News2010. 12. 16. 03:44
Posted by rabbityoo
Best of Best2010. 12. 16. 03:41

Lee Ambrozy

Gu Wenda, Zhou Yi, “West Heavens”

Gu Wenda, Mythos Of Lost Dynasties - Modern Meaning of Totem and Taboo, 1984–86, ink on rice paper, silk boarder scrolls, 9 x 23’.

Ink traditions may lay fallow in the contemporary art world, but consecutive openings of two retrospectives by Gu Wenda (at Yan Huang Art Museum in Beijing, of early works in a literati style, and at He Xiangning Art Museum in Shenzhen, of experimental ink on paper), plus a solo exhibition at Shenzhen’s OCT Contemporary Art Terminal of work informed by literati traditions (lots of human hair––either braided or ground into fine powder resembling ink), flirted with an ink revival. The exhibitions were followed by a symposium on experimental ink painting, held at the University of Chicago’s new center in Beijing and organized by Wu Hung, where Gu appeared one step ahead of scholars and critics alike. Few people versed in the literati tradition concern themselves with the “contemporary” art world, a schism that allows works like Gu’s Pseudo: Modern Meaning of Totem and Taboo, 1984–86, to appear timeless, even new, against a contemporary art landscape.

Zhou Yi’s first solo exhibition in his hometown of Beijing, mounted at C5 Art after Zhou had returned from more than a decade in the US and a thorough indoctrination in American art schooling, represents a new kind of Chinese artist: the kind no longer working overseas in intellectual exile, but returning home to thrive. Zhou is a “foreign” local. His aesthetic is governed by rules rather than a visual value system, and his colorful works are informed by his knowledge of color theory and rooted in play—hence an installation/creation scene including a mural and filled with crumpled painted paper, stackable erasers, and strange shapes made from dried acrylic paint. Zhou’s form of abstraction is categorically ambiguous but fascinating to behold.

Advancing the current China-India conversation, “West Heavens” (at various venues in Shanghai) introduced Indian artists to the Chinese art landscape, bursting through the reigning self-reflexive mentality that tends to see China as the axis of the non-Western art world. “West Heavens” included Nilima Sheikh and Raqs Media Collective as well as Chinese artists such as Qiu Zhijie, and was accompanied by a lecture and publication series. As the first major show to introduce arts from greater Asia, it exceeded an outdated China/West dichotomy and explored common issues. Significantly, half of the works occupied a former dormitory for British monks in an old Shanghai concession neighborhood near the Bund, forming a new postimperialist conversation on the ruins of a former ideological fortress.

Lee Ambrozy is editor of artforum.com.cn. Her first major work of translation, Ai Weiwei’s Blog, is forthcoming from MIT Press.


Posted by rabbityoo
News2010. 12. 14. 03:50
Posted by rabbityoo
Best of Best2010. 12. 14. 03:44

2010 artforum의 best!!를 살펴보자. http://www.artforum.com/picks/section=bestofyear#picks26930

흥미로운건 미술계에 부는 film making의 강세!

Travis Jeppesen은 다음 세 사람의 작업들을 베스트로 꼽았다.

James Benning, Keren Cytter, Karla Black

Keren Cytter, Four Seasons, 2009, still from a color video, 12 minutes.

For his performance at this year’s Berlin International Film Festival, James Benning, California’s reigning auteur of landscape cinema, used his HD camera to rephotograph and reframe all the portraits of his friends and family depicted in his seminal 1991 road-trip film North on Evers, then slowed them down and projected them onto the large screen of the Arsenale Cinema. Benning then read aloud the original diaristic text that had appeared, in handwritten scrawl, across the bottom of the screen in the original film. The overall effect could easily have been one of weepy-eyed nostalgia, had it not been for the expert hands of an artist whose sustained dialogue with his own work continues to intrigue a loyal audience of followers while eradicating the boundaries between his own art, politics, and private life.

In terms of museum shows this summer, Stockholm was the place to be, with the stellar traveling Ed Ruscha painting retrospective occupying the ground floor of the Moderna Museet, and Keren Cytter down in the basement. If anyone had had any doubts about Cytter’s genius, it took only this labyrinthine “best-of” maze of her films, forming a precarious echo chamber, to bring us round to her humorous existentialism and knack for the multitudinous absurdities inherent in quotidian banter.

