaux, jusqu'au 28 septembre au musée d'Orsay (http://bit.ly/1pvaeDH)
In 1863, the architect Charles Garnier entrusted Carpeaux with the realisation of one of three groups of three figures each destined to punctuate the façade of the new Paris Opera House. Carpeaux took liberties with the programme as he imagined a group, "Dance", with nine figures instead of three. Yet Garnier accepted the idea, unwilling to "deprive France of a piece that will certainly be a masterpiece".
When the sculpture was unveiled in 1869, it was deemed shocking by conservative spectators. An art critic wrote: "Women, excited by the Genius of Dance, are leading a rousing round (…). Here is, revealed in all its horror, what the obscenity of this group consists in." One night, an unknown hand threw a bottle of black ink on the sculpture, and facing the scandal Napoleon III decided the removal of the group. But then the 1870 war started and the "Dance" remained in place. It was finally removed from the Opera House in 1964, but with the purpose of protecting it from the attacks of the weather, and it was replaced by a copy executed by Paul Belmondo; the original is now in the Musée d'Orsay.
Carpeaux exhibition, until September 28 at the Musée d'Orsay (http://bit.ly/1nx7If1)






Musée d'Orsay (officiel) 新增了 3 張相片。
3小時 · 
Du croquis à l'oeuvre : "Flore", décor pour la façade du musée du Louvre (1866).
Exposition Carpeaux, jusqu'au 28 septembre au musée d'Orsay (http://bit.ly/1pvaeDH)
From the sketch to the Artwork. "Flore", sculpture for the Louvre.
Carpeaux exhibition, until September 28 at the Musée d'Orsay (http://bit.ly/1nx7If1)





Tortured Soul, Golden Touch

Jean-Baptiste Carpeaux, a French Artist of Multiple Passions







Continue reading the main story Slide Show

Jean-Baptiste Carpeaux (French, 1827–1875) | Ugolino and His Sons | 1865–67
View slide show|10 Photos 

Note the savvy come-hither title of “The Passions of Jean-Baptiste Carpeaux,” the Metropolitan Museum of Art’s latest, unusually swashbuckling foray into 19th-century French art. What better way to attract attention to a sculptor prominent in his own time but not widely known in ours than to promise not just one but multiple passions? And what better way to make this artist memorable than to deliver on almost every front?
“The Passions of Jean-Baptiste Carpeaux” is an exciting full-service exhibition, all the more so because Carpeaux was to some degree a virtuoso in every material or medium he touched: a sharply observant draftsman who was also adept with oil on canvas, and whose paintings are among the show’s surprises. Adding to his luster, he was one of the last artists of the last royal court of France, the Second Empire of Napoleon III, established by coup in 1851 and abandoned in 1870 amid the debacle of the Franco-Prussian War. In between, the emperor had Baron Haussmann redesign Paris, which generated ample job opportunities for architects and artists alike. Among other things, Carpeaux would create “The Dance,” a large and exuberant sculptural group for the facade of the city’s new opera house, designed by his friend Charles Garnier. At the same time, Carpeaux was also incipiently modern, a crucial influence on Rodin and his generation of French sculptors.






Photo

The Passions of Jean-Baptiste Carpeaux Ugolino in the sculpture “Ugolino and His Sons,” at the Metropolitan Museum of Art. Credit Suzanne DeChillo/The New York Times

“Carpeaux” is the first retrospective devoted to the artist in nearly 40 years. It has been organized by James David Draper, curator of the Met’s department of European sculpture and decorative arts, and Edouard Papet, chief curator of sculpture, at the Musée d’Orsay, in Paris, where it will be seen this summer.
Over the course of nine galleries and 150 works, their effort weaves together art, biography and history into a rich, illuminating narrative. It spans art as tradition and innovation, as private sketch and public monument, revealing a versatile sensibility fueled by alternating currents of Romanticism and Realism, not to mention a passion for Michelangelo. It manifests history as politics, court life, defeat and exile, as might be expected from the work of a Second Empire art star whose most popular sculpture was an enchanting full-length portrait of the heir to the throne, portrayed, perhaps for the first time in French sculpture, in everyday dress. And biographically, it encompasses a volatile mix of raw talent and rawer ambition, incessant work, grasping parents, a tormented marriage, economic struggle, debilitating illness and some Othello-like paranoia.
This show makes the realities of being an artist unusually tangible. Its range of materials and scales clarifies the stages of sculptural production from deftly improvised terra-cotta or plaster studies to full-size models, to bronze or marble versions. The small bravura studies are among the most engaging (and modern) works in the show. They include sketches for mythological and religious pieces, notably a gripping little Entombment of Christ and others based on contemporary life. Don’t miss the terra-cotta sketch of the young woman looking over her shoulder to glimpse the back of her first long gown.

