Gallery Text That Accompanies This Exhibition In
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Elements of Screenology: Toward an Archaeology of the Screen 2006
Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
OTTOMAN GREECE and TURKEY Travels with William Page and Lady Ruthven OTTOMAN GREECE and TURKEY Travels with William Page and Lady Ruthven
karen taylor fine art OTTOMAN GREECE AND TURKEY Travels with William Page and Lady Ruthven OTTOMAN GREECE AND TURKEY Travels with William Page and Lady Ruthven Front cover: William Page, Temple of Olympian Zeus, Athens. Catalogue no. 6 Back cover: William Page, Temple of Cybele, Sardis. The drawings are available for viewing by appointment Catalogue no. 12 Inside front cover: William Page, The harbour baths, Ephesus. Catalogue no. 14 Inside back cover: William Page, Thrasyllos monument from the west. Catalogue no. 7 © KAREN TAYLOR FINE ART 2017 karen taylor fine art +44 (0)20 8743 9207 +44 (0)7881 581275 [email protected] www.karentaylorfineart.com KAREN TAYLOR FINE ART I am delighted to present this recently rediscovered group of drawings by William Page, with whose work I first became familiar in the 1980s when I built up the Sotheby’s Greek and Turkish topographical sales. Little is known about Page’s life, but the freshness of his approach impressed me, as did his evident pleasure in drawing ruins. His relationship with his patron and probable pupil, Mary Hamilton Campbell, Lady Ruthven, an amateur archaeologist who appears to have taken him to Greece, was previously unknown, as was Page’s involvement with her brother William Campbell, with whom he travelled to Turkey. There is more work to be done on Page, but in the meantime I hope this catalogue will add a little to our understanding of the Enlightenment fascination with classical Greece. My own longstanding interest in the Ottoman period remains undimmed, and it has been a pleasure to revisit it. -
Colour Relationships Using Traditional, Analogue and Digital Technology
Colour Relationships Using Traditional, Analogue and Digital Technology Peter Burke Skills Victoria (TAFE)/Italy (Veneto) ISS Institute Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc MAY 2011 © ISS Institute T 03 9347 4583 Level 1 F 03 9348 1474 189 Faraday Street [email protected] Carlton Vic E AUSTRALIA 3053 W www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne Extract published on www.issinstitute.org.au © Copyright ISS Institute May 2011 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report or any links therein, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary This Fellowship study explored the use of analogue and digital technologies to create colour surfaces and sound experiences. The research focused on art and design activities that combine traditional analogue techniques (such as drawing or painting) with print and electronic media (from simple LED lighting to large-scale video projections on buildings). The Fellow’s rich and varied self-directed research was centred in Venice, Italy, with visits to France, Sweden, Scotland and the Netherlands to attend large public events such as the Biennale de Venezia and the Edinburgh Festival, and more intimate moments where one-on-one interviews were conducted with renown artists in their studios. -
SPECIALE MURA POLIGONALI La Casa Editrice E.S.S
Rivista fondata da Luciano Pasquali Anno XXIV•N. 10/11/12•Ottobre/Novembre/Dicembre 2019 Mensile Tecnico Scientifico € 4,50 E.S.S. Editorial Service System In edicola 27 dicembre 2019 Sped. Abb. Post - D.L. 353/2003 Fondazione Dià Cultura (conv. In L. 27/02/2004 n.46) art.1 comma 1, Aut. N.C/RM/036/2010 SPECIALE MURA POLIGONALI La casa editrice E.S.S. Editorial Service System Srl e la Fondazione Dià Cultura presentano: Trame di storia Metodi e strumenti dellʼarcheologia sperimentale Archeofest 2017 a cura di Massimo Massussi, Sonia Tucci, Romina Laurito 17x24 cm, 408 pp., 25.00 euro ISBN 978-88-8444-194-2 1 2 Insieme per l’Archeologia Forma Urbis Media partner della Fondazione Dià Cultura. La Fondazione Dià Cultura collabora con System Graphic Srl alla realizzazione di Forma Urbis, di cui cura dal 2013 il piano editoriale, i contenuti scientifici e l’impianto grafico. Fondata nel 1995 con l’intento di far conoscere la Roma sotterranea e il mondo romano monumentale a un pubblico ampio, nel corso degli anni la rivista ha ampliato il suo piano editoriale ed è diventata un punto di riferimento anche per gli specialisti. www.formavrbis.com [email protected] [email protected] Fondazione Dià Cultura Siaed S.p.A. La Fondazione Dià Cultura realizza attività culturali e È l’azienda informatica che ha fondato e sostiene tutti i progetti di valorizzazione (tra cui RomArché – Il Salone progetti e le attività della Fondazione Dià Cultura. dell’Editoria Archeologica) con l’obiettivo di connettere Nata nel 1977, la Siaed pensa, sviluppa e realizza saperi e storie del passato al dibattito culturale soluzioni di gestione e processo inerenti il trasferimento contemporaneo. -
