Arts Agenda ‘Existence,’ and Reveal Both How Human Lan- Guages Are Constructed and How Spaces Are Defined
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Update on the City of Richmond Public Art Program Participation In
GP - 29 GP - 30 GP - 31 GP - 32 Attachment 1 Olas de Viento (Wind Waves) Yvonne Domenge (Mexico) Garry Point Park 2772874 GP - 33 Attachment 2 Artist: Sui Jianguo (China) Many of Sui’s early works reflect his personal experiences and explore, to a lesser or greater extent, his anxieties and feelings of imprisonment. He began his ‘Mao Suit’ series in 1997. This series can however be regarded as the conclusion of an important stage in his self-exploration. He draws on the powerful image of the Mao suit, not as an element of revolutionary attire but as a symbol of restriction and limitation. Sui suggests that none of the Chinese has truly taken off their Mao suits even though the revolutionary era is over. Sometimes Sui makes the Mao suits resemble Buddhas and at other times he turns them into hard shells. Recently, Sui has made fairly humorous, soft and almost transparent Mao suits. The Mao suit is perhaps coming to represent to the artist an object of fun. Over all, Sui's work has well represented the views and expressions of his generation, the generation that survived Mao's Cultural Revolution. http://www.artzinechina.com/display.php?a=89 Title: MaoJacket Curator: ShengTianZheng Dimensions Can be made in various sizes, depending on site. Weight tbd Material Retail(replacement)value Installationsite&Requirements Can be installed indoors and outdoors. Must be installed on an even surface. Partnership The Biennale will pay for artist’s accommodation, flight, engineering certificate, shipping costs, cataloguing, marketing and promoting the work and the community that it will be located in, and will oversee the installation The City of Richmond will oversee the site preparation and site approvals. -
Pping Surviving Remnants of Classical Chinese Civilization to Create Experimental Artworks
Chinese Sculptors' Exploration of Ancient Traditions Sparks Artistic Rebirth BEIJING — A generation after Chairman Mao Zedong set out to destroy China’s millennia-old artistic and religious traditions — in part by razing temples, closing art schools and sending artists and Buddhist priests to re- education camps — a new wave of sculptors here has begun tapping surviving remnants of classical Chinese civilization to create experimental artworks. In Sui Jianguo's "Discobolus" the classical Greek statue dons a Mao suit. The process of exploring ancient beliefs and art, they say, is aimed not only at resurrecting pieces of China’s past but also at helping spark a widening cultural renaissance. Tang Yuhan, born in 1985, nearly a decade after Mao’s passing marked the close of the Cultural Revolution, said that she and other young artists have started sifting through the centuries to transmute some aspects of classical culture into “art for the new generation.” In an upcoming exhibition of her works at Gallery Yang in eastern Beijing, Ms. Tang will transform the space through precisely placed works like “Flowing Water,” where sunlit raindrops seem to defy gravity to fall on the ceiling, and “Heaven and Earth,” an otherworldly solar system where blue planets and orange asteroids orbit an invisible sun. Her goal is to create a space that is in perfect balance according to the 2,500-year-old principles of the I Ching, or the Book of Changes, which provides guidance on how to navigate a cosmic web of links between heaven, earth and humanity. “We can use the I Ching and the related concepts of feng shui not only to divine the future but also to change our individual destiny, and that is my aim with these works,” said Ms. -
Freer Sackler Fact Sheet
Fact Sheet Freer|Sackler Smithsonian Institution ABOUT THE FREER|SACKLER The Freer Gallery of Art and Arthur M. Sackler Gallery, located on the National Mall in Washington, DC, comprise the Smithsonian’s museum of Asian art. The Freer|Sackler contains one of the most important collections of Asian art in the world, featuring more than 40,000 objects dating from the Neolithic period to the present day, with especially fine groupings of Islamic art; Chinese jades, bronzes, and paintings; and the art of the ancient Near East. The museum also contains important masterworks from Japan, ancient Egypt, South and Southeast Asia, and Korea, as well as a noted collection of American art. The Freer|Sackler is committed to expanding public knowledge of the collections through exhibitions, research, and publications. As of 2016, the Freer building is closed for renovation. It will reopen in 2017 with modernized technology and infrastructure, refreshed gallery spaces, and an enhanced Eugene and Agnes E. Meyer Auditorium. Visit asia.si.edu/future for more information. BACKGROUND AND COLLECTIONS Charles Lang Freer, a self-taught connoisseur, began purchasing American art in the 1880s. With the encouragement of American artist James McNeill Whistler (1834–1903), Freer also began to collect Asian art, assembling a preeminent group of works. In 1904, Freer offered his collection to the nation, to be held in trust by the Smithsonian Institution. The Freer Gallery of Art opened to the public in 1923—the first Smithsonian museum dedicated to fine art. The Freer’s collection spans six thousand years and many different cultures. Besides Asian art, the Freer houses a collection of nineteenth- and early twentieth-century American art, including the world’s largest number of works by Whistler. -
