Один день из поездки по Беларуси.

Оригинал взят у april_blood в Один день из поездки по Беларуси.
Хей-хей, как говорят шведы. Меня зовут Ольса, мне 25, и я переводчик японского и английского языков ой мамочки. Однако в этом посте не будет ничего о моих суровых и не очень трудовых буднях. Сегодня я приглашаю вместе со мной и моими друзьями отправиться в маленькое путешествие по Беларуси. Нам уже давно хотелось поколесить по забытым богом и людьми местам, посмотреть на руины старых замков и костёлов, насладиться прекрасной природой и просто проветрить мозги в дороге. Знаете ли, этакая "контрабанда мечты для беспокойных сердец", как пела Хелависа.
Дело было 28 июня 2014 года. Под катом вас ждёт 48 фотографий и много моих впечатлений. Готовы?

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Спасибо, что провели этот день с нами!

"Live!: A History of Art for Artists, Animators and Gamers" week 2 - Lecture 6

This course is about the kinds of uses that artists make of art history.
So each week, we will be visiting with a different artist to learn about a work of art that has been important to their thinking.
This week, we met with Thomas Lawson, Dean of the School of Art, and Jill and Peter Kraus Distinguished Chair in Art, at Calarts.
There's more biographical information on Tom at the end of this video.
Now, let's turn our attention to the work that he chose: Diego Velezquez's "Las Meninas", from 1656.
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"Live!: A History of Art for Artists, Animators and Gamers" week 2 - Lecture 5

So, we spent the bulk of this week focused largely on visual storytelling as a matter of single images and, to a great extent, monumental scale.
And we started out with that 17-foot-long bull in the caves at Lascaux, in France, and ended with the giant self-portrait of Murakami as an inflatable sculpture, in 2012.
But I don't want to leave this topic without looking at one other set of conventions for storytelling in still images.
Which is to say, we'll look at time-based work a little bit later on in this course.
But, for now, I want to raise the question of sequential storytelling in single images, and to go back to early antecedents, as well.
We're going to turn first to the Bayeux Tapestry that was done around 1070 in France.
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Что важно для русских женщин

Меня спросили, что важно и ценно для русских женщин. Я думала над вопросом несколько дней и выделила три области, которые имеют наибольшую ценность для нас - русских красавиц - по моим наблюдениям.
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Работы художника Джастина Геффри

На просторах интернета наткнулась на удивительные картины художника Джастина Геффри. Он американский художник, родом из Флориды, где живет и работает по сей день, создавая удивительные объемные картины из красок.. Если верить интернету, то рисовать он стал только в 2001 году. А до этого был известным шеф поваром и владельцем ресторана.
У него очень яркие картины. Видно влияние импрессионистов. Еще я вижу на этих картинах движение солнца, моря, деревьев. Просто потрясающе!
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"Live!: A History of Art for Artists, Animators and Gamers" week 2 - Lecture 4

Now we're going to shift gears just a little bit, to ask a question from a slightly different perspective, and to say this: By the mid-20th century, various forms of photographic reality had really displaced painting's authority as a mode of conveying current events and as a mode of translating current events into historically significant and memorable ones.
People got their news from the television.
And even their sense of history was greatly augmented by photographic representations.
At the same time, photography didn't occupy the same space on the wall as history painting had in the museum.
So, it sort of framed our collective memories of contemporary events, and of history, but it didn't offer the same satisfactions of a museum-going experience, as did monumental painting and sculpture.
So we find an artist like Jeff Wall-- an artist who is actually formally trained in art history,
and at the same time, an artist who's preferring to work in photographic media-- asking himself, 'can photography compete with history paintings?'
Can it compete with painting on the walls of the museum, to offer a similar viewer experience, and offer the rewards of a similarly intended mode of composition as the grand tradition of history painting?
So, we're looking at Jeff Wall's "A Sudden Gust of Wind (After Hokusai)", from 1993.
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"Live!: A History of Art for Artists, Animators and Gamers" week 2 - Lecture 3


Now we're going to look a little bit more closely at what happens when artists decide to take their stories from contemporary life--to rip them from the headlines, if you will.
David was doing that a little bit with the "Intervention of the Sabine Women".
He was choosing that theme in response to contemporary events.
But the painting I want to spend a bit of time looking at in this lecture is, again, one of my favorites. It's Gericault's "Raft of the Medusa", from around 1818-1819.
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"Live!: A History of Art for Artists, Animators and Gamers" week 2 - Lecture 2


So, our major questions for this week are: how do artists tell stories? What stories do they tell and why?
And who gets to tell them?
That is to say, who gets to be an artist?
And under what conditions?
And what skills and abilities do you need to have, to work according to certain conventions?
We ended last lecture by talking a bit about how artists purposefully rejected the language of history painting and the representation of heroic figures, in order to tell other kinds of stories and to make other kinds of memorials.
Today, we're going to delve a little bit deeper into the awareness of how the conventions of history painting provided a platform for artists to question the academic tradition of painting; to question the terms of history, and its relationship to contemporary life; and to question mainstream notions of appropriate subject matter for ambitious painting.
So, to do that, we're going to go into depth a little bit on one painting in particular, and it's a great one.
It's Edouard Manet's "A Bar at the Folies-Bergers", from 1882.
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