tagged: traditional

Delacroix at the Louvre

by Frances Guerin
Today we feature another Paris writer and fan of Lifelong Learning Abroad.  Her name is Frances Guerin and here she shares her thoughts with us about the Delacroix exhibit at the Louvre.     Eugène Delacroix, , 1830 Image Courtesy, Louvre Museum   If you only know two or three paintings by Eugène Delacroix that’s probably because although many of his other works are certainly weird and wonderful, they are not always focused or interesting. As I discovered at the Louvre’s... [more]
Posted by Frances Guerin

Under the Radar: Giovanni Dominoni | Eddy Stikkelorum | Lorenzo Bocca

by The Artslant Team
Follow your favorite artists to see new work and exhibitions by adding them to your watchlist. Giovanni Dominoni – Riga Eddy Stikkelorum – The Hague Lorenzo Bocca –... [more]
Posted by The Artslant Team on 6/30/18

For the Culture: Towards Curating Black Art by Aesthetic, Not Struggle

by Jessica Lanay
Unlike recent major shows that are chronological surveys of Black art in the context of political upheaval and communal struggle, the exhibition centers the aesthetics, techniques, and innovation of its artists. Now at the August Wilson Center in Pittsburgh, the exhibition magnifies the interstices of the Black experience that push against the historical watersheds that have come to over-define Black life. The onus of Transformative Space is not to couch Black art as a mere reaction to... [more]
Posted by Jessica Lanay on 2/23/18

Wonder and Connection: On Fabricating Nature in Art

by Alex Anderson
One issue that weighs on my psyche as an artist working in the realm of realism is that of understanding the attraction to and value of created nature in art. In my own work, I create and preserve moments from nature as a statement on the transience of life. But, during my wanderings through picturesque parks and other abundantly verdant spaces in Seattle, my current city of residence, I began to question why we seek to recreate imagery from the organic world when it already appears perfectly... [more]
Posted by Alex Anderson on 7/1/15

Chronicles of a Fleeting Culture

by Lara Atallah
Famed for her portrayal of the upper class in New York, New England, and Long Island, Tina Barney’s work is an ethnographic study of the bourgeoisie. The eleven works on view in this retrospective are snapshots from a play where if one stares long enough, one might hear the muffled dialogue of Barney’s subjects travel through time. With shots capturing characters in mid-motion, such as  (1985), the viewer is pulled into the scene right before a significant event is about to occur. At first... [more]
Posted by Lara Atallah on 5/18/15

Why I think Jonathan Jones' Art Criticism is Tyrannical

by James Loks
Jonathan Jones writes an art blog for the newspaper. I read his column with the same morbid fascination I used to reserve for those times when I’d come across a piece by Julie Burchill. Which is to say I begin with the nascent thrill of knowing my pique is going to be stimulated, followed by a good bit of private outrage, and finally a satisfying wallow in indignation. None of these are particularly attractive human characteristics; they are, however, pleasurable and best practiced either in... [more]
Posted by James Loks on 11/21/14

Do We Need Galleries Anymore? The Utility of Online Exhibitions

by Andrea Zlotowitz
—Artsy Visual art is rarely understood unless it is reckoned with in person. Even then, it is often difficult to really see what an artist is trying to express, especially with the many abstract works that have come out of modernism. A huge part of the viewing experience involves being able to face works that artists created in real time and in real space. Being able to comprehend and feel what Mark Rothko felt when he painted his large color fields is something that can only really be... [more]
Posted by Andrea Zlotowitz on 11/18/14

Fake It Till You Make It: A Few Words on Forgery

by Andrew Berardini
Picasso’s oft quoted “Good artists borrow, great artists steal” is one of those dubious chestnuts likely repeated in the halls of art schools enough to be painted over the doors. William S Burroughs’ notion of language as a virus presupposes that nothing or little of what we say is original—everything starts out as a borrowing, a theft. Theft, forgery, fakery, authenticity, and homage underlie all art and literature, always softly shadowing their meaning and troubling their... [more]
Posted by Andrew Berardini on 11/18/14

Art Review's 2014 Power 100: Money Is Power (Still)

by ArtSlant Team
As Camus incisively observed, it is our lot as human beings to try (and fail) to give meaning to life's invisible forces. Thrust out into the real world, after you finish your education ( and unless you're in the army) there's no way to know just how important you are. Yes, you're the Director of the Tate—but how to validate the magnitude of your success? As Three 6 Mafia would say "We eat so many shrimp"—but sometimes, we get iodine poisoning. The Power 100 is a shining example of this... [more]
Posted by ArtSlant Team on 10/23/14

Three Exhibitions That Are Shaking Up Colour This Summer

by Phoebe Stubbs
The National Gallery’s summer exhibition guides the audience through the spectrum of materials used throughout history to create artists’ pigment—from blues, through reds and oranges, to purples. Each room focuses on a specific colour and the multiple materials used to make it over time, from early earth pigments, through lakes (dyes made into pigment) to the new artificial coal tar derived pigments created around the time of the Impressionists. The function of the works on show seems to be to... [more]
Posted by Phoebe Stubbs on 8/18/14
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