Despite my aversion to superlatives, Karla Black’s current outing at Capitain Petzel in Berlin suggests that she is the most interesting sculptor of her generation. Her sensitivity to the tactility of “soft” materials such as cellophane, paint powder, and sugar paper is perhaps rivaled only by her sense of rhythm; both are equal collaborators in this remarkable symphony of forms that gives me great hope for 2011, when Black will take on the Scottish pavilion in Venice.

Travis Jeppesen is a Berlin-based writer whose latest book, Dicklung & Others (BLATT Books, 2009), is a collection of poetry.


Posted by rabbityoo
News2010. 12. 14. 03:23
 

 

이렇게 강렬한 사진을 본 적이 없다.

자기의 얼굴을 성형하는 퍼포먼스를 보여주는 프랑스의 오를랑의 작품도, 벌거벗은 여인들이 즐비하게 나온

바네사 크로포트의 작품에서도 느끼지 못했던 강렬한 느낌을, 바로 이 사진, <가마이타치>에서 느낄 수 있었다.

 

잔뜩 웅크린 몸. 그건 보는 사람을 긴장시킨다.

거리에서 아주 납작하게 땅에 붙어서 사람들의 몸짓과는 아주 다르게, 거의 기어가는 수준으로 삶을 영위해나가는 사람들

시장도 아닌 대로변 구석에서 마치 식물의 한 뿌리처럼 옹크리고 앉아 야채를 다듬는 할머니들의 뒷모습.

 

마치 날개없는 새가 먼 곳을 바라보는 것처럼 느껴지는 안타까움. 슬픔.

김기덕의 영화에서 영영 돌아오지 않는 미군 남편을 기다리는 미친 여자처럼

슬픔과 분노가 공존하는 몸짓.

 

일본 전위예술의 대가 히지카타Hijikata와 사진가 호소에 에이코Hosoe Eiko의 작품이다.

1959년 5월 24일, 안보조약개정을 둘러싼 긴장감이 증폭되던 즈음, 히지카타는

미시마 유키오의 소설 <긴지키>을 각색한 퍼포먼스를 무대에 올렸다.

그 무대 위에는 동성애, 소아성애, 성도착증 등 성에 대한 모든 금기가 담겨있었다.

일본 사회에 엄청난 파문을 몰고왔던 이 작품 이후, 히지카타는 죽음과 고통, 공포와

폭력등을 표현하는 이른바 '어둠의 춤(안코쿠부토)'을 추기 시작하였다.

이를 지켜보았던 사진가 호소에 에이코와 함께 그는 1965년부터 68년까지

도호쿠 지방을 여행하며 사진 연작 <가마이타치>를 작업했다.

 

Posted by rabbityoo
Best of Best2010. 12. 8. 19:25
Posted by rabbityoo
Best of Best2010. 12. 8. 11:08

Rolling Stone's Best Albums of 2010

Kanye's 'Fantasy' conquered reality; the Black Keys locked into a groove; Arcade Fire burned down the suburbs

 

18. Kings of Leon
Come Around Sundown
RCA

The best arena-rock album of the year. The backwoods doo-wop flair of "Mary" and country-U2 yearning in "Back Down South" catch the Kings at the perfect midpoint between pure pop and down-home. And the staccato "End," Sundown's first song, sounds like a new beginning.

17. Beach House
Teen Dream
Sub Pop

Victoria Legrand's sexy vocals are hazy and androgynous, like a stoned late-night heart-to-heart in which no one's sure who is sleeping where. Beach House sharpened their sound and hooks on their third album — what's surprising is that it only made their music more mysterious, more magical.

16. Kid Rock
Born Free
Atlantic

Mr. Bawitdaba finally cuts the Bob Seger record of his dreams. This Rick Rubin-produced classic-rock throwdown is pure Detroit drive-time 1975: From hard-nosed arena anthems to winsome country rock to blue-collar boogie, Rock shows a versatility — and depth — no one thought possible back in his Bullgod youth.

Rolling Stone's Best of 2010: Albums, Singles, Movies and more

Next: Albums 15-11

 

5. Jamey Johnson
The Guitar Song
Mercury

1: Kanye West's My Beautiful Dark Twisted Fantasy
What does Jamey Johnson keep under all of that hair? Songs. Nashville's gruffest and grittiest star turns out to be its most reliable traditionalist, a Music Row pro who can write a song for every emotional season. Johnson pulled out a whole slew of them — 25, clocking in north of 105 minutes — for his double-disc fourth album: acoustic confessions and rugged boogie blues, big weepers and grim reapers, cover tunes and novelty ditties, not to mention "California Riots" and "Playing the Part," a pair of fiercely funny, unrepentantly redneck swipes at the frou-frou blue states.