Greece • Crete • Turkey May 28 - June 22, 2021
GREECE • CRETE • TURKEY MAY 28 - JUNE 22, 2021 Tour Hosts: Dr. Scott Moore Dr. Jason Whitlark organized by GREECE - CRETE - TURKEY / May 28 - June 22, 2021 May 31 Mon ATHENS - CORINTH CANAL - CORINTH – ACROCORINTH - NAFPLION At 8:30a.m. depart from Athens and drive along the coastal highway of Saronic Gulf. Arrive at the Corinth Canal for a brief stop and then continue on to the Acropolis of Corinth. Acro-corinth is the citadel of Corinth. It is situated to the southwest of the ancient city and rises to an elevation of 1883 ft. [574 m.]. Today it is surrounded by walls that are about 1.85 mi. [3 km.] long. The foundations of the fortifications are ancient—going back to the Hellenistic Period. The current walls were built and rebuilt by the Byzantines, Franks, Venetians, and Ottoman Turks. Climb up and visit the fortress. Then proceed to the Ancient city of Corinth. It was to this megalopolis where the apostle Paul came and worked, established a thriving church, subsequently sending two of his epistles now part of the New Testament. Here, we see all of the sites associated with his ministry: the Agora, the Temple of Apollo, the Roman Odeon, the Bema and Gallio’s Seat. The small local archaeological museum here is an absolute must! In Romans 16:23 Paul mentions his friend Erastus and • • we will see an inscription to him at the site. In the afternoon we will drive to GREECE CRETE TURKEY Nafplion for check-in at hotel followed by dinner and overnight. (B,D) MAY 28 - JUNE 22, 2021 June 1 Tue EPIDAURAUS - MYCENAE - NAFPLION Morning visit to Mycenae where we see the remains of the prehistoric citadel Parthenon, fortified with the Cyclopean Walls, the Lionesses’ Gate, the remains of the Athens Mycenaean Palace and the Tomb of King Agamemnon in which we will actually enter. -
With Archaeologist Kathleen Lynch
THE LEGACY OF Ancient Greece October 13-25, 2021 (13 days | 16 guests) with archaeologist Kathleen Lynch Delphi © Runner1928 Archaeology-focused tours for the curious to the connoisseur Archaeological Institute of America xperience the glories of Greece, from the Bronze Age to the Classical era and beyond, amid the variety of springtime landscapes of the mainland Lecturer & Host and the Peloponnese peninsula. This is a superb opportunity to ignite, Kathleen Lynch Eor reignite, your passion for the wonders of Greek archaeology, art, and ancient is Professor history and to witness how integral mythology, religion, drama, and literature of Classics at the University are to their understanding. This well-paced tour, from city to mountains to of Cincinnati seaside, spends a total of four nights in the modern yet historic capital, Athens; and a classical two nights in the charming port town of Nafplion; one night in Dimitsana, archaeologist with a medieval mountain village; two nights in Olympia, home of the original a focus on ancient Olympic Games; and two nights in the mountain resort town of Arachova, Greek ceramics. She earned her near Delphi. Ph.D. from the Highlights include: University of Virginia, and has worked on archaeological projects at sites in • SIX UNESCO World Heritage Sites: Greece (Athenian Agora, Olynthos, ˚ Athens’ Acropolis, with its stunning Parthenon and Erechtheion Corinth, Pylos), Turkey (Gordion, temples, plus the nearby Acropolis Museum; Troy), Italy (Morgantina), and Albania (Apollonia). Kathleen’s research considers ˚ the greatest ancient oracle, Delphi, located in a spectacular what ancient ceramics can tell us mountain setting; about their use and users. -
Gibson + Recoder: Powers of Resolution Cinema Arts Essays / 1
GIBSON + RECODER: POWERS OF RESOLUTION CINEMA ARTS ESSAYS / 1 Gibson + Recoder: Powers of Resolution is part of the project Lightplay organized by Cinema Arts at the Exploratorium. This project is supported in part by an award from the National Endowment for the Arts. Powers of Resolution is an exhibition that resolves upon the optical properties of both natural and artificial Obscurus Projectum analog film objects encompasses the whimsical and the melancholy, About the Artists light. Natural light in Obscurus Projectum is the incandescent light reflected from the objective field, a tiny the elegant and the (pleasingly) clunky, showcasing the special Sandra Gibson and Luis Recoder stage the scene of film as orphaned By Jonathan Walley fraction of which makes its way into a dark theater, reconstituting the rays in the form of a moving penumbra qualities of analog, mechanical, photochemical, celluloid film. One object through the temporal labor