Miss Aletheia

Ein Blog von der Antike bis fast Vorgestern,
mein Leben rund um Kunst, Kultur und Literatur.

Now that is Evidence: Tracking Down the Evil 'Whatever' Interpretation

intherabbithole:

For all you undergrads going into Museum Studies, or all you grad students who have to deal with survey level classes - this is a great piece that briefly describes the history of interpretation in academia, museums and museum visitors, and goes on to discus THE POINT in interpretation and that there IS A POINT to the history and the narrative that academia and museums teach us, and that it isn’t really acceptable to foster the idea that the visitor’s interpretation is entirely in their hands, that while interpretation shouldn’t be wholly academic, it shouldn’t be entirely individual interpretation as well.

Excerpt:

“Museums certainly do not spend billions and billions of dollars collecting things (objects, stories, histories, ideas), conserving and cataloguing these things, carefully researching, publishing, crafting messages, and writing the storylines for these things, only to have visitors make up “whatever” stories they please, stories that have nothing to do with the things and their stories. Yet the museum literature is saturated with statements such as Roberts’, in which the “whatever” interpretation is seen as positive (see Xanthoudaki’s 2005 edited volume for a recent example of how prevalent this notion is among practitioners and theoreticians). By placing interpretive authority in the hands of the individual, and further, by championing the “whatever” interpretation as the final and desired outcome of the museum visit, the museum not only justifies its failure to communicate, but also it absolves itself of any interpretive responsibility for the meanings it produces and circulates in culture.”

German Sales 1930.1945

marthajefferson:

Julianne Moore as “Famous Works of Art” by Peter Linderbergh - for Harper’s Bazaar

Seated Woman With Bent Knee by Egon Schiele, La Grande Odalisque by Ingres, Saint Praxidis by Vermeer, The Cripple by John Currin, Les danseuses by Edgar Degas, Madame X by John Singer, Girl with a Pearl Earring by Vermeer, Woman With a Fan by Modigliani, Man Crazy Nurse #3 by Richard Prince, Adele Bloch Bauer I by Gustav Klimt.

razorshapes:

Numen / For Use - Tape Vienna / Odeon (2010)

Artist’s statement:

“The tape concept developed further towards a more sculptural architectonic form. It was practically “found” through the act of chaotic wrapping, where a one-dimensional line (“tape”), slowly turned into two-dimensional plane, which then finally curved into volume. The installation was envisaged as a site specific, parasitical structure invading an arbitrary location. The straight lines of main trajectories are stretched across a given area and these tendons are then wrapped diagonally with layers of elastic tape, giving shape to a complex organic form through a process similar to the emergence of such structures in nature. With the further layering of the tape, the figure becomes more and more corporeal as it picks up on the slow increase of the curvature. The  interior of the structure is supple, elastic, and pliable while the form itself is statically perfect, as it ideally follows the trajectories of forces, being literally defined by them. In the moment when the audience enters the installation, what started off as a sculpture seamlessly morphs into architecture.”

martinekenblog:

CLOUD is a large-scale interactive sculpture created from 6,000 light bulbs, new and burnt-out. Constructed by Calgary-based artists Caitlind r.c. Brown and Wayne Garrett, CLOUD was on public display for one-night-only during Calgary’s first Nuit Blanche Festival. As part of the process of creating the sculpture, the artists collected burnt out incandescent light bulbs from local households, businesses, museums, and eco stations. The idea was to create an informal collaboration between the community and the artists, reduce costs, and experiment with the potential of items post-use.

siochan-leat:

From the 2004 Athens Olympic Opening Ceremony. For those of you who love Ancient Greek Art.

1. 2000-1400 B.C. - Prehistoric: Minoan and Theran
2. 1700-1200 B.C. - Prehistoric: Mycanean and Theran
3. 1050-700 B.C. - Geometric period
4. 700-480 B.C. - Archaic period
5. 534-260 B.C. - Classical period: Theatre
6. 480-323 B.C. - Classical period
7. 480-30 A.D. - Classical sports and Hellenistic period
8. 324-1453 - Byzantine period
9. 1453-1832 - Traditional period
10. 1896 - Revival of Olympic Games
11. 1832-… - Modern period

yeaverily:

Sea creatures mosaic, from Pompeii, 100 BCE

yeaverily:

Sea creatures mosaic, from Pompeii, 100 BCE

Apropos Glasskulptur…

… an dieser Stelle könnte man auf die australische Künstlerin Jennifer Ashley King verweisen, die sozusagen in die Glaskunsttradition von Libensky und Brychtová anknüpft und ebenfalls großartige Skulpturen anfertigt, wie hier zu sehen “Bâtiment noir” von 2011. Auch in diesem Fall bietet die Homepage einen guten Überblick über die Arbeiten der Künstlerin.



Was gibt es eigentlich in… Tschechien?

Stanislav Libensky (1921-2002) und Jaroslava Brychtová (*1924) waren zwei unabhängig von einander arbeitende Künstler bis sie sich 1954 begegneten und von da an als Künstlerduo auftraten. Libenksy war Maler und arbeitete mit Glas - Brychtová war Bildhauerin. Diese Tätigkeiten setzten sie ab den 50er Jahren zusammen fort. Er zeichnete die Entwürfe, sie setzte diese in teils monumentalen Glasskupturen fort. Kennzeichnend für Ihre Arbeiten ist die einfache Form der Skulpturen und das Spiel von Farbnuancen.

Eine gute Übersicht Arbeiten ist auf Ihrer Homepage dokumentiert. 


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Was gibt es eigentlich in… Spanien?

Spanien ist was diese Rubrik angeht eine wahre Goldgrube. Zumindest gab es mehr als genug Kandidaten, die für einen Eintrag in Betracht kamen.

Eugenio Merino (*1975 in Madrid) lässt keine Inspiration um seine Konzepte umzusetzen. Seine beunruhigenden und zugleich fesselnden Arbeiten zeichnen sich immer durch politische und soziale Kritik, aber auch stets durch Humor aus.
Mit der Arbeit “For the love of Go(l)d” spielt Moreno auf den 100$ Mill. Diamantenschädel von Damian Hirst an. Der dargestellte Suizid des Künstlers, so Moreno, würde den Wert der Werke von Hirst noch steigern können - leider könnte der Künstler dann seinen Erfolg nicht mehr genießen.

http://leoplaw.com/wp-content/uploads/2009/03/eugenio-merino-love-of-gold.jpg