4. Arcade Fire
The Suburbs
Merge

Arcade Fire don't do anything small — so leave it to the Montreal collective to make an album of vast, orchestral rock that locates the battle for the human soul amid big houses and manicured lawns. The Suburbs is the band's most adventurous album yet: See the psychotic speed strings on "Empty Room," the Crazy Horse rush of "Month of May," the synth-pop disco of "Sprawl II (Mountains Beyond Mountains)." Win Butler and his wife, Régine Chassagne, sing about suburban boredom, fear of change and wanting to have a kid of their own — always scaling their intimate confessions to arena-rock levels and finding beauty wherever they look.

3. Elton John and Leon Russell
The Union
Decca

Two rock giants, one largely forgotten, rekindle a friendship and make music that ranks with their best. Producer T Bone Burnett delivers his most spectacular production in memory, filled with shining steel guitar, chortling brass and gospel-time choirs. Ultimately, it's Russell's voice that shines brightest, drawing on the entire history of American popular music in its canny, vulnerable, knowing croon.

2. The Black Keys
Brothers
Nonesuch

The duo boil it down on their best record yet: vivid tunes stripped bare and rubbed raw, with hot splashes of color and hooks popping through like compound fractures. "Howlin' for You" smears gnarly blues over a glam beat cribbed from Gary Glitter's "Rock and Roll Part 2," while a cover of Jerry Butler's broken-hearted hit "Never Give You Up" takes Dan Auerbach's falsetto-flashing soulman persona to the next level. It's rock minimalism pushed to the max.

1. Kanye West
My Beautiful Dark Twisted Fantasy
Roc-A-Fella/Def Jam

With My Beautiful Dark Twisted Fantasy, Kanye West made music as sprawlingly messy as his life. When he wasn't feuding with Matt Lauer or bugging out on Twitter, Kanye was building hip-hop epics, songs full of the kind of grandiose gestures that only the foolish attempt and only the wildly talented pull off. The more he piled on — string sections, Elton John piano solos, vocoder freakouts, Bon Iver cameos, King Crimson and Rick James samples — the better the music got. Never has Kanye rhymed so hilariously ("Have you ever had sex with a pharaoh?/I put the pussy in a sarcophagus") or been so insightful about his relationship-torpedoing faults. From the bracing prog-rock of "Power" to the spooky grandeur of "Runaway" to the shape-shifting "Hell of a Life," he made all other music seem dimmer and duller. Is the album dark? Sure. Twisted? Of course. But above all, it's beautiful.

Rolling Stone's Best of 2010: Albums, Singles, Movies and more

Next: The Complete List, Albums 1-30


Posted by rabbityoo
Art Theory2010. 11. 23. 01:21
  •  보들레르, 19세기 파리. '우울'

    우울은 항구적인 파국에 부응하는 감정이다.
    우울은 현재의 순간과 방금 체험한 순간 사이에 수세기를 끌어넣는다. 지칠 줄 모르고 '고대성'을 만들어내는 것은
    이 우울이다.

    이 '우울'은 들뢰즈의 '감응'인가? 떨림, 혹은 진동인가? 

    세계의 흐름을 중단시키는 것 - 이것이 보들레르의 가장 깊은 열망이다. 여호수아의 열망. 이 열망으로부터
    폭력성, 초조감과 분노가 생겨난다. 마찬가지로 바로 이 열망으로부터 세계의 심장부를 꿰뚫기 위한, 또는 자신의
    노래로 세계를 잠재우기 위한 항상 새로운 시도들이 솟아난다. <중앙공원> 269



     

Posted by rabbityoo
Music2010. 11. 18. 16:11

 

  Robert Schumann,[1] sometimes known as Robert Alexander Schumann,[2] (8 June 1810 – 29 July 1856) was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era.

Schumann's intention was to pursue a career as a virtuoso pianist, having been assured by his teacher, Friedrich Wieck, that he could become the finest pianist in Europe after only a few years of study with him. However, when a hand injury prevented those hopes from being realized, he decided to focus his musical energies on composition.

Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication that he jointly founded.

