2017年9月28日 星期四

The Self-PortraitA Cultural History By James Hall 自畫像文化史





 The Self-PortraitA Cultural History  By James Hall 自畫像文化史










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http://www.thamesandhudsonusa.com/books/the-self-portrait-a-cultural-history-hardcover
The Self-PortraitA Cultural History
James Hall




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$35.00
Details

Format: Hardcover
Pages: 288
Artwork: 120 illustrations in color and black and white
Size: 6.4 in x 9.3 in x 1.3 in
Published: April 22nd, 2014
ISBN-10: 050023910X
ISBN-13: 9780500239100
Genre: Art
E-book Available: Yes
Description


This broad cultural history of self-portraiture brilliantly maps the history of the genre, from the earliest myths of Narcissus and the Christian tradition of “bearing witness” to the prolific self-image-making of today’s contemporary artists.


Focusing on a perennially popular subject, the book tells the vivid history of works that offer insights into artists’ personal, psychological, and creative worlds. Topics include the importance of the medieval mirror craze in early self-portraiture; the confessional self-portraits of Titian and Michelangelo; the mystique of the artist’s studio, from Vermeer to Velázquez; the role of biography and geography for serial self-portraitists such as Courbet and Van Gogh; the multiple selves of modern and contemporary artists such as Cahun and Sherman; and recent developments in the era of globalization.


Comprehensive and beautifully illustrated, the book features the work of a wide range of artists including Beckmann, Caravaggio, Dürer, Gentileschi, Ghiberti, Giotto, Goya, Kahlo, Kauffman, Magritte, Mantegna, Picasso, Poussin, Raphael, Rembrandt and Van Eyck. The full range of the subject is explored, including comic and caricature self-portraits, “invented” or imaginary self-portraits, and important collections of self-portraiture such as that of the Medici.



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The Self-Portrait: a Cultural History by James Hall, review

The self-portrait invites the viewer to meet the gaze of its creator, making it the most compelling of all artistic genres

4 out of 5 stars
Every artist of every style and period has had a crack at a self-portrait at one time or another. For the artist the interest of the self-as-subject is often expedient: a model they don’t have to pay; a convenient alternative to yet another arrangement of crockery or flowers.
But for the viewer, the self-portrait opens up a potent range of possibilities: the artist is seen looking into the soul of the person they know best (one would hope), who they care about most (inevitably) and with whom they have the most perplexing relationship – themselves. Meeting their gaze, we take on their position, seated in their chair or standing at their easel; viewer becomes artist in an exchange of roles that makes this perhaps the most compelling of all artistic genres.
You’d be forgiven for thinking the self-portrait is essentially a historical phenomenon, but James Hall begins his lively cultural history with the challenging assertion that “self-portraiture has become the defining visual genre of our confessional age: the sheer volume of contemporary self-portraits defies enumeration”.
This might seem improbable, until you realise that Hall is including conceptual art in his remit – pieces such as Tracey Emin’s self-obsessed Everyone I Have Ever Slept With, a small tent with the names of her lovers appliqued onto the inside. His aim is to define the self-portrait as broadly as possible, starting in the early Middle Ages – several centuries before the “invention” of self-portraiture, generally agreed to have been around 1400 – and ending in our own time, when representational painting and sculpture have become niche activities; but the idea that the artist is their art is all-pervading.
The notion of the artist constructing themselves as a character in their own work may sound like an arch postmodern conceit, but from the late 15th century artists were manipulating their self-images, making themselves appear older or younger to suit their purposes, taking on fictional and biblical roles to heighten their brand profiles. Andrea Mantegna, the “richest and most famous artist of the time”, portrayed himself as a grim-faced Roman in his memorial bust, “his tumescent bulldog features” conveying a “visceral machismo”. Comparing himself in the accompanying inscription to Apelles, court artist of Alexander the Great, he brought the reflected glory of the Greek conqueror on himself and his patrons, the Gonzagas.
Albrecht Dürer, the first great career self-portraitist and a shameless narcissist and megalomaniac, painted himself with flowing crinkly locks in an unforgettable image that is generally considered “Christlike”, though as Hall waspishly points out, his personal grooming is far from humble: “his permed hair, plucked eyebrows, waxed handlebar moustache and trimmed beard are a tour de force of the barber’s art.”
This being a “cultural history”, these great painters take their places in a stream of personalities, many of them minor by conventional standards, such as Thomas Patch, an English landscape painter who portrayed himself as an ox, or the 16th-century proto-surrealist Giovanni Paolo Lomazzo. Literary, philosophical and social context becomes as important to Hall as the intentions of the artist, leading to intriguing insights and off-the-wall facts. Van Gogh’s paintings of the chairs he and Gauguin used are, Hall claims, surrogate portraits, informed by Renaissance ideas of dexter and sinister; Gauguin’s stoneware jug in the form of his own severed head alludes both to Vincent’s sliced-off ear and his witnessing of the guillotining of a “glamorous” multiple murderer named Prado who claimed to be the illegitimate son of Napoleon III.
Jeff Koons’s contention that “My art and my life are totally one” might almost have come from the lips of Gauguin. Koons’s Jeff and Ilona (Made in Heaven), a grotesquely kitsch, life-size, polychrome wood tableau of himself and his porn-star wife La Cicciolina in sexual congress, appears in this context as a kind of postmodern updating of Gauguin’s jug. Indeed, among many “subconscious, disguised and surrogate” contemporary self-portraits, Hall finds surprisingly direct examples of the form from the likes of Andy Warhol, Cindy Sherman and Gilbert & George. In the Japanese artist Tatsumi Orimoto’s touching photographic self-portraits with his elderly mother, Hall finds echoes of Dürer, whose paintings of himself and his elderly mother were exhibited side by side.
Hall’s range of references is polymathic and his writing often pithy, but the democratically even tone – in which geniuses and nonentities are accorded the same level of interest – can feel monotonous. The book gives a good account of the role of the self-portrait in the elevation of the artist from craftsman to cultural hero. Yet Hall is so keen to avoid aggrandising the better known figures that you’re left yearning for a contrast between what’s of historical interest and what’s genuinely extraordinary. Occasionally you wish he’d let his dispassionate scholarly mask drop and scream out, “This is a freaking masterpiece!”


