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The Language of Narrative Drawing: a Close Reading of Contemporary Graphic Novels
The Language of Narrative Drawing: a close reading of contemporary graphic novels Abstract: The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing. It sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic „confection‟ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching. -
“White Glove” Sale of David Bowie's Art Collection
“Art was, seriously, the only think I’d ever wanted to own… I’ve always found that I collect. I am a collector.” – David Bowie (NYT, 1998) “White Glove” Sale of David Bowie’s Art Collection Over 55,500 Visitors Attend Worldwide Pre-Sale Exhibitions The Three Sessions last over 12 Hours, Attended by over 1750 Bidders New Records for over 50% of Artists Represented in the Sale (59 Records in Total) More than a Thousand Online Bidders Overall Sale Total: £32.9m / $41.1m “David Bowie’s personal art collection captured the imagination of the tens of thousands who visited our exhibitions and the thousands who took part in the sales. Sotheby’s is truly honoured to have had the opportunity to share this collection with the world and, in doing so, offer a fresh insight into the creative mind of one of the greatest cultural figures of our time.”-- Oliver Barker, Chairman, Sotheby’s Europe Bowie/Collector Sale Totals: £32.9 /$41.1m Part I: Modern and Contemporary Art, Evening Auction: £24.3m / $30.3m Estimate: £8.1-11.7m (47 lots, sale lasted two hours) Part II: Modern and Contemporary Art, Day Sale: £7.2m / $9.1m Estimate: £1.7-2.5m (209 lots, lasted seven hours) Part III: Design: Ettore Sottsass and the Memphis Group: £1.4m / $1.7 m Estimate: £77,070-117,020 (100 lots, lasted 3.5 hours) Facts and Figures Global exhibitions seen by 55,870+ visitors London Exhibitions in July and November had a total of over 51,470 visitors – the highest attendance for any pre-sale exhibition in London Over 26,500 people watched the sales online Over 1,750 people attended the sales Over a thousand bidders registered through our BIDnow programme, powered by Invaluable Please see “Bowie/Collector by numbers” below for full details A spokesperson for the Estate of David Bowie said: “David always enjoyed sharing the works in the collection, loaning to museums and actively supporting the art and artists that were part of his world. -
Zgallerymanager MSPM
Andro Wekua Sprüth Magers, Berlin April 27 – September 8, 2018 At the center of Andro Wekua’s new exhibition at Sprüth Magers is a life-size sculpture made of nickel silver - a silver-like alloy of copper, nickel and zinc - and a group of paintings. The untitled sculpture recalls Wekua’s earlier mannequin figures and continues their subtle formal vocabulary. The androgynous figure appears situated between the sexes; its body has a prepubescent, almost childlike look. On the back of the sculpture sits a small, black bronze Pegasus with purple wings—a futuristic element, childish toy and mythical reference in one. The physical proportions of this figure are realistic only at first glance; they are unthinkable in real life. The figure is a composite of various, non-related body parts. Before casting, it was composed of miscellaneous models of real limbs. Even the sculpture’s body posture probes the limits of what is physically possible. It recalls the Christ figure in Michelangelo’s unfinished Rondanini Pietà. In the original, the Virgin Mary stands behind her dead son and tries to hold him upright. Wekua’s figure stands in a pool; water runs from parallel slits on its arms and shoulders. Its silvery surface is in constant motion and yet it appears preserved in a state of perpetual stagnation. For all its overt artificiality, this figure seems to lead a psychological life of its own. It seems strangely, if improbably, alive. The sculpture is surrounded by a series of paintings. Wekua uses an architectural redefinition of the space to create his own viewing plane for the paintings while simultaneously reflecting the centrally-positioned sculpture as an object in space. -
