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Gallery of Lost Art

Gallery of Lost Art
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Recontre avec Depardon à la fondation HCB La Fondation HCB propose un cycle de Conversations, conférences bimestrielles autour de la photographie, menées par Natacha Wolinski, critique d'art. Prochain Rendez-vous: Jeudi 12 juin de 18h30 à 20h: Y a-t-il encore des trésors photographiques enfouis? Avec Marc Pagneux, historien et collectionneur de photographies, Christian Berst, galeriste et Savine Faupin, conservatrice en chef en charge de l'art brut au LAM de Villeneuve-d'Ascq. Entré libre dans la limite des places disponibles. A partir de septembre 2012, la Fondation HCB propose Les Grands Entretiens. Prochain Rendez-vous: Jeudi 5 juin 2014 de 18h30 à 20h Avec Xavier Barral, éditeur Dans le cadre de l'exposition Lewis Hine, la Fondation HCB a organisé en partenariat avec le Jeu de Paume une journée d'études sur "Photographie sociale/Photographie documentaire". jeudi 13 mars 2014 Henri Cartier-Bresson, par-delà le mythe. Jeudi 30 janvier 2014 Grand Entretien avec Georges Didi-Huberman, philosophe et historien de l'art.

aleta corboy FeedIndex about&contact Following (14) Museum Computer Network, or Museum Content Network? | Beyond the Printed Page: Museum Digital Publishing Bliki I made the joke many times in the lead-up to my presentation at the Museum Computer Network annual conference in Montreal that, coming from a print background, I was a caveman (complete with image from classic Phil Hartman Saturday Night Live sketch). I expected to be living Future Shock for three days, aswim in acronyms. I was wrong—not because I was unfamiliar with the terminology, which I was to a degree, but because the museum computing community is warm, welcoming, and, most of all, open. Open access, open minded, open to experimentation, open to audiences. (“When you’re experimenting, there are always people who want to help you,” as one speaker said.) And best of all for my part of the world, open to print … But there I go again, getting my print-digital dichotomy on. Technology itself is a descriptive term, a symptom of civilization, not its driving force. It’s the internal risks that we have to take, the internal pitches we have to have ready, as Micah Walter said.

Rufino Tamayo:  Intensidad Dramática en la Pintura Mexicana Nacido en Oaxaca, pintor mexicano cuyo estilo combina temas populares autóctonos con las formas artísticas de la vanguardia europea como el cubismo. Rufino Tamayo estaba entre los artistas amigos de la revista Contemporáneos de la ciudad de México, la cual buscaba lo universal de lo nacional y luchaba en contra de la politización del arte postulada por el muralismo mexicano. Para Tamayo la politización significaba emplear recursos no artísticos para hacerlos pasar por artísticos. Su obra evolucionó de una pintura de pequeñas dimensiones (con un color insensible a las influencias posimpresionistas) a un cromatismo mucho más brillante al servicio de la temática social.

Les Dérives de l'imaginaire Avec : Dove Allouche, Richard Baquié, Matthew Buckingham, Guy Debord, Fernand Deligny, Trisha Donnelly, Rodney Graham, Rachel Harrison, William Hogarth, David Hominal, Douglas Huebler, William E. Jones, Joachim Koester, Oliver Laric, Mark Leckey, Aristide Maillol, John Miller, Seth Price, Stephen Prina, Évariste Richer, Jean-Michel Sanejouand, Pierre Vadi, Raphaël Zarka, Bandes lettristes / François Letaillieur Exposition thématique de la nouvelle saison du Palais de Tokyo, Les Dérives de l’imaginaire donne son sens à l’ensemble de la programmation de l’automne dont nombre d'expositions explore les processus de mise « en oeuvre ». De l’intention à la réalisation, du rêve au réel… le visiteur est au plus près du cerveau de l’artiste et arpente ces territoires informulés de l’imaginaire. L’oeuvre se construit, du projet à son apparition, selon des procédures particulières à chaque artiste. Voir les notices d'oeuvres

Madame Butterfly | New Zealand Opera Love and honour resonate with thunderous force in Puccini’s tender love story between a Japanese geisha and her naval officer as Japan opened up to the West and the 20th century. One of the world’s best-loved operas, Puccini’s masterpiece contains many of the most recognisable tunes in opera, including the “Humming Chorus” and “One Fine Day”. This exquisite new production combines beauty with unflinching emotional honesty. Discover why Cio-Cio San and her Lieutenant Pinkerton are among the world’s ten most-loved operatic couples. The Cast This new production stars Australian soprano Antoinette Halloran (who sang Mimi in La Bohème in 2008) in the title role with Italian tenor Piero Pretti as Pinkerton, and English baritone Peter Savidge as the American Consul Sharpless. The Story Fifteen-year-old Cio-Cio San (known as Butterfly) is enchanted by her handsome lover, who marries her and then leaves shortly after, returning to his homeland. Featuring the Chapman Tripp Opera Chorus.

Museum selfies: Participatory genius or sign of our self-centered times? | Public History Commons Can antlers be a facet of the participatory museum? Photo credit: Emily Oswald I learned about Museum Selfie Day on Facebook just a couple of days before the event. I made a mental note and visited the Harvard Museum of Natural History on January 22. By way of background, Museum Selfie Day is the work of Mar Dixon and her CultureThemes collaborators. #MuseumSelfie was the theme for January 2014. Now, reader, I can sense your skepticism. First, museum selfies are as much about action as they are about artifacts. To get this shot, I had to position myself with my back to the exhibit case. Second, taking a good selfie requires that both the creator/subject and the viewer look carefully at the artwork or artifact. To find just the right parallel between her own body and the pose of the young woman in the painting, this selfie’s subject and the photographer who took her picture also had to look and think carefully.

Enllaços d'interès | Pablo Picasso | Museu Picasso de Barcelona

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