此書翻譯,有些不過明確處。譬如說,134-35 頁談
Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply La Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi
https://en.wikipedia.org/wiki/Self-Portrait_as_the_Allegory_of_Painting

奧拉濟奧 (hc案:Orazio,Artemisia Gentileschi的父親) 是英格蘭女王亨里埃塔 (Henrietta)宮廷的畫家.....
上文把"王后"翻譯成"女王.".....https://en.wikipedia.org/wiki/Henrietta_of_England

自畫像文化史


內容簡介

自畫像已經成為定義我們這個自白時代的視覺藝術門類:當代的自畫像僅數量而言就已不計其數。較之以往任何一個時代,關注自畫像的人數更多、國別更繁雜、關注度也更高。自畫像的領地已遠不限於教堂、宮殿、學院、博物館、畫廊、建築物基座和畫框等。如今,以攝影與影片形式出現的自畫像充斥著互聯網,學童們也開始被要求畫自畫像。人們普遍認為並希望自畫像能賦予自己以一種特權,得以觸及畫中人的靈魂,從而消解現代城市化社會中芸芸眾生所經歷的疏離與籍籍無名。

霍爾用形象生動的筆觸向我們展示了幾個世紀以來自畫像都是藝術家們的寵兒的這一事實。中間他揭示了中世紀時期「鏡子熱」的重要性;文藝復興時期的自畫像熱潮;提香和米開朗基羅的自我剖析的自畫像作品;自傳對於系列自畫像畫家如庫爾貝、梵?高的影響;蒙奇、勃納爾和莫德松一貝克爾作品中展示的有關性的主題和才華;以及在全球化時代巾自畫像的最新發展。

詹姆斯?霍爾編著、劉頓、徐秀香、楊霞祥、王燕飛編譯的《自畫像文化史(精)》幾乎涵蓋了自畫像所有的類型,包括漫畫、諷刺畫以及自創的或假想的自畫像作品。當然也少不了經典的收藏品,如佛羅倫薩的美第奇家族的收藏品。通過仔細推敲藝術家們的字句和想法,霍爾始終在探求他們是何時何故決定創作自畫像的。《自畫像文化史》呈現了一部豐富而生動的歷史,是所有對這一為經久不衰、充滿人間情義的藝術形式感興趣的人們不可或缺的讀物。

本書包含120幅插圖,其中109幅彩圖。

詹姆斯.霍爾(James Hall)是一位藝術史學家、演講家和播音員。他還是南安普敦大學的客座研究員。他在倫敦考陶爾德藝術學院取得碩士學位,在劍 橋大學取得博士學位。他曾擔任《周臼通訊》和《衛報》的首席評論員,並在許多出版物上發表過作品,包括《衛報》、《華爾街日報》和《藝術報》。霍爾還出版 了包括《世界如雕塑:從文藝復興到現在雕塑地位的改變》和《陰暗面:左右象征主義是怎樣定義西方藝術的》等在內的四本廣受好評的書。