Sui Jianguo the Sleep of Reason
Sui Jianguo The Sleep of Reason Jeff Kelley Oakland, California, December 2004 Sui Jianguo is one of China’s most significant artists. A sculptor, he has become internationally recognized for works that challenge the ideological assumptions and historical origins of Chinese Socialist Realism, the style in which he was trained. His challenge has not been unique: an entire generation of Chinese artists, beginning in the mid-1980s, defined itself in opposition to the idea of an “official” art, an opposition resulting in one of the most urgent and compelling art scenes of the past twenty years – the Chinese avant-garde. Unlike many of his contemporaries, however, Sui did not adopt an attitude of feigned, ironic detachment (often referred to in the 1990s as “cynical pop”) from all things official. Rather, he has chosen to remain inside the academy, as it were, producing sculptures that are like ghosts (and demons) in the abandoned temples of Socialist Realism. Working in bronze, steel, fiberglass, and plastic, and on a scale that ranges from key chains to monuments, Sui has created a suite of iconic forms – such as free-standing, but hollow (and headless), “Mao jackets,” a chorus line of ancient Greco-Roman statues outfitted in Communist Party attire (“Mao suits”), and a swarm of “made-in-China” dinosaurs, some tiny, other mammoth – that bear witness to the once-revolutionary fervor that animated the otherwise rigid academic formulae of official Chinese art. Sui’s sculptures also bear witness to China’s current revolution: its unparalleled transition from a closed society driven by political ideology to a society newly awakening to a potent combination of nationalism and capital. -
Lange Nacht Der Museen JUNGE WILDE & ALTE MEISTER
31 AUG 13 | 18—2 UHR Lange Nacht der Museen JUNGE WILDE & ALTE MEISTER Museumsinformation Berlin (030) 24 74 98 88 www.lange-nacht-der- M u s e e n . d e präsentiert von OLD MASTERS & YOUNG REBELS Age has occupied man since the beginning of time Cranach’s »Fountain of Youth«. Many other loca- – even if now, with Europe facing an ageing popula- tions display different expression of youth culture tion and youth unemployment, it is more relevant or young artist’s protests: Mail Art in the Akademie than ever. As far back as antiquity we find unsparing der Künste, street art in the Kreuzberg Museum, depictions of old age alongside ideal figures of breakdance in the Deutsches Historisches Museum young athletes. Painters and sculptors in every and graffiti at Lustgarten. epoch have tackled this theme, demonstrating their The new additions to the Long Night programme – virtuosity in the characterisation of the stages of the Skateboard Museum, the Generation 13 muse- life. In history, each new generation has attempted um and the Ramones Museum, dedicated to the to reform society; on a smaller scale, the conflict New York punk band – especially convey the atti- between young and old has always shaped the fami- tude of a generation. There has also been a genera- ly unit – no differently amongst the ruling classes tion change in our team: Wolf Kühnelt, who came up than the common people. with the idea of the Long Night of Museums and The participating museums have creatively picked who kept it vibrant over many years, has passed on up the Long Night theme – in exhibitions, guided the management of the project.We all want to thank tours, films, talks and music. -
The Parinirvana Cycle and the Theory of Multivalence: a Study Of
THE PARINIRVĀṆA CYCLE AND THE THEORY OF MULTIVALENCE: A STUDY OF GANDHĀRAN BUDDHIST NARRATIVE RELIEFS A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI’I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY MAY 2017 By Emily Hebert Thesis Committee: Paul Lavy, Chairperson Kate Lingley Jesse Knutson TABLE OF CONTENTS LIST OF FIGURES ....................................................................................................................... ii INTRODUCTION ......................................................................................................................... 1 CHAPTER 1. BUDDHISM IN GREATER GANDHĀRA ........................................................... 9 Geography of Buddhism in Greater Gandhāra ....................................................................... 10 Buddhist Textual Traditions in Greater Gandhāra .................................................................. 12 Historical Periods of Buddhism in Greater Gandhāra ........................................................... 19 CHAPTER 2. GANDHĀRAN STŪPAS AND NARRATIVE ART ............................................. 28 Gandhāran Stūpas and Narrative Art: Architectural Context ................................................. 35 CHAPTER 3. THE PARINIRVĀṆA CYLCE OF NARRATIVE RELIEFS ................................ 39 CHAPTER 4 .THE THEORY OF MULTIVALENCE AND THE PARINIRVĀṆA CYCLE ...... 44 CHAPTER 5. NARRATIVE RELIEF PANELS FROM THE PARINIRVĀṆA CYCLE ............ 58 Episode -
