The struggle to perfection – the paintings by Lo Chan Peng
Pan An-Yi, Director of Graduate Stdies, The department of the History of Art & Visual Studies, Cornell University
Historic Figures provide concrete clarification to A Brief History of Time and showcase the artist’s perspective and philosophical approaches to the history of humanity. The historical personae he has selected narrate the progress from “godliness” to the “Theory of Evolution” followed by “Anthropocentrism” and “Eurocentrism” before the expansion of Imperialism and Capitalism which then led to Colonialism and eventually the rise of “Socialism”. The “Nazism” of World War II in Europe and “Japanese Imperialism” caused the unprecedented disaster. Skrik from the Portraiture collection shows Lo’s concerns over the working class whom reiterated their mindless tasks in order to survive: “I think I now have a better understanding of this world and have realised how helpless I am in this vast universe.”
Lo tactfully chooses to paint former British Prime Minister Winston Churchill and American president Abraham Lincoln as a contrast and comparison. Churchill fought against the invasion of Nazism, even though he succeeded with the help of allies, the rise of Neo-Nazism and extreme right-wing supporters in recent years are slowly gaining advocates in Europe. The current president of the United States Donald Trump sees himself as a pioneer like Lincoln, yet his deep-rooted racism has encouraged the believers of extreme right-wing philosophy and white supremacy. Despite his defeat in the recent presidential election, the issues regarding extreme right-wing supporters in Europe and America would remain a challenging one. Both Churchill and Lincoln reflect on the bight and the good of humanity, and they are praised for their reminding us of the dark side of humanity.
Through Portraiture, Lo explores the struggles men encounter on their path to the godliness. The female sitter and plants stand for the friction between temptation and the sacred, which then lead to the nuanced relationship between “consciousness” and “the ability to define good and evil”, meaning the connection between the “mortal” and the “saintly” .
#art #artistlife #artists #oil #painting #artworks #artistsofinstagram #artfair #artgalleries #contemporaryart #sketch #lochanpeng #羅展鵬 #羅展鵬工作室 #藝術家 #繪畫 #油畫 #水墨 #藝術 #肖像 #素描 #繪畫 #畫圖 #ink #drawing
同時也有44部Youtube影片,追蹤數超過9萬的網紅ERROR,也在其Youtube影片中提到,《睡到三點》 作曲:Madboii 作詞:193 編曲:Madboii 監製:Madboii Baby I’m loving you all day I’m loving you all night I’m loving you baby all the time 想念你 Baby I...
「visual art history」的推薦目錄:
- 關於visual art history 在 羅展鵬 /Lo Chan Peng Facebook 的最佳解答
- 關於visual art history 在 Scholarship for Vietnamese students Facebook 的最佳解答
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visual art history 在 Scholarship for Vietnamese students Facebook 的最佳解答
[Tổng hợp] 5 học bổng Trung Quốc đang mở cho năm học 2021-2022
Trung Quốc hiện đang mở rất nhiều học bổng cho sinh viên quốc tế cả nhà ơi. Học bổng từ trường cũng có mà học bổng chính phủ cũng vô số nhiều.
Một trong số đó là học bổng Chính phủ Trung Quốc (Chinese Scholarship Council - CSC), bao gồm tất cả các chi phí được đài thọ từ A đến Z bởi bộ Giáo dục Trung Quốc. CSC tìm kiếm sinh viên và học giả từ khắp nơi trên thế giới nhằm tăng cường sự trao đổi và hợp tác giữa Trung Quốc và các nước trong lĩnh vực giáo dục, khoa học và công nghệ, văn hóa, kinh tế và thương mại. Lưu ngay bài viết để không bỏ qua bất kì thông tin học bổng nào từ Page nhé!
1. Renmin University CSC Scholarships 2021
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- Không yêu cầu IELTS
- Học bổng: toàn phần (học phí + chỗ ở + bảo hiểm y tế + sinh hoạt phí hàng tháng)
- Deadline: tháng 3.2021
- Link: http://iso.ruc.edu.cn/English/more.php?cid=131
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- Bậc học: MPhil/PhD
- Ngành học: Business, Chinese, Cultural Studies, Economics, English, Environmental Science (MPhil program only), History, Philosophy, Political Science, Psychology, Sociology and Social Policy, Translation, Visual Studies
- Học bổng: học phí + chỗ ăn ở + chi phí sinh hoạt...