目錄

引言
序言:古代的自畫像創作
1.源於中世紀
2.鏡之迷狂
3.社會中的藝術家
4.文藝復興的英雄式藝術家
5.戲仿英雄式自畫像
6.藝術家工作室
7.十字路口
8.回家:進入19世紀
9.性與天才
10.面孔之外:現當代自畫像
原版書注釋
原版書參考書目及感謝
原版書圖片索引
原版書索引

2017年9月26日 星期二

歡迎來到「草間世界」 首座個人美術館十月開幕Yayoi Kusama, Queen of Polka Dots, Opens Museum in Tokyo


Ms. Kusama at work in her studio on Tuesday.
Yayoi Kusama, Queen of Polka Dots, Opens Museum in Tokyo

By MOTOKO RICH

"Since I was 10 years old I have been painting every day," she said in an interview. "I still see polka dots everywhere."


藝術家雜誌社
【Art News|東京藝術快訊】
草間彌生美術館10月1日開館
 位於新宿弁天町的草間彌生美術館已落成多年,今年夏天宣布於10月1日開館的消息,立刻引爆國際藝壇。草間彌生美術館採取每天四梯次參觀制,每梯次九十分鐘,10月、11月的入場券在開賣後秒殺一空,12月分入場券於10月1日起開放網路訂票。
 地上五層、地下一層的草間彌生美術館,建築設計由久米設計擔綱,從弧角面的大窗可看入室內挑高展廳的樣貌。入口及商店設於一樓,二、三樓為展覽室,四樓為體驗型裝置,五樓設有資料閱覽室及戶外展示空間。
 美術館由草間彌生紀念藝術財團經營,詩人建畠晢出任館長。建畠晢是現任埼玉縣近代美術館館長、多摩美術大學校長,曾於1993年威尼斯雙年展日本館策展草間彌生展。
 草間彌生美術館每年舉辦兩檔展覽,展示草間彌生早期以來的主要作品,並藉由出版、講座、資料展示等各類活動,展現草間彌生的成就。草間彌生則希望透過作品展示,持續傳達「世界和平」與「人間之愛」等訊息。
 開館紀念展「創造為孤高之業,愛近乎藝術」,二樓畫廊展出黑白絹印版畫系列「愛是永遠」廿七件,三樓畫廊展示色彩鮮豔的「我們永遠的靈魂」系列十六件。四樓畫廊為本展製作的最新鏡屋裝置〈向無限的彼方,南瓜呼喚愛〉,五樓則有南瓜立體新作〈星光南瓜〉,介紹仍持續進化中的草間藝術。
 今年春天,國立新美術館舉辦的「草間彌生—我們永遠的靈魂」是日本上半年參觀人數最多的展覽,可見圓點女王人氣之高。草間彌生美術館開館,將提供更多人親近當代藝術的機會。(撰文/邱馨慧)






朝日新聞中文編輯部
在充滿圓點圖案與色彩鮮豔的「草間世界」展示空間內,草間表示:「為了世界的愛與和平,希望在藝術上持續奮鬥,讓大家看見我的志向。」

台東公東高工學生贈送總統一張「放屁凳」。總統開心的說,可以坐著餵貓了。

收到放屁凳 總統又驚又喜
2017/05/15 18:32
圖/中央社
台東公東高工學生日前有機會和總統蔡英文面對面座談,學生贈送總統一張「放屁凳」。總統開心的說,可以坐著餵貓了。

台東公東高工學生5月13日應邀在台北華南金控大樓,參加「假如我是總統換位思考-小英總統與高中生面對面」論壇活動。論壇開始前,總統蔡英文特別單獨約見公東師生,以行動表示對技職教育的重視,讓師生振奮又感動。

公東高工表示,在溫馨閒談中,學生贈送總統一張公東高工俗稱「放屁凳」的傳統公東椅及由木藝中心主任張家瑞設計的高腳凳。

放屁凳是公東高工學生用剩下,要丟棄的木材拼湊做成小板凳,所以常常大小不一,顏色不同。板凳中間有1個比50元硬幣稍微大的圓孔,「好像放屁的通風孔」,公東高工的學生幫這張板凳取名「放屁凳」。