In 1840, after a long and acrimonious legal battle with his piano instructor (Wieck), Schumann married Wieck's daughter, pianist Clara Wieck, who also composed music and had a considerable concert career.

For the last two years of his life, after an attempted suicide, Robert Schumann was confined to a mental institution at his own request.



1. 명반

Robert Schumann

Piano Quintet in Eb major op.44

Sviatoslav Richter(piano)

Borodin Quartet 1985 live 29:47


http://www.mp3rocket.com/mp3/-1_00/Robert-Schumann-Piano-Quintet-Op-44-III-Scherzo-Molto-vivace.htm

http://www.youtube.com/watch?v=8jY3YeChYI8 







2. 명반

op. 47 꼭 들어보기!

Posted by rabbityoo
News2010. 11. 12. 00:28
http://char.txa.cornell.edu/language/element/color/color.htm

Color, Value and Hue

Color is one of the most powerful of elements. It has tremendous expressive qualities. Understanding the uses of color is crucial to effective composition in design and the fine arts.

The word color is the general term which applies to the whole subject - red, orange, yellow, green, blue, violet, black and white and all possible combinations thereof. Hue is the correct word to use to refer to just the pure spectrum colors. Any given color can be described in terms of its value and hue. In additon, the various physical phenomena and pyschological effects combine to affect our perceptions of a color.

Value and Hue


Value is defined as the relative lightness or darkness of a color. It is an important tool for the designer/artist, in the way that it defines form and creates spatial illusions. Contrast of value separates objects in space, while gradation of value suggests mass and contour of a contiguous surface. In the drawing on the right, value contrast separates the artichoke from the background, and the separate leaves from one another, while gradation suggests the curves of leave surfaces and of the whole form.


Hue also has value. When contrasting hues are made similar in value, the spatial effects are flattened out. The pair of images on the left demonstrate this. In the color image of the fashion model the coat draws our attention through contrast of hue although the skin tones blend with the background(remember the object of the image is to sell the coat, not the model). However, it also seems to be softly blending with a background that seems quite close, and is very similar to the coat in value. The face tends to blend with the background which is similar in both hue and value. In the black and white version, however, the coat virtually disappears, since only value, not hue, are available to distinguish it, and the values are quite similar. However, the strong value contrast of the eyes and hat draw our attention to the face, even though the contours of the face seem to melt into the background. Therefore the black and white version emphasizes the model more than the garment.

To summarize: If values are close, shapes will seem to flatten out, and seem closely connected in space; none will stand out from the others. If values contrast, shapes will appear to separate in space and some will stand out from the others. This works whether the colors are just black, white and gray, or whether hues are involved.


Hue is the term for the pure spectrum colors commonly referred to by the "color names" - red, orange, yellow, blue, green violet - which appear in the hue circle or rainbow. Theoretically all hues can be mixed from three basic hues, known as primaries. When pigment primaries are all mixed together, the theoretical result is black; Therefore pigment mixture is sometimes referred to as subtractive mixture.

The primary colors consist of three hues from which we can theoretically mix all other hues. There are two commonly used definitions of primary colors:



Painters Primaries - red, blue, yellow: This traditional definition of primaries does not in fact mix to clear greens or purples; it is based on 19th century theories.




Printers Primaries - magenta, cyan (turquoise), yellow: This definition of primaries mixes to clear colors across the entire spectrum. It is used as the basis for color printing. The computer screen probably does not give you a true turquoise--the color should be a blue-green-- because of differences between color mixture in pigment and color mixture in light.

In mixing colors hues can be desaturated (reduced in purity, weakened) in one of three ways: mix with white to lighten the value (tint), mix with black to darken the value (shade), or mix with gray or the complement to either lighten or darken the value ( tone).



Light Primaries - red, blue, green. This definition is active when colored light is mixed, as on your computer screen, or when theatrical spotlights overlap on a white wall. Its effects are less familiar than pigment mixture to most people. If all three primaries are mixed, the theoretical result is white light. Therefore Light mixture is sometimes referred to as additive mixture.

Your computer screen mixes color as light, and therefore follows additive color mixture rules. This means that the depiction of subractive mixture shown here is less than ideal, particularly for the cyan (turquoise) and magenta of the printers primaries.


If you want to see some amazing animations of hue and value relationships, try going to this link, which will also take you to a good descriptive explanation of hues and primaries.