- Deadline: 01.12.2020 hoặc 22.01.2021
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- Bậc học: đại học, sau đại học
- Ngành học: Economics, Law, Science, Agriculture, Medicine, Art, Literature, Engineering, Management, Education, History, philosophy
- Học bổng: học phí + chỗ ở + bảo hiểm y tế + sinh hoạt phí hàng tháng + một số phí khác
- Deadline: 21.03.2021
- Link: http://www.tju.edu.cn/english/index.htm
4. Guangdong Polytechnic of Water Resources and Electric Engineering International Student Scholarship
- Học bổng: cover học phí
- Deadline: 30.12.2020
- Link: http://gdsdxy.admissions.cn/news/scholarship-at-guangdong-polytechnic-of-water-resources-and-electric-engineering_2826.html
5. Tsinghua University CSC Scholarship in China 2021
- Bậc học: đại học, sau đại học
- Học bổng: học phí + chỗ ở + bảo hiểm y tế + sinh hoạt phí hàng tháng
- Deadline: 27.11.2020 (cử nhân) & 15.12.2020 (sau đại học)
- Link: http://international.join-tsinghua.edu.cn
http://gradadmission.tsinghua.edu.cn/f/yzlxs/yz_lxs_kstzb/view?id=500079
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visual art history 在 VOP Facebook 的最佳解答
新刊預覽 👀⚡️⚡️⚡️
Voices of Photography 攝影之聲
Issue 29 : #被攝影史──成為影像的台灣
History of the Photographed:
Taiwan as an Image
延續我們對於攝影史的關注,本期審視屬於我們自身的攝影經驗──被攝影的歷史。從台灣的殖民史出發,自十九世紀中葉以降歷經的人類學調查採集、二十世紀初隘勇線推進下的暴力顯影,到帝國博覽會裡的「台灣」意象與人種展示──這是一段最為系統性地將台灣影像化的初始時期。我們如何成為被攝影的對象?如何化為一具科學標本和一幅想像圖騰?如何在視覺上被納編(或排除)於國族與文化的整頓編程,並糾結至今?此一影像的潛歷史──被攝影的歷史──是我們返視「攝影史」的一處起點。
藉此,本期試圖反詰「歷史」,思考致使我們「成為影像」、「進入攝影史」的支配與佈局,嘗試突破以往「攝影(者)的歷史」框架,開啟我們的「被攝影(者)的歷史」覺察,或許將能發現對我們而言更為重要的攝影的歷史遺產,生成屬於我們的另翼影像史觀。
專題中收錄的影像與文論,標記了我們在「被攝影」的歷史經驗裡的複雜和衝突──我們從已故人類學者胡家瑜對早年台灣人類學田野調查至戰後發展的介紹專論開始,探看影像採集的知識化歷程及當代意涵;黃翰荻追尋日本人類學者鳥居龍藏與森丑之助在殖民年代的台灣原住民族群踏查足印,細述二人巨大的歷史身影;高俊宏在總督府「理蕃時期」的諸多「討伐」寫真帖中,重新諦視「歸順者」肖像裡的幽微目光;瓦歷斯.諾幹以解/反殖民書寫,展現自身與族人生命經驗裡實切的影像歷史感知;松田京子則以東京拓殖博覽會中對殖民地的活人陳列展演,析解形塑「台灣」的視覺策略。
本期Artist’s Showcase單元,我們與藝術家葉偉立進行長篇訪談,呈現他這些年來以行動介入所構成的獨特影像場域,記錄其未曾間斷的勞作沉思。而在影像論述單元,本期新闢由影像研究者李立鈞執筆的科學攝影專欄,揭示平時隱沒在科學實踐中的「影像問題」,首篇從圖繪細菌與拍攝細菌在十九世紀引發的論爭談起,一探科學家對於攝影「客觀性」的認知辯證。謝佩君接續前期對於影像/視覺理論的引介,深入闡論歐美學界近年如何反駁過去以視覺機具作為現代性發展的線性觀點。黎健強探究香港攝影源流的連載系列,揭載「作為影像的香港」在1850年代末首次出現於可供西方觀眾賞玩的遠東立體照片。此外本期亦特邀黃建宏撰文紀念近期辭世的法國哲學家貝拿爾.斯蒂格勒,記述其影像哲理綿延的技術與時間之論。
在本期出版(焦頭爛額)之際,也正是《攝影之聲》邁入第十年的開端,回想起來真是一段不可思議的旅程。感謝所有的讀者共同撐起這份小刊,也要再次感謝參與《攝影之聲》、支持我們的朋友與工作伙伴,給予我們面對艱困的勇氣,繼續在蜿蜒的道路上行進。
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購書 Order | http://bit.ly/vop-29
台灣讀者免運費優惠中!