The catalog can teach you much about the economic ups and downs of a sculptor who lived exclusively from commissions and the sale of replicas of his best-known works, like the portrait of Napoleon III’s heir, the Prince Imperial. Its lengthy chronology is a litany of advances, payments and loans of sums small and large; of projects that barely broke even and desperate auctions of work; of commissions won, postponed and canceled or finally completed.
Perhaps most startling of all, is that Carpeaux’s prolific output was cut short by the age of 48, when, partly blinded by marble dust, he died of bladder cancer.
The son of a mason and a lace maker, Carpeaux came from nowhere, but his gifts emerged early. His father managed to enroll him at the age of 10 in the famous Petite École of Paris, where he learned the rudiments of drawing, architecture and stonecutting. In 1844, he won entry to the École des Beaux-Arts and spent most of the next decade repeatedly attempting to win the Prix de Rome in sculpture.
He finally won in 1854 with the assured if rather routinely neo-Classical sculpture of Hector holding his infant son that greets you in the first gallery of the exhibition. (Carpeaux was also capable of cloying neo-Classicism as exemplified by his 1861-62 marble “Boy With a Seashell,” nearby.)
Over the next eight or so years, Carpeaux was back and forth between Paris and Rome, soaking in the art of his idol Michelangelo, and tangling with officials about the subject of his first major sculpture. It was supposed to be a single figure, but Carpeaux insisted on doing a five-figure scene depicting Dante’s Ugolino from the “Inferno,” a tyrant whose eternal punishment was to be imprisoned with his four sons and face the agony of either starvation or cannibalism.
This immense marble dominates the exhibition’s second gallery, accompanied by drawn and sculpted studies. Acquired by the Met in 1967, “Ugolino and His Sons” is a study in physical and psychological anguish, from the contorted, finger-gnawing mouth to the painfully clenched toes that owes much to Michelangelo’s monumental “Moses” and in turn influenced Rodin’s “Thinker.” It is quite impressive, although Ugolino looks a bit too much like Vincent Price to be completely convincing.
Fortunately, real people outnumber mythic characters. The next gallery includes a portrait of Napoleon III finished days after he died in exile in England, and two of Princess Mathilde, a cousin of the emperor known for her literary salon. One is formal, in marble with a wonderfully detailed gown, fur wrap, jewelry and snood, the other is intimate and more modest in bronze-tinted plaster. Both convey a sense of realism at once exacting and sympathetic.
In contrast, several Carpeaux paintings of court balls attest to both his infatuation with royal pomp and an extremely loose style. It might be called his own private Impressionism, but also foretells the rather slippery brushwork of society portraitists like Giovanni Boldini, and 20th-century magazine illustration.
The next gallery is devoted to public commissions, including a wonderful plaster study of “The Dance.” It is followed by a specially meaty display of portrait busts, including such creative types as Garnier, the artist Jean-Léon Gérôme, the writer Alexandre Dumas fils and the composer Charles Gounod, seen in a bust whose full beard, expression and tilt of head presage the imperious stance of Rodin’s “Balzac” in the Museum of Modern Art.
There are equally penetrating portraits of what Mr. Papet calls “the enlightened bourgeoisie,” like the philanthropist Pierre-Alfred Chardon-Lagache and Madame Pelouze, a political mover and shaker unafraid to have her facial hair portrayed. In these instances, Carpeaux records faces and implies personalities that are interesting in and of themselves.
Remaining highlights include Carpeaux’s study for the head of Watteau (reimagined as a handsome, carefree youth with a mane of long hair), a sampling of his religious works and a group of small self-portrait paintings and drawings that convey both his vanity and his suffering. A nearly illegible sweep of grisaille full of Henry Fuseli-like foreboding recounts the birth of Carpeaux’s first child, and four treatments of shipwrecks seem apt, given the rockiness of his health, finances and marriage during his final years.
Most tumultuous of all is a large roiling painting depicting an assassination attempt on Czar Alexander II among the crowds on the Bois de Boulogne during a visit to Paris. Mr. Draper of the Met suggests that Carpeaux could have been a history painter on the order of Gericault or Delacroix. I don’t concur, but it is a preternaturally strange picture, and it clarifies a thought that nags throughout this remarkable show, which is that Carpeaux had more genius than taste.