Dangerous Liaisons Revisited
Asian Art hires logo 15/8/05 8:34 am Page 1 ASIAN ART The newspaper for collectors, dealers, museums and galleries june 2005 £5.00/US$8/€10 The Taj Mahal and the Battle of Air Pollution THE GOVERNMENT OF India buy the more expensive ticket if they courtyard and its cloisters were added announced earlier this year that it is to want to get around the limit. Night subsequently and the complex was restrict the number of daily visitors to viewing is still permitted, but restricted fnally completed in 1653, with the the Taj Mahal in an attempt to to fve nights a month (including full tomb being the central focus of the preserve the 17th-century monument. moon). entire complex of the Taj Mahal. One of the best known buildings in Smog and heavy air pollution has It was inscribed on the World the world, and arguably India’s greatest been yellowing the Taj Mahal for Heritage List in 1983. Although the monument, makes it one of the most- many years and conservationists have Taj Trapezium Zone (TTZ), which visited tourist attractions in the world. been fghting through the courts to looks after 40 protected monuments, Millions of mostly Indian tourists visit control the levels of pollution in Agra. including three World Heritage Sites, the Taj Mahal every year and their Te Taj faces numerous threats, not Taj Mahal, Agra Fort and Fatehpur numbers are increasing steadily, as only from air pollution, but also insects, Sikri, delivered a court ban on the use domestic travel becomes easier. -
Chinese Contemporary Art-7 Things You Should Know
Chinese Contemporary Art things you should know By Melissa Chiu Contents Introduction / 4 1 . Contemporary art in China began decades ago. / 14 2 . Chinese contemporary art is more diverse than you might think. / 34 3 . Museums and galleries have promoted Chinese contemporary art since the 1990s. / 44 4 . Government censorship has been an influence on Chinese artists, and sometimes still is. / 52 5 . The Chinese artists’ diaspora is returning to China. / 64 6 . Contemporary art museums in China are on the rise. / 74 7 . The world is collecting Chinese contemporary art. / 82 Conclusion / 90 Artist Biographies / 98 Further Reading / 110 Introduction 4 Sometimes it seems that scarcely a week goes by without a newspaper or magazine article on the Chinese contemporary art scene. Record-breaking auction prices make good headlines, but they also confer a value on the artworks that few of their makers would have dreamed possible when those works were originally created— sometimes only a few years ago, in other cases a few decades. It is easy to understand the artists’ surprise at their flourishing market and media success: the secondary auction market for Chinese contemporary art emerged only recently, in 2005, when for the first time Christie’s held a designated Asian Contemporary Art sale in its annual Asian art auctions in Hong Kong. The auctions were a success, including the modern and contemporary sales, which brought in $18 million of the $90 million total; auction benchmarks were set for contemporary artists Zhang Huan, Yan Pei-Ming, Yue Minjun, and many others. The following year, Sotheby’s held its first dedicated Asian Contemporary sale in New York. -
Pastiche and Parody As a Post- Modernist Form of Cultural Identity
Classical Art with Chinese Characteristics: Pastiche and Parody as a Post- Modernist Form of Cultural Identity Hannah Kirk Yenching Academy, Peking University June 2019 Introduction Pastiche has held a long-lasting presence in the artistic process. For centuries and across cultures, masters have copied the techniques and shared the subject matter eternalised by their predecessors. Most definitions of pastiche are synonymous with this process of copying in varying degrees of approval, ranging from accusations of near plagiarism to more sympathetic understanding of added creativity in layers above the original. This essay considers the definitional scope of pastiche as a foundation to its treatment as a legitimate post-modernist art form. The Jamesonian ‘blank’ and ‘blind’ pastiche where overlapping symbolism across eras or cultures renders all lost in meaning is contrasted against the ‘Hutcheonian transcontextual parody’ whereby the artist conveys precise meaning through the transplanted historical and cultural narrative. The suitability of such a definition for the Chinese context is considered in the past but also the present. Choice of artistic form reflects on the question of how best to portray cultural identity and I argue this art form has unique high-level interpretability by layering political and social comment between Western and Eastern artistic ideals, now and across time. As such, China’s modernity is painted amidst a complex maze of historical references, forms and ubiquitously recognisable imagery. In order to clarify the precise and poignant purpose of parody for modern Chinese artists, three examples will be presented in the form of two case studies and one comparative study across renditions of the same painting ‘The Last Supper’. -