There are many systems for classifying hue, developed so that researchers can measure and define color qualities, and so that designers, industry, and marketing people can communicate color ideas over distance. One example is the Munsell system; another is the Pantone System. However, today the communication of precise color information is mainly done digitally, using spectrophotometers to identify and transmit color information. These digital systems use additive (light) mixture rather than the subtractive (pigment or dye) mixture used in systems like Munsell and Pantone.

Complements are colors that are opposite one another on the hue circle. When complements are mixed with one another in paint, the resuting muted tones desaturate or dull the hues. Such opposite pairs can also be compared in terms of their relative warmth and coolness. Warm-cool contrast of hue can cause images to appear to advance or recede. In this 15th century painting, for example, the warm reds of the man's doublet and his son's cap reinforce the cues of placement to make these figures seem very close. On the other hand, the cool tones of the sea and sky suggest great distance.




Afterimage is another, more specific definition of complements consisting of a stimulus color and its physical opposite generated in the eye by exposure to the stimulus color. Afterimage colors tend to make each other appear more intense, and have vibrating boundaries.


Color Illusions

Some of the effects of color occur only in the eye and brain of the viewer, and are not physical properties of light waves or pigment. These illusions, however, are very powerful, and have enormous impact on our responses to color.


Color Proportion refers to the impact of the relative quantity of a given hue or value used in color compositions. In order to achieve over-all unity, and/or create emphasis, one should make a clear decision as to which colors should be assigned the largest and least areas. The color proportion choice will also affect the impact of the color composition. This can be seen in the set of panels shown here. The very same colors are used in each panel. Yet depending on the choice of dominant color, the feeling of the composition, and even the appearance of each color, is altered.

Simultaneous Contrast is the phenomenon which occurs when a color appears to change when seen against a different background. A set of principles were first laid out in the 19th century by Chevreul, a dye master for the Gobelin tapestry works, who became an important color theoretician. His principles state that changes in the hue, value, saturation (purity of hue), and area of a background color will alter the appearance of the selected color. The print shown here is made up of wavy bands of colors. Some of the bands extend from the center panel to intrude into areas of contrasting hue in the side panels. These extended bands are in fact the same hue and value throughout, but appear to change from left to right.

If you are interested in further information about how our visual response to color may vary, see this section on optical effects in color.



Optical mixture is the phenomenon which occurs when small particles of different colors are mixed in the eye; this type of mixture differs from pigment mixture in that it is based on light primaries. However,optical mixture differs from light mixture in which the primaries will mix to white, and from pigment mixture, in which the primaries mix to black. In optical mixture there is an averaging of hue and value, resulting in grey. Optical mixture is experienced when observing many textiles, such as this example, a detail from a handwoven tapestry. It can also be seen in natural objects, color television, and printed color pictures.

For an animated demonstration of optical mixture, try this link. Click on the small animated icon in the upper right hand corner.

Psychological Implications of Color

Market researchers have done extensive studies exploring the emotional responses of people to color. Some of these responses seem to be powerful and fairly universal. However, much of this information is culturally biased. We know that cultural traditions endow colors with powerful meanings that can differ greatly from place to place. For example, in Europe and the United States, black is the color of mourning. In many tropical countries and in East Asia white is the color of death. On the other hand, white is the color worn by American brides, while brides in much of Asia wear red. Based on research done in the United States and Europe,we know that the following associations are generally found to hold in Euro-American societies:


Red is associated with blood, and with feelings that are energetic, exciting, passionate or erotic. Most colors carry both positive and negative implications. The downside of red evokes aggressive feelings, suggesting anger or violence.




  • Orange is the color of flesh, or the friendly warmth of the hearth fire. The positive implications of this color suggest approachability, informality. The negative side might imply accessibility to the point of suggesting that anyone can approach-- a lack of discrimination or quality.


    Yellow is the color of sunshine. This color is optimistic, upbeat, modern. The energy of yellow can become overwhelming. Therefore yellow is not a color that tends to dominate fashion for long periods of time.


    Green In its positive mode, green suggests nature (plant life, forests), life, stability, restfulness, naturalness. On the other hand, green in some tones or certain contexts (such as green skin) might instead suggest decay (fungus, mold), toxicity, artificiality.



    Blue suggests coolness, distance, spirituality, or perhaps reserved elegance. Some shade of blue is flattering to almost anyone. In its negative mode

  • Posted by rabbityoo
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