of a moving image installation. on a large screen. Artificial light in Illuminatoria is the refracted light that ricochets from the transparent of those special qualities is that analog cameras and projectors Collaborators since 2000, Gibson and Recoder unite the rich medium of various rotating glass elements, recasting the play of light into an abstract moving canvas on the open up to let us in, figuratively at least. A malfunctioning digital traditions of experimental film, particularly its structuralist and back side of a translucent portal. The dark chambers enclosing the two installations disclose the cinematic camera will not reveal what ails it to the curious user who opens it materialist strands, and the multimodal sensibility of expanded precondition for the resolving power of light. -
Grand Tour E Turismo a Venezia 1.1
INTRODUZIONE p. 3 1 PREVISIONI E VISIONI: GRAND TOUR E TURISMO A VENEZIA 1.1. Viaggi narrati e viaggi ritratti: il paesaggio tra scrittura e immagini p. 15 1.2 . Il desiderio di possesso: viaggiatori-artisti e viaggiatori-clienti p. 33 1.3. Il faticoso esercizio dello sguardo: attese, invadenze e frustrazioni p. 47 2 IL GRAN TEATRO DI VENEZIA: IL PAESAGGIO VENEZIANO ATTRAVERSO LE ARTI DELLA RAPPRESENTAZIONE 2.1. Rimandi, incroci e contaminazioni: nascita dell’iconografia fotografica p. 63 2.2 . Fotografia e mito: il trionfo delle superfici p. 79 2.3. Lo sguardo tradotto: dall’immagine a stampa alla fotografia p. 91 3 SGUARDI ESTETICI E SGUARDI RAZIONALI: IL PAESAGGIO VENEZIANO NELLA PERCEZIONE DEL XIX SECOLO 3.1 . Fotografia e paesaggio: nascita di un nuovo sguardo artistico p. 109 3.2 . Cartografia, letteratura e fotografia: tra paesaggi interiori e paesaggi topografici 3.2.1. Idealità e razionalità nel paesaggio veneziano: storia di una collaborazione p. 125 3.2.2. La fotografia d’atelier: protagonisti e caratteri principali p. 149 4 TRADIZIONE E INNOVAZIONE NELLA FOTOGRAFIA DI PAESAGGIO: TEMPO E FORMA DI VENEZIA 4.1. Sguardi assoluti e sguardi relativi: la fotografia e la sua epoca p. 183 4.2 . Il tempo sospeso: lo sguardo tra rimando e contemplazione p. 201 4.2.1. Proiezioni personali e proiezioni collettive p. 221 4.2.2. Venezia città artificiale: stanze e palcoscenici p. 243 4.3. La fotografia tra itinerari artistici e urbani: dall’accumulo all’ordine p. 265 4.4. Venezia e il bon savage : un rapporto letto attraverso la fotografia p. -
Read the FOCUS ON
The Focus on is a thematic The Science study developed around one or more art objects from the Museum’s collections, of an opportunity to view their Vision history from a different perspective. Photography and optical instruments The Science of Vision opens at the time of Maximilian of Habsburg in concomitance with the temporary exhibition Marcello Dudovich. Fotografia tra arte e passione, at the Scuderie del Castello. The Focus on exhibition is included in the Miramare Castle entrance ticket. Next appointment with Focus On RAPHAEL AND THE 19th CENTURY A domesticated Renaissance in the Collection of Maximilian of Habsburg Project and direction: Conservation Museo Storico MIRAMARE CASTLE Andreina Contessa consultant: e il Parco del Castello di Miramare Curators: Nicoletta Buttazzoni Viale Miramare – 34151 Trieste Ex Projects Room Andreina Contessa, Promotion Tel. +39 040 224143 Alice Cavinato, Fabio Tonzar and communication: Email: [email protected] 2 June 2020 Research: Isabella Franco, PEC: [email protected] Claudio Barberi, Marta Nardin, www.miramare.beniculturali.it Alice Cavinato, Fabio Tonzar, Gianna Tinacci Daniela Crasso Production and graphic design: Art&Grafica, Exhibition design: Carlo Manfredi Grafiche Filacorda Photo: Multimedia: MW Studio Massimo Ambrosi, di Matteo Weber @museomiramare Fabio Tonzar Diorama photograph for the megalethoscope. Seagulls Room, Megalethoscope. first floor. Photograph by G. Sebastianutti. After 1872. After 1862. A new vision The Megalethoscope: of reality an instrument for a new vision Around the mid-nineteenth century, when photographic techniques were The megalethoscope is a viewer designed to display printed photographs being fine-tuned to offer a truer, more objective rendering of reality, in- with various light effects devised by optician Carlo Ponti in 1860. -
May 18-30, 2022 (13 Days | 16 Guests) with Archaeologist Gerry Schaus