Proquest Dissertations
Filming in the Feminine Plural: The Ethnochoranic Narratives of Agnes Varda Lindsay Peters A Thesis in The Department of Film Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada September 2010 © Lindsay Peters, 2010 Library and Archives Bib!ioth6que et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre r6f6rence ISBN: 978-0-494-71098-2 Our file Notre reference ISBN: 978-0-494-71098-2 NOTICE: AVIS: The author has granted a non- L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Mark Raidpere
Mark Raidpere Born in 1975 in Tallinn, Estonia. Lives and works in Tallinn. EDUCATION 2000 / 2003 Tallinn Pedagogical University, film studies 1993 / 1994 Tallinn School of Communications PUBLIC COLLECTIONS Museu d'Art Contemporani de Barcelona (MACBA), Spain La Gaia, Italy Fonds National d'Art Contemporain, Paris, France Domaine départemental de Chamarande, Essonne, France Musée d'Art Moderne de la Ville de Paris (MAMVP), France Art Museum, Tartu, Estonia Art Museum of Estonia, Tallinn, Estonia Städtischen Galerie im Lenbachhaus und Kunstbau, München, Germany Fondation Neuflize Vie, France SOLO SHOWS 2016 A WAY (cur. Eugenio Viola), Galerie Michel Rein Paris, France 2015 Short-Term, Vaba Lava, Tallinn, Estonia Fashion 100. Firm Frames, Architecture and Design Gallery, Tallinn, Estonia (together with professors of EAA Fashion Department) 2013 Damage (cur. Anders Härm & Eugenio Viola), EKKM, Tallinn, Estonia* I'll come back later (cur. Eugenio Viola), Galerie Michel Rein, Paris, France 2012 Napoli.OK (cur. Eugenio Viola), Fondazione Morra Greco, Naples, Italy 42 rue de Turenne F-75003 Paris 51A Washington street B-1050 Brussels P. +33 (0)1 42 72 68 13 P. +32 (0)2 640 26 40 michelrein.com 2009 Dedication. Art Agents Gallery, Hamburg, Germany Mark Raidpere, Espace Croisé, Roubaix, France* 2008 Sven Johne / Mark Raidpere, Fondazione Morra Greco, Naples, Italy International, Galerie Michel Rein, Paris, France Andrey / Andris, Galeria Potocka, Krakow, Poland Alles, City Gallery Art Hall, Parnu, Estonia 2006 Videos, Galerie Michel Rein, Paris, France Videos, Tramway, Glasgow, Scotland Videos, Platform Garanti, Istanbul, Turkey Hansabank Art Award, Gallery Noass, Riga, Latvia; Contemporary Art Center, Vilnius, Lithuania; Kumu Museum, Tallinn, Estonia 2005 Videos, City Gallery, Tallinn, Estonia Ene-Liis Semper / Mark Raidpere. -
Paradoxes of the Nouvelle Vague
ARTICLES · Cinema Comparat/ive Cinema · Vol. I · No. 2. · 2013 · 77-82 Paradoxes of the Nouvelle Vague Marcos Uzal ABSTRACT This essay begins at the start of the magazine Cahiers du cinéma and with the film-making debut of five of its main members: François Truffaut, Claude Chabrol, Eric Rohmer, Jacques Rivette and Jean-Luc Godard. At the start they have shared approaches, tastes, passions and dislikes (above all, about a group of related film-makers from so-called ‘classical cinema’). Over the course of time, their aesthetic and political positions begin to divide them, both as people and in terms of their work, until they reach a point where reconciliation is not posible between the ‘midfield’ film-makers (Truffaut and Chabrol) and the others, who choose to control their conditions or methods of production: Rohmer, Rivette and Godard. The essay also proposes a new view of work by Rivette and Godard, exploring a relationship between their interest in film shoots and montage processes, and their affinities with various avant-gardes: early Russian avant-garde in Godard’s case and in Rivette’s, 1970s American avant-gardes and their European translation. KEYWORDS Nouvelle Vague, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, Claude Chabrol, François Truffaut, radical, politics, aesthetics, montage. 