總統在接下傳統公東椅的同時也在高腳凳上簽名,並回贈公東高工。蔡總統還高興的說「這張小板凳,我餵貓咪的時候可以坐著了」。

公東高工表示,出席論壇活動老師有謝甄芸、廖佳麗小姐,以及繁星錄取台灣科技大學的同學洪玉欣、全國技藝競賽家具木工金手獎第一名的同學蘇界任、工科技藝競賽室內設計金手獎的同學詹以阡、鄭淳之、及陳洳萱,一起出席。

同學們都說,「蔡總統好親切、好親民,跟在電視上看到的樣子不一樣」。洪玉欽說,總統很親切,還特別關心她以一個新移民小孩(母親為越南籍)就讀技職學校的適應狀況與感想,也談了許多對台灣技職教育發展的方向。

蘇界任說,送給蔡總統自己做的放屁凳時,蔡總統非常驚訝製作的精緻度,也關心台灣技職教育的發展。鄭淳之、陳洳萱同學說,被總統約見感覺非常的開心,也是一個難得的經驗。

校長藍振芳表示,總統在公務繁忙間特別約見公東的學生,對全校師生都是正向的鼓勵。學生將公東傳統的技職精神呈現給總統,感謝木藝中心主任張家瑞的設計讓標榜簡約的公東椅帶有濃厚的藝術風。 (中央社)

street artists:Jean-Michel Basquiat

As a major exhibition of his work opens in London, young black artists celebrate Jean-Michel Basquiat's impact on art. (BBC News)
Young black artists celebrate Jean-Michel Basquiat's impact on art.
BBC.COM|作者:BBC NEWS
Jean-Michel Basquiat
Basquiat.jpg
Jean-Michel Basquiat
BornDecember 22, 1960
BrooklynNew York, U.S.
DiedAugust 12, 1988 (aged 27)
Manhattan, New York, U.S.
StyleAbstractionfiguration
MovementNeo-expressionismprimitivism
Websitebasquiat.com



尚·米榭·巴斯奇亞Jean-Michel Basquiat,1960年12月22日-1988年8月12日),是一位美國藝術家。他先是以紐約塗鴉藝術家的身分獲得大眾認識,後來成為一位成功的1980年代表現主義藝術家。巴斯奇亞的作品至今仍深深影響著當代的藝術家,而且價值不斐。

生平[編輯]

1960年,巴斯奇亞出生於紐約布魯克林區。他的母親瑪蒂兒是波多黎各人,父親傑拉德·巴斯奇亞則是海地人,並曾擔任海地的內政部長。巴斯奇亞也因此說了一口流利的法語西班牙語英語,並偶爾閱讀象徵詩神話歷史與醫療文書,特別是各種語言的《格雷氏解剖學》。幼年時,巴斯奇亞即表現了對藝術的天份,並在母親的鼓勵下學習作畫、參加美術相關的活動。1977年,十七歲的巴斯奇亞和他的朋友埃爾·狄亞茲開始到下曼哈頓區貧民窟塗鴉藝術,在當地的建築物上噴上彆腳的簽名「SAMO」,和一些簡潔的句子,像是「『SAMO』是條免責條款」等等。1978年12月,Village Voice週報登了一篇關於這些文字的報導。後來,巴斯奇亞在蘇活區建築物的牆上寫上「SAMO IS DEAD」,結束了關於SAMO的計畫。27歲時因服用過量海洛因於工作室中過世。


    參見


    He used to be a graffiti rebel who sold drawings for $50, now he's in the same league as Picasso.




    From the archive, a selection of paintings by Jean-Michel Basquiat.

    The Paris Review is a literary magazine featuring original writing, art, and in-depth interviews with famous writers.
    THEPARISREVIEW.ORG

    2017年9月24日 星期日

    Sketches of Taipei from the early 1960s by American architect Felix Tardio

    by Felix Tardio

    Felix was born on October 10, 1934 and passed away on Monday, July 4, 2011.
    Felix was a resident of Canonsburg, Pennsylvania.

    Felix Tardio, a professor of architecture living in Taipei during the late 1960s, wrote a scathing critique of its built environment. With both prejudice and insight, ...

    Hanching Chung Felix Tardio 當年可能複印一些"書",送給各大圖書館。我在政治大學的公企中心的圖書館看過。請問羅斌,您在哪兒取得的。



    羅斌新增了 16 張相片
    Sketches of Taipei from the early 1960s by American architect Felix Tardio.
    1960年代初,美國建築師台地先生(Felix Tardio)的台北素描.