분류없음2012.10.23 10:01


http://www.philamuseum.org/collections/permanent/65633.html



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분류없음2012.10.22 19:21

Faking It

Manipulated Photography Before Photoshop

October 11, 2012–January 27, 2013





http://www.metmuseum.org/exhibitions/listings/2012/faking-it?


utm_source=homepage&utm_medium=banner&utm_campaign=fakingit

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분류없음2012.10.21 14:16

Johann Sebastian Bach

Brandenburg Concerto no.5 in D major BWV1050

Claire Guimond(flute)

Arion/Jaap ter Linden 20:39

 

 

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분류없음2012.10.19 23:58


Floris Kaayk


Born in Tiel, the Netherlands (NL), in 1982. Currently living in The Hague (NL) Floris Kaayk (1982) graduated cum laude at the animation department of the St. Joost Academy and received his Master of Fine Arts degree at the Sandberg Institute. During these studies he developed a fascination for the world of insect, evolution, technology and dark futuristic visions. These themes form the basis for, his first film, the animated nature documentary "The Order Electrus" he made in 2005.A year later Kaayk completed his second shortfilm, Metalosis Maligna (2006), a fictional documentary about a disease which happens to people with a medical implant in their bodies. Both films were rewarded with several awards. In 2010 he finished The Origin of Creatures, in which Kaayk presents a post-apocalyptic worls, with silent mutated body parts as residents. A group of fingers find an eye ball, and soon they come bundled with legs. As Industrious insects they try to build a new structure of the ground to get order in the chaos. The Origin of Creatures won 9 festival awards and was picked as the Dutch entry for the Academy Awards 2011. His latest project is called JuxtaPosis, a colorful experimental collaboration with Dutch composer Machinefabriek. JuxtaPosis is part of Showtime Networks’ Short Stories. – Floris Kaayk –


http://www.floriskaayk.com/work.html

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분류없음2012.10.14 03:52

taken by rabbityoo


I remember that month of January in Tokyo, or rather I remember the images that I filmed of the month of January in Tokyo.

They have substitued themselves for my memory. They are my memory - Chris marker, San Solei

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분류없음2012.10.14 03:48

 

 

 

Video Data Bank

 

http://www.vdb.org/

 

Video Data Bank

Founded at the School of the Art Institute of Chicago (SAIC) in 1976 at the inception of the media arts movement, the Video Data Bank (VDB) is a leading resource in the United States for video by and about contemporary artists. The VDB Collections include the work of more than 550 artists and 5,500 video art titles, 2,500+ in active distribution.

The VDB makes its Collections available to museums, galleries, educational institutions, libraries, cultural institutions and exhibitors through a national and international distribution service, and works to foster a deeper understanding of video art, and to broaden access and exposure to media art histories, through its programs and activities. These include: preservation of historically important works of video art; the perpetuation of analog and digital archives; publishing of curated programs and artists' monographs; the commissioning of essays and texts that contextualize artists' work; and an extensive range of public programs.

Operating under SAIC's not-for-profit status, the VDB is supported in part by an award from the National Endowment for the Arts, which believes that a great nation deserves great art, and the Illinois Arts Council, an agency of the state.

 

http://www.vdb.org/content/about-vdb

 

 

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분류없음2012.10.14 03:34

 

 

 

臺北市立美術館 http://www.tfam.museum/Index.aspx

 

2012台北雙年展
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분류없음2012.10.08 12:11

complete works

http://www.john-constable.org/Cottages-and-road,-East-Bergholt.html

 Display caption

Constable’s oil studies of skies show a remarkable understanding of the structure and movement of clouds. Most also give a good impression of their three-dimensional volume.
The studies vary in size. This is one of only four examples he painted on a larger format. The larger the scale the more difficult Constable found it to balance crispness of detail with speed of execution. This is why the larger cloud studies tend to be more generalised. The inscriptions on the back – ‘11 o’clock’ and ‘Noon’ – indicate that this study took him about an hour to paint.

 

 John Constable, ‘Cloud Study’ 1822

 

http://www.tate.org.uk/art/artworks/constable-cloud-study-n06065

 

 

http://www.britishmuseum.org/explore/highlights/highlight_objects/pd/j/john_constable,_a_study_of_clo.aspx

 

This sketch was probably made at Hampstead, near the house Constable rented during the summer months to escape from the smoke and congestion of London. Constable began to make regular studies of the sky during his first stay at Hampstead in 1819. In 1821, the likely date of this watercolour, this became his primary concern as an artist. He was prompted chiefly by the desire to bring greater truthfulness and variation to the series of large Stour Valley landscapes he was painting each year for the Royal Academy.

In the spring of 1821, Constable exhibited The Hay Wain. One critic made an uncomplimentary remark about the sky, and Constable set about repainting it. The studies he made cannot be traced directly to the picture, but they gave Constable personal experience of the movement and changeability of clouds. Many of his studies are inscribed in detail with the date, the time and the weather conditions. It becomes obvious that it was the days of rough or stormy weather that Constable preferred. Most of these studies are painted in oil on paper; this watercolour is perhaps an experiment, to try and introduce an even greater luminosity to the sky.

The cloud studies taken together became a kind of weather diary. More importantly, they aided Constable's main objective, to express emotion through landscape. He wrote in a letter in 1821: 'The landscape painter who does not make his skies a very material part of his composition neglects to avail himself of one of his greatest aids. It will be difficult to name a class of landscape in which the sky is not the "key note", the "standard of scale" and the chief "organ of sentiment".'

L. Stainton, British landscape watercolours (London, The British Museum Press, 1985)

 

 

 

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분류없음2012.10.07 00:17

 

 

누군가 내 그림이 성의없이 빨리 그려졌다고 말하거든,

"당신이 그림을 성의없이 급하게 본 것"이라고 말해 주어라.

 

van Gogh

 

 

2012. 10. 6. 6:01 pm. 서울, 대치동

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분류없음2012.09.26 23:44

 

 

지루한 삶의 여정, 어디로 가야 할까...

 

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