77 PARADOXES OF THE NOUVELLE VAGUE In this essay the term ‘Nouvelle Vague’ refers that had emerged from it: they considered that specifically to the five film-makers in this group cinematic form should be explored as a kind who emerged from the magazine Cahiers du of contraband, using the classic art of mise-en- cinéma: Eric Rohmer, Jacques Rivette, Jean-Luc scène rather than a revolutionary or modernist Godard, Claude Chabrol and François Truffaut. -
Memphis RESOURCE PACK
Memphis RESOURCE PACK This Memphis resource pack aims to give students an increased knowledge and understanding of the methodology and aesthetics of the 1980s Italian design group. It also provides students with inspiration for their own design projects. The pack is suitable for teaching students at Key Stage 3 and above. It is part of a series comprising resource packs on the following subjects: ➜ ➜ Innovation Verner Panton Chairs Memphis Packs are supplied in photocopiable loose-leaf format and are designed to be interchangeable, so that common elements of each may be combined. In this way it is possible to assemble Memphis packs on: Designing Innovation Manufacturing & materials Ergonomics Handling collection – creating your own Design Museum Activities ✂ The Design Museum is the world’s leading museum of 20th and 21st century design, and the UK’s largest provider of design education resources. Its network of contacts in industry and the design world make it a bridge between the design profession, industry and education. To order additional packs or for further information about the Design Museum Education Programme, please contact: Education Department Design Museum 28 Shad Thames London SE1 2YD T 020 7403 6933 F 020 7378 6540 E [email protected] www.designmuseum.org Designed by Pencil Cover: Carlton cabinet by Ettore Sottsass, 1981 © Design Museum 2001 Memphis for teachers’ notes T Using this Resource Pack he Memphis group was formed as a reaction We are all T against the Modern movement, which favoured“ clean, undecorated lines and industrial materials. It very sure was short-lived and in many ways did not achieve its stated aims but was influential in changing attitudes that Memphis to design in the 1980s. -
The Art of Anselm Reyle
001 009 019 027 Untitled, 2000 Untitled, 2000 Untitled, 2002 Untitled, 2001 Acrylic on canvas, 120 x 103 cm Acrylic on canvas, 120 x 103 cm Acrylic on canvas, 67 x 56 cm Acrylic on canvas, 135 x 114 cm Private collection Collection Marcel Brient, Paris Collection of the artist Mimi Dusselier, Belgium Courtesy Galerie Giti Nourbakhsch, Courtesy Galerie Giti Nourbakhsch, Courtesy Galerie Giti Nourbakhsch, Berlin Berlin Berlin Untitled, 2002 Found object, metal, 700 x 250 cm Untitled, 1999 Untitled, 1999 Courtesy Gagosian Gallery, New York Believe, 2002 Acrylic on canvas, 135 x 114 cm Acrylic on canvas, 135 x 114 cm Found object, neon tubes Collection of the artist DekaBank-Kunstsammlung des 320x410x11 cm 21. Jahrhunderts, Frankfurt on the Main Courtesy of the artist Courtesy Galerie Giti Nourbakhsch, 021 Berlin Exhibition view Trust, Galerie IIC Jennifer Ray, Paris, 2002 (solo show) Untitled, 1999 029/031 Acrylic on canvas, 88.5 x 79 cm From left to right: Exhibition view beyond, Pat and Juan vergez Collection, on Galerie Giti Nourbakhsch, Berlin, Buenos Aires Exhibition view Luftgitarren, Lamp, 2002 2001 (solo show) Courtesy Galerie Giti Nourbakhsch, Marienstraße 1a, Berlin, 2000 Found object, stroboscope light Berlin (solo show) 80x50 cm From left to right: Courtesy of the artist Daimler Art Collection, Stuttgart /Berlin Courtesy Galerie Giti Nourbakhsch, Hay Wagon, 2001 Berlin Found object (fragment), neon lacquer 004 200x140x160 cm Untitled, 2000 022 Trust, 2001 Boros Collection, Berlin Acrylic on canvas, 120 x 103 cm Exhibition view, -