2017年4月23日 星期日

Georgia O’Keeffe (American, 1887–1986)


Calvin Tompkins recalls kitchen mishaps and conversation at Ghost Ranch with the legendary painter.


Remembering a long-ago meal at the New Mexico home of the celebrated artist.
NEWYORKER.COM


BBC Culture
She's famous for her flower close-ups, but it’s Georgia O’Keeffe’s paintings of the US landscape that reveal the most about her.

Holly Williams pays the artist’s studio a visit to find out why.
BBC.COM|由 HOLLY WILLIAMS 上傳

Georgia O’Keeffe was born on this day in 1887. Throughout her career, O’Keeffe remained independent from shifting art trends and stayed true to her own vision, which was based on finding the essential, abstract forms in nature.

In this view of a mission church in Ranchos de Taos, O’Keeffe depicts the…
METMUSEUM.ORG





Georgia O'Keeffe is an American legend. An inventive, lyrical modernist, her uninhibited use of vibrant colour and startling forms gave American art a powerful shot in the arm. O'Keeffe was born on this day in 1887


Georgia O'Keeffe was born on November 15th 1887
ECON.ST




Tate

"I seemed to be hunting for something of myself out there".

Travel through Georgia O'Keeffe's work, in her own words:http://ow.ly/riCq302vCwe



My Faraway Nearby | Tate


Tate Etc. presents a chronological survey of O'Keeffe's extraordinary paintings accompanied by reflections, in the artist’s own words.

TATE.ORG.UK



Georgia O'Keeffe - Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Georgia_O'Keeffe




Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American artist. Born near Sun Prairie, Wisconsin, O'Keeffe first came to the attention of ...

More than flowers: Trailblazing artist Georgia O'Keeffe celebrated in London

CNN‎ - 1 day ago (CNN) American artist Georgia O'Keeffe may be best remembered for her close-up paintings ...



BBC Culture


Famous for her flower close-ups, it’s Georgia O'Keefe's paintings of the US landscape that reveal the most about her.






The painter who captured America
Holly Williams pays the artist’s studio a visit to find out why.
BBC.COM|由 HOLLY WILLIAMS 上傳


破除迷思,忠於藝術家的本意——倫敦泰德現代美術館歐姬芙回顧展

藝術家雜誌社·2016年10月5日
撰文/吳礽喻


 歐姬芙(Georgia O’Keeffe)一直以來對評論家將她的花朵繪畫比做女性子宮或生殖器,或是她的丈夫史提葛立茲(Alfred Stieglitz)以心理分析的方式來闡述、推銷她的作品感到不滿,她勇於創新的性格與藝術創作的多元面相,成為泰德美術館今夏大展的焦點——包含了從1910至1960年代,她的創作能量最為豐沛時的作品,重新審視這位美國現代主義繪畫關鍵人物,在一生中精采的際遇、創作風格與歷史影響力。

歐姬芙 東方罌粟 1927 油彩畫布 76.2×101.6cm 明尼亞波利斯明尼蘇達大學魏斯曼美術館藏©2016 Georgia O'Keeffe Museum/DACS, London
關於歐姬芙的十三個主題
 喬琪.歐姬芙是美國歷史中,現代主義的代表人物之一,出生於美國中北部威斯康辛州,父母為愛爾蘭與德國/匈牙利裔移民,她十二歲時就決心成為一位藝術家,在德州、紐約、新墨西哥等地旅行、生活,創作生涯長達七十年。現今泰德美術館就歐姬芙辭世卅週年、距歐姬芙首次在史提葛立茲的291畫廊展出一百年整,將作品依年代及類型劃分為十三個主題展出。
 一進入泰德現代美術館的三樓畫廊,映入眼簾的第一個主題為「起步與291畫廊」,從早期作品即可見歐姬芙在抽象構圖與色彩表現的才能,她說過:「在我的腦海裡總是出現一些從沒人教過我、貼近我的圖案與想法……我決定重新開始,脫離過去所學的……最先開始是用碳筆和紙,不用任何色彩,直到畫到不可能再用黑白實踐我的想法為止。」求學時期的同窗好友安妮塔.波利士(Anita Pollitzer)將她的作品偷偷寄給史提葛立茲,得到的回應是一句驚呼「終於有了一位女性藝術家」,1916年,史提葛立茲安排歐姬芙首次在291畫廊展出。