COLLECTING ASIAN ART in PRAGUE: CULTURAL POLITICS and TRANSCONTINENTAL NETWORKS in 20Th-CENTURY CENTRAL EUROPE
COLLECTING ASIAN ART IN PRAGUE: CULTURAL POLITICS AND TRANSCONTINENTAL NETWORKS IN 20th-CENTURY CENTRAL EUROPE Organised by the Collection of Asian Art at the National Gallery Prague and the Austrian Science Fund’s (FWF) research project “Patterns of Transregional Trails” (P29536-G26) 17–18/6 2021 NATIONAL GALLERY PRAGUE SALM PALACE AT HRADČANSKÉ SQUARE SYMPOSIUM CONVENORS Markéta Hánová, Director of the Collection of Asian Art, National Gallery Prague Yuka Kadoi, Project Leader, Institute of Art History, University of Vienna and Austrian Science Fund (FWF) Zdenka Klimtová, Curator of the Collection of Asian Art, National Gallery Prague Simone Wille, Project Leader, Institute of Art History, University of Innsbruck and Austrian Science Fund (FWF) To attend the conference online please visit https://www.ngprague.cz/en/event/3092/collecting-asian-art-in-prague-conference PROGRAMME 17/6 2021 Day 1 WELCOME & INTRODUCTION 10.00–10.10 by Alicja Knast, Director General, National Gallery Prague PANEL 1 10.10–11.00 ENTANGLED HISTORIES OF CULTURAL POLITICS Moderator Simone Wille Markéta Hánová, National Gallery Prague THE BIRTH OF THE ASIAN ART COLLECTION AT THE NATIONAL GALLERY IN PRAGUE AND CULTURAL POLITICS IN THE TWENTIETH CENTURY A new-born Department of Oriental Art at the National Gallery in Prague (NGP), officially established by a decree of the Ministry of Education, Science and Arts on 16 November 1951, came under the programme of the centralisation of private property enforced by the new communist Czech government. Nonetheless, its conception would not have arisen without the interest in Asian art promoted by cultural politics and private collectors in the interwar period. -
Museums, Heritage, Culture
Reinwardt Academy Kavita Singh Kavita Singh The Reinwardt Academy (1976) is a faculty of the Amsterdam University of the Arts, which comprises six faculties and a total of 3,500 students. The faculty’s aim is to prepare students to Museums, become all-round professionals in the field of cultural heritage. The Bachelor’s programme, followed by some 500 students in Heritage, four years, is a Dutch-taught, skills-based programme with a practical orientation. Culture: The 18-months International Master’s Degree programme, in which some 20 students enrol annually, is fully taught in English and offers graduates a multi-faceted training, aimed at providing an academic and professional attitude towards mu- Into the seology and the rapidly changing museum and heritage fields. The graduates are being prepared for leadership and policy- making positions within heritage organizations, museums and Conflict elsewhere in the cultural sector, all over the world. From its very beginning in 1994, the Reinwardt Master Programme has been among the internationally most respected vocational trainings Museums, Heritage, Culture: Into the Conflict Zone Zone of its kind. The Reinwardt Memorial Lectures The Reinwardt Academy annually commemorates the birthday of its namesake, Caspar Reinwardt, with a public memorial lecture, held by distinguished scholars in the field of the Academy’s disciplines. Caspar Georg Carl Reinwardt (3 June, 1773 – 6 March, 1854) was a Prussian-born Dutch botanist, founder and first director of agriculture of the royal botanic garden at Bogor (Buitenzorg) on Java, Indonesia. An early receiver of honorary doctorates in philosophy and medicine, he later became professor of natural philosophy at the University of Leiden (1823 to 1845). -
Silk Roads in History by Daniel C
The Silk Roads in History by daniel c. waugh here is an endless popular fascination with cultures and peoples, about whose identities we still know too the “Silk Roads,” the historic routes of eco- little. Many of the exchanges documented by archaeological nomic and cultural exchange across Eurasia. research were surely the result of contact between various The phrase in our own time has been used as ethnic or linguistic groups over time. The reader should keep a metaphor for Central Asian oil pipelines, and these qualifications in mind in reviewing the highlights from Tit is common advertising copy for the romantic exoticism of the history which follows. expensive adventure travel. One would think that, in the cen- tury and a third since the German geographer Ferdinand von Richthofen coined the term to describe what for him was a The Beginnings quite specific route of east-west trade some 2,000 years ago, there might be some consensus as to what and when the Silk Among the most exciting archaeological discoveries of the Roads were. Yet, as the Penn Museum exhibition of Silk Road 20th century were the frozen tombs of the nomadic pastoral- artifacts demonstrates, we are still learning about that history, ists who occupied the Altai mountain region around Pazyryk and many aspects of it are subject to vigorous scholarly debate. in southern Siberia in the middle of the 1st millennium BCE. Most today would agree that Richthofen’s original concept These horsemen have been identified with the Scythians who was too limited in that he was concerned first of all about the dominated the steppes from Eastern Europe to Mongolia.