An examination of architecture and art as a screen of vital cultural memory that considers museum culture, visual technology, and the border of public and private space.
In this thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space—a screen of vital cultural memory—has come to shape our visual culture. Taking on the central topic of museum culture, Bruno leads the reader on a series of architectural promenades from modernity to our times. Through these "museum walks," she demonstrates how artistic collection has become a culture of recollection, and examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson. Investigating the intersection of science and art, Bruno looks at our cultural obsession with techniques of imaging and its effect on the privacy of bodies and space. She finds in the work of artist Rebecca Horn a notable combination of the artistic and the scientific that creates an architecture of public intimacy. Considering the role of architecture in contemporary art that refashions our "lived space"—and the work of contemporary artists including Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca—Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. Architecture, Bruno contends, is not merely a matter of space, but an art of time.
At the height of his fame, he was the artist as royalty: incalculably wealthy, universally idolized--and wholly isolated.In this stunning critical assessment, John Berger--one of this century's most insightful cultural historians--trains ...
What Great Paintings Say: Masterpieces in Detail
In Book 35 , Pliny describes the relationship between Alexander the Great and Apelles , with specific incidents that became grist for the theorists ' mill — the frequent visits to the artist's studio , the exclusive right to paint the ...
Tricks demonstrating scientific principles from inertia to perceptual illusions. Includes sample patter and performance tips.
德国美术史家温克尔曼说:“阿波罗的双目温柔多情, 就好似渴慕拥抱他的缪斯的眼睛。”这种称赞和宋塑的观音被称为媚态观音一样,既有主观想象也有客观依据。和这个阿波罗的女性化比较,相传为普拉克西特莱斯作的《杀蜥蜴的阿波罗》和唐代的石雕菩萨相似, ...
... 写生班学习,1993年入中国美术学院国画系学习,2009年入首都师范大学现代水墨研究生班深造。先后参加刘进安先生《以心接物》师生作品展,辛卯墨象十一名画家展,2012深圳国际水墨双年展,2013年5 月上海外滩帕奇举办个人画展,2015与墨共伍五人中国画精品巡展。
中华明元前两千纪的时候,夏朝统一了肥沃平坦的中原,开了朝代更迭,续中华明。夏、、周三代富华美、彩纷呈的青铜艺术,显示了中华炼铸造技术的界领先水平、于富矿产资源发达的审美理和钟鸣的生活理想。节俭而又制闻名的庞大国的宫和实艺术满了慑和自。
六、一字之差在《康文辩罪》这回大书之前,另有一回也是有关武松冤案的大书,叫作《陈洪辩罪》。我想,对于尚未读过评话《武松》,愿意了解《康文辩罪》的读者,有必要约略介绍《陈洪辩罪》。它也表现了说书人出色的艺术才能,表现出评话艺术的特殊技巧。
《山中》那位文工团员陈煜,是荣誉室工程塌方的幸存者之一。受了重伤躺在床上,得知爱侣琴琴为了抢救“宝椅”而作了无谓的牺牲,得知琴琴母亲因爱女的惨死而自杀,也知道一心要“突出政治”的秦浩要把十九人的死当作“精神原子弹”闪光来作宣传。秦浩颠倒是非, ...
陈彩,再现了一个谋夫夺妻的坏蛋。陈彩和萧方有差别而又有一致的地方。他有钱无势,想霸占裁缝潘林的妻子,不敢像萧方那样武取。挽了一个“圈圈”,借合伙贩卖盐米为由,把潘林骗往他乡,在西关渡口把他害死。因为尸体的头上有伤痕,陈彩怕阴谋暴露,只得把尸体烧成 ...