New Books on Art & Culture
S11_cover_OUT.qxp:cat_s05_cover1 12/2/10 3:13 PM Page 1 Presorted | Bound Printed DISTRIBUTEDARTPUBLISHERS,INC Matter U.S. Postage PAID Madison, WI Permit No. 2223 DISTRIBUTEDARTPUBLISHERS . SPRING 2011 NEW BOOKS ON SPRING 2011 BOOKS ON ART AND CULTURE ART & CULTURE ISBN 978-1-935202-48-6 $3.50 DISTRIBUTED ART PUBLISHERS, INC. 155 SIXTH AVENUE 2ND FLOOR NEW YORK NY 10013 WWW.ARTBOOK.COM GENERAL INTEREST GeneralInterest 4 SPRING HIGHLIGHTS ArtHistory 64 Art 76 BookDesign 88 Photography 90 Writings&GroupExhibitions 102 Architecture&Design 110 Journals 118 MORE NEW BOOKS ON ART & CULTURE Special&LimitedEditions 124 Art 125 GroupExhibitions 147 Photography 157 Catalogue Editor Thomas Evans Architecture&Design 169 Art Direction Stacy Wakefield Forte Image Production Nicole Lee BacklistHighlights 175 Data Production Index 179 Alexa Forosty Copy Writing Sara Marcus Cameron Shaw Eleanor Strehl Printing Royle Printing Front cover image: Mark Morrisroe,“Fascination (Jonathan),” c. 1983. C-print, negative sandwich, 40.6 x 50.8 cm. F.C. Gundlach Foundation. © The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur. From Mark Morrisroe, published by JRP|Ringier. See Page 6. Back cover image: Rodney Graham,“Weathervane (West),” 2007. From Rodney Graham: British Weathervanes, published by Christine Burgin/Donald Young. See page 87. Takashi Murakami,“Flower Matango” (2001–2006), in the Galerie des Glaces at Versailles. See Murakami Versailles, published by Editions Xavier Barral, p. 16. GENERAL INTEREST 4 | D.A.P. | T:800.338.2665 F:800.478.3128 GENERAL INTEREST Drawn from the collection of the Library of Congress, this beautifully produced book is a celebration of the history of the photographic album, from the turn of last century to the present day. -
Andro Wekua “Dreaming Dreaming” 515 West 24Th Street September 21 – November 3, 2012 Opening September 20, 6 – 8 Pm
Andro Wekua “Dreaming Dreaming” 515 West 24th Street September 21 – November 3, 2012 Opening September 20, 6 – 8 pm Gladstone Gallery is pleased to present an exhibition of new work by Andro Wekua. Working in a diverse array of media, Wekua has developed a visual language grounded in the exploration of human experience through the subtle intersections of individual and collective memory, personal identity, and history. Looking to genres such as fantasy, science fiction, and horror, Wekua creates fantastical and often macabre tableaux, revealing the complex processes of reconstruction and fragmentation that continually inform the personal, social, and fictive experience of remembrance. “Dreaming Dreaming” presents a series of new painting, sculpture, and collage, as well as Wekua’s most recent film, Never Sleep with a Strawberry in Your Mouth II. The paintings included in the exhibition mark a notable break from Wekua’s earlier work, revealing a more uniformly abstract approach to imagery. A number of these recent compositions comprise a nearly monochromatic palette, containing only glimpses of the figurative elements and collage techniques characteristic of his earlier work. Using fully saturated colors to achieve moody, immersive environments and richly layered landscapes, Wekua moves between the sincerity of self-reflection and the synthetic imagery of pop culture. The sculptures on view include models of buildings Wekua remembers from his childhood in Sukhumi, a seaside town in Georgia that was devastated by civil war in the early 1990s. Conjuring images from memory and supplementing them with online research, Wekua creates sculptural representations of buildings, which contain blank spaces that correspond to what he refers to as “memory gaps.” Creating pictorial representations of the past to better comprehend and grapple with the present, Wekua meditates on the tenuous boundary between historical reality and the artificial construct of remembering, pointing to the inescapable fact that the past is always distorted by the subjectivity of memory. -