THE LEGACY OF Ancient Greece May 18-30, 2022 (13 days | 16 guests) with archaeologist Gerry Schaus Delphi © Runner1928 Archaeology-focused tours for the curious to the connoisseur xperience the glories of Greece, from the Bronze Age to the Classical era Archaeological Institute of America and beyond, amid the variety of springtime landscapes of the mainland Lecturer & Host and the Peloponnese peninsula. This is a superb opportunity to ignite, Eor reignite, your passion for the wonders of Greek archaeology, art, and ancient Gerald Schaus (PhD, history and to witness how integral mythology, religion, drama, and literature are University of Pennsylvania) is to their understanding. This well-paced tour, from city to mountains to seaside, Professor Emeritus, spends a total of four nights in the modern yet historic capital, Athens; two nights Archaeology and in the charming port town of Nafplion; one night in Dimitsana, a medieval Heritage Studies, mountain village; two nights in Olympia, home of the original Olympic Games; Wilfrid Laurier and two nights in the mountain resort town of Arachova, near Delphi. University (Waterloo, Ontario) and Highlights include: former President of the Canadian • SIX UNESCO World Heritage Sites: Institute in Greece. He is a classical ˚ Athens’ Acropolis, with its stunning Parthenon and Erechtheion archaeologist specializing in ceramics, art, temples, plus the nearby Acropolis Museum; and iconography of the Greek Archaic period. Gerry’s excavation experience ˚ the greatest ancient oracle, Delphi, located in a spectacular over the past 45 years includes sites in mountain setting; Greece (most recently Gournia, Crete), ˚ Olympia, where the Olympic Games were held for 1,000 years, Italy, Libya, and Romania, dating from starting in 776 B.C.; the Neolithic to Byzantine periods. -
Greek Architecture
STATE OF THE DISCIPLINE Greek Architecture BARBARA A. BARLETTA Abstract however, that the list of works cited, which is provided The study of Greek architecture grew out of the me- at the end of this article, will assist the reader in locat- ticulous recording of buildings and their components by ing those contributions. 18th- and 19th-century investigators. Although the aims have changed, with an increasing emphasis on historical history of the discipline and social context, the basic methods of documentation remain the same. This essay traces the history of the disci- The study of Greek architecture has evolved consid- pline as a background to modern approaches, geographic erably from its origins in the 18th century, but some emphases, and new perspectives. It surveys the work of of the basic principles have remained the same. It was archaeological schools and conference bodies, followed initiated by architects seeking to preserve a record of by general studies of architecture and its components as monuments of the past and to use them as a source of well as individual building forms and complexes. A focus is placed on recent literature, from 1980 to the present, “good taste” in their own times. They were already fa- and on books rather than articles.* miliar with buildings in Rome, but by the 18th century, their interests had shifted to Greece. Stuart and Revett state the reasons for this shift in their 1748 applica- introduction tion for financing for what would be the first project Many contributions have been made to the field sponsored by the Society of Dilettanti. -
Focus on Photography, Art History, the Camera Obscura
Art History The Camera Obscura One of the most interesting facts about photography is that cameras and lenses were invented hundreds of years before photography itself was invented. The first cameras were called camera obscuras. They were designed around the phenomenon of pinholes, which can project upside down and backward images onto a surface. Because light travels in a straight line, when light rays are reflected from a subject or scene through a small hole in thin material, they cross and reform on another surface as an upside-down projected image. This law of optics was known to Chinese scholars as long ago as the Fig. 1–11. Look at the path of the light through the camera obscura and the fifth century BCE. Teaching Tip position of the mirror. How do they An easy camera obscura can These first cameras were used as combine to project an image? be constructed from a soda drawing aids for Western artists in George Eastman House, An Early Nineteenth-Century can. Open the can, drain the the sixteenth century. The image Portable Camera Obscura. contents, wash, and let dry. that an artist wanted to recreate With a small nail, make a small hole in the bottom of was projected onto canvas or paper pinholes in camera obscuras, produc- the can. Cover the opening and the artist could then trace it, ing sharper and brighter images. on the top of the can with achieving great realism and accurate Mirrors were placed in the camera frosted transparent tape. perspective. obscura to project the upside-down Hold the can up to a bright setting and look at the taped Eventually, lenses from telescopes image right side up onto a ground area to see the upside- were modified and adapted in the glass, similar to the workings of down, reversed image pro- early seventeenth century to replace today’s cameras.