歐姬芙 音樂——粉紅與藍第一號 1918 油彩畫布 88.9×73.7cm Barney A. Ebsworth藏©2016 Georgia O'Keeffe Museum/DACS, London
 第二個主題「抽象與感官」進入了1930年代,歐姬芙運用色彩的語言,探索音樂與聲響有沒有可能用色彩表現,或是如何用繪畫與色彩捕捉其他感官知覺,像是觸覺、聽覺與嗅覺?描繪花朵時,歐姬芙的原意是希望現代的紐約客能夠不再成日庸庸碌碌,可以有停下來欣賞一朵花的時間。但有爭議才有賣點,人們驚豔花朵特寫像是女性性器官,代表性解放也好,或是用深層的心理分析來解讀女性情慾也罷,史提葛立茲鼓勵各種延伸解讀,但歐姬芙會不以為然地表示「當人們從我的畫作中看到色情的象徵,其實只是反應他們自己的情操而已」,便自顧自地將繪畫主題轉移到更抽象難解的立體派風格。
 第三展間「歐姬芙、史提葛立茲與歐姬芙、史提葛立茲與社交圈」以照片、書信文獻更深入地展示那個年代的紐約社交圈,當時的政治經濟情勢,讓文化界人士相信強勢的民族主義、現代主義思維能為美國創造出更好的未來,歐姬芙的繪畫、史提葛立茲的攝影反應了上述的特點。緊接下來四至六號展間「紐約城市景觀」、「喬治湖」、「花朵與靜物」便是兩人共同生活創作的縮影,他們住在紐約卅層樓高的摩天大樓裡、在史提葛立茲家族喬治湖畔小屋避暑,歐姬芙畫了許多紐約宏偉景觀,都是以從地面仰視建築物的角度,直到1929年經濟大蕭條粉碎了烏托邦的大都會憧憬,歐姬芙便不再為都會而畫。

歐姬芙 從遠處靠近 1937 油彩畫布 91.4×101.9cm 紐約大都會美術館藏,史提葛立茲收藏1959©2016 Georgia O'Keeffe Museum/DACS, London. Photo: Malcom Varon ©2015. Image copyright The Metropolitan Museum of Art/ Art Resource/ Scala, Florence
 「新墨西哥」、「從遙遠之地,接近:骷髏繪畫」、「鬼丘」、「黑地與白地」、「系列畫:阿比基庭院、骷髏、棉花樹」、「美國西南部」、「晚期抽象與天空景觀畫」是七到十三號展間的名字,歐姬芙在新墨西哥找到了自己的天地,先是暫住在收藏家梅薄.朵姬.露漢(Mabel Dodge Luhan)位於陶斯(Taos)的家,當地有自己的藝術社群,而特殊的自然景觀:山丘、台地、地景建築,及文化的複雜多元性:美國印地安原住民、西班牙殖民主義遺風,都令歐姬芙著迷,她常自己駕車載著畫具往返丘原牧場之間,雖然當地也有許多受到「西部牛仔」意象吸引而前去觀光的有錢人,但在歐姬芙的畫作中就是一片荒野,她會半開玩笑地說:「這是我私人的山丘,它是屬於我的。上帝告訴我,如果我畫夠了,它就會是我的了。」
封面圖版: 泰德美術館歐姬芙特展第十三展覽室「晚期抽象與天空景觀畫」現場一景。歐姬芙 雲朵上的天空 1963 油彩畫布 122×213.4cm 德州私人藏 (圖版提供:Tate Modern)


(本文節錄自【國際藝壇】,《藝術家》雜誌497期,2016年10月號)










Guardian culture


A painting of a white blossom of a weed, which once hung in George W. Bush’s dining room, has set a world record for a work of art by a woman after a bidder paid $44.4m (£28m) for the Georgia O'Keeffe piece





Georgia O’Keeffe flower painting sells for record-breaking $44.4m
Final bid for Jimson Weed/White Flower No 1 more than doubles the previous highest price paid for a work of art by a woman
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