Library U Našem Fontu
HESTIA Library LATIN AMERICA Art, city ant the public sphere in Chile, Ignacio Symulewicz R., Ediciones/Met- ales Pesados, Santiago de Chile, 2013 Cartografías líquidas, Museo de Arte Carillo, Mexico City, 2017 El cubo de Rubik, arte mexicano en los años 90, Daniel Montero, La Colección Académica, Mexico City, 2013 Frames and Documents: Conceptualist Practices (selections from the Ella Fonta- nals - Cisneros Collection), CIFO, Miami, 2011. Géométries Sud, du Mexique à la Terre de Feu, Fondation Cartier pour l'art contemporain, Paris, 2018 How do we want to be governed? (Figure and Ground), edited by Roger M. Buergel, Ruth Noack, Miami Art Central, Miami, 2004 No-History’s Library (Biblioteca de la No-Historia), Jarpa Voluspa, Santiago de Chile, 2010 Márgenes e Instituciones: Arte en Chile desde 1973, Nelly Richard, Ediciones/ Metales Pesados, Santiago de Chile, 2014 Memoria y Amnesia-Sobre la Historia Reciente del arte en Chile 1976-2006., Luz Maria Williamson, Polígrafa, Santiago de Chile, 2017 Radical Women: Latin American Art 1960-1985, Cecilia Fajardo-Hill and Andrea Giunta, Hammer Museum, Del Monico Books / Prestel, New York & London, 2017 ——————————————————————————————————————————— FRANCE Bourse revelations emerige 2017: En forme de vertiges, Paris, 2017 (exhibition catalogue) Bourse revelations emerige 2018: Outside our, Paris, 2018 (exhibition cata- logue) Collection Laurent Dumas, Communic'Art, Paris, 2018 Re/productions, Cyril Zarcone, Galerie Eric Mouchet, Paris, 2017 Cookbook : L'art et le processus culinaire, Nicolas Bourriaud, -
Riba Fellows 2018
RIBA FELLOWS 2018 Be Outstanding. Be RIBA. RIBA FELLOWS 2018 Mr James Andrews, FRIBA, Int’l Assoc. AIA, LEED AP San Antonia, USA A Principle at Overland Partners, James leads design teams across Texas, China, and the Middle East to create significant impact at the human scale. One of his most successful and widely-cited projects, the Bridge Homeless Shelter (Dallas, Texas), continues to notably impact its community through improving the quality of life of Dallas’ homeless population. Another, Haven for Hope Homeless Transformation Center (San Antonio, Texas), has placed over 3,700 guests into permanent housing and has been visited as a precedent by over 200 cities worldwide. Both projects have won national and international awards. Committed to conscious sustainable practices, James helped elevate green building standards across the region as a Founding Member of the United States Green Building Council (USGBC) Central Texas chapter. He also served on the Mayor’s Sustainability Task Force, and was presented with the San Antonio Business Journal Going Green Award 2010 for his role as a sustainability expert. Dr Raj Barr, FRIBA, FAIA Washington DC, USA Raj is an expert in sustainable design and green architecture and the author of three books on the subject. He has worked on numerous projects including the Embassies of Trinidad & Tobago, Sri Lanka and Malta in Washington DC, the Cortlandt Medical Center in New York, the, Eco Maya Condominium in Mexico, Altos Escondidos Eco Resort in Panama, the Washington National Cathedral, the World Bank, and numerous restaurants in Washington DC. 1997 National President of the American Institute of Architects, Raj pioneered the AIA Legacy Project His volunteer efforts include work with FEMA/NIC and Luther Place Shelter for Battered Women and Children.