Edvard Munch (1863-1944) souvent plus considéré comme un artiste du XIXème siècle était en fait résolument « moderne », c’est la thèse que défend l’exposition que lui consacre le Centre Pompidou, à travers près de cent quarante œuvres, dont une soixantaine de peintures, cinquante photographies en tirages d’époque, une trentaine d’œuvres sur papier, des films et l’une des rares sculptures de l’artiste. Son expérience de la photographie, du cinéma, ses lectures de la presse illustrée ou encore ses travaux pour le théâtre ont en effet profondément inspiré un ensemble d’œuvres à voir évidemment.. mais plus d’un point de vue historico/culturel que d’un point de vue sensoriel…
The best books of 2011 were about China, Congo, Afghanistan, Charles Dickens, Vincent van Gogh, the “Flora Delanica”, Jerusalem, Mumbai’s dance bars, quantum physics, sugar, orgasms, blue nights, two moons and other people’s money
Martin Boyce, the artist who transforms gallery spaces into modernist urban landscapes, has won the 2011 Turner Prize.
Boyce’s sculptural installations include park benches, bins and scattered leaves, fashioned from industrial materials. He was the bookmakers’ favourite to win the £25,000 prize and the best-known artist on the shortlist, having represented Scotland at the 2009 Venice Biennale.
He is also the third Scottish winner in as many years – Susan Philipsz, a fellow Glasgwegian, won in 2010; Richard Wright, who works out of a studio in the same building as Boyce, was the winner in 2009.
This enlightening exhibition takes us on a tour through the forests and landscapes of German Romanticism.
For much of the late 18th and early 19th centuries – the age of Romanticism, as it has come to be known – Germany was a troubled and fractured place. Not yet a nation, but seething with aspirations to become one, its territories had long been a battleground for the great powers of Europe.
FRANKFURT. The internationally renowned German artist Thomas Demand (born in Munich in 1964) will realize a site-specific room-spanning work in the Städel Museum’s historical Metzler Hall in the context of the institution’s structural and thematic extension. The installation “Saal” (Hall, 2011) covers all four walls of the 240-square-meter event space with an illusionistic crimson curtain which reveals itself as an optical illusion on closer inspection. Spanning a wall area of 380 square meters, “Saal” is the largest work conceived by Demand for a museum to date.
BEIJING, Dec. 10 (Xinhuanet) — Traditional Chinese Paintings arrive at The Louvre Museum in Paris. An exhibition of works by painter Wang Shuping hosted by The China Artists Association, The China Arts & Entertainment Group, The French Art Association and The France and China art Communication Center opened on Thursday and it’s really drawing crowds.
The Louvre is exhibiting nearly 30 of Wang’s pieces. The artist, famous for his paintings of flowers and birds, has hosted many art exhibitions at home and abroad over the years. He is especially famed for his paintings of eagles in action – seen as definitive examples of traditional Chinese artistic form and style.
Vincent Ward is an image-maker whose profoundly visual contribution to filmmaking in Aotearoa New Zealand and internationally is singular and powerful.
Breath – the fleeting intensity of life explores several bodies of current practice that draw on Ward’s memorable work as a feature filmmaker and his nascent training as a painter at art school in Canterbury, New Zealand.
This exhibition is the first survey of Ward’s work within an art museum context and rests, sometimes on edge, in spaces that traverse old and new technologies.
Vincent Ward is a filmmaker and painter who developed a unique aesthetic language for a ‘motion painting’ technique that won an academy award in 1999 for its application in the film What Dreams May Come. His films have seen recognition at both the Academy Awards and the Cannes Film Festival and have repeatedly received acclaim for their strong imagery.
Hugo 3D is Martin Scorsese’s first child-friendly family film and the first thing to say about Martin Scorsese’s first child-friendly family film is that it is a visual wonder: rich, lush, beautiful, gorgeous….
This book is a love letter to a painting. Like many love letters, it has a melancholy air – in this case because it was written just before the author died, and had to be completed and seen through the press by her husband. But the strength of the passion for one of Britain’s favourite works of art is unmistakable, especially when this academic art historian scolds her colleagues for “untangling its meaning, rather than just enjoying it”. Inevitably, in the course of more than 200 pages, Carola Hicks invests what she calls “the Arnolfini portrait” with a great deal of meaning, and explains at some length what Jan Van Eyck was trying to do when he painted it.
In the first video of his series the chief classical music critic Anthony Tommasini explains the importance of Bach and his influence on classical music to come.
Thoughts on life’s big questions are hitting German kiosks. Two new philosophy magazines have appeared recently. Publishers see an unmet need for philosophical reflection in the country’s media.
On the cover, a child’s legs protrude from a pair of clunky, brown men’s shoes. The image bears a question: “Why do we have kids?”
“Philosophie Magazin” (Philosophy Magazine) is among the latest efforts at thrusting philosophy into the public eye.
“It’s a magazine that takes its questions to the marketplace, letting the public help feel them out,” editor-in-chief Wolfram Eilenberger wrote in an editorial in the magazine.
Not content with being the greatest sculptor of his age and one of its most gifted architects, Gian Lorenzo Bernini had some talent as a painter and draftsman. Surviving self-portraits reveal him as the possessor of a positively overstated physique du role. In its most youthful incarnation the face has an air of presumption and entitlement which adulthood will darken with a combativeness that is almost wolfish. Even in the chalk drawing made around his 80th birthday (now in the Royal Collection at Windsor) the glance, under bushy white eyebrows, still smoulders and the slightly parted lips seem poised to challenge or command.
Where Are Today’s Angry Young Playwrights? “How to write about these scoundrel times? WH Auden dubbed the 1940s ‘the age of anxiety’, but it feels a better term for now than then. For days I’ve been unable to rid myself of the mask of George Osborne’s face, lips zipped tight with malice, as he abolishes any viable future.