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As we continue on the topic of the history of photography, we turn to our own photography experiences in this issue – our history of being photographed. It takes root in Taiwan’s colonial history, from the collection of anthropological surveys in the 19th century, to the acts of violence at the defence lines as they pushed on during the Japanese colonial era in the early 20th century, as well as the exhibition of the “Taiwanese” imagery and ethnicity at various expositions held during the Japanese colonial rule. These form the beginnings of a systematic effort to visualize Taiwan. How did we become the photographed, a scientific specimen, a totemic image? How did we become visually part of (or excluded from) the rectification process of nationality and culture, that continues to trouble us till now? The veiled history of such an image – the history of being photographed – guides the beginning of our journey of looking back at the “history of photography”.
With this, we attempt to cross-examine “history” and think through the control and disposition that led us into “becoming an imagery” and “going into the history of photography”, hoping to break free from the existing framework of “the history of the photograph(er)” and enlighten our awareness of the “history of the photographed”. We reckon this could allow us to discover the historical heritage of photography that is even more important to us and generate our very own alternative view of the history of photography.
The collection of imagery and essays in this series marks the complexity and conflicts in our historical experience of “being photographed”. We begin with the late anthropologist Hu Chia-Yu’s field research of Taiwan’s anthropology from the early years to the post-war period as we explore the knowledge-based development and contemporary meaning of imagery collection. Huang Han-Di traces the footsteps of Japanese anthropologists Torii Ryuzo and Mori Ushinosuke in their study of the Taiwanese indigenous peoples in the colonial era, detailing the historical impact that they had. Kao Jun-Honn takes a second look at the faint gaze in the eyes of those who had pledged allegiance, as captured in the many portraits of the “submissives” kept at the Governor-General’s office during the Japanese rule. Walis Nokan expresses his and his fellow people’s real perception of the history of photography as they had experienced it in his de-/anti-colonization writings. Matsuda Kyoko analyses the visual strategy of shaping “Taiwan” through the living displays at the Tokyo Colonization Exposition of 1912.
In this issue’s “Artist’s Showcase”, we feature an in-depth interview with artist Yeh Wei-Li, showing our readers his unique field of imagery that extends from his art of intervention, a record of his neverending contemplation with regard to labor and art. Moving on to essays on visual imagery, we present a new scientific photography column by imagery researcher Lee Li-Chun, who unveils the “imagery problem” that underlies scientific practice, beginning with cognitive dialectics of “objectivity” of photography by scientists that stemmed from the debate sparked by illustrating and photographing bacteria in the 19th century. Hsieh Pei-Chun continues with her introduction to imagery/visual theory from an earlier issue, and explains in detail how Western academia has refuted the existing linear view of visual machinery as a modern development. Edwin K. Lai’s series on the origins and development of Hong Kong photography tells us about the first 3D photograph from the Far East that aimed to entertain a Western audience with “Hong Kong as an image” in the late 1850s. In addition, we specially invited Huang Chien-Hung to commemorate the French philosopher Bernard Stiegler, who had recently passed, and the continuous techniques and time that stems from his philosophy of imagery.
At the same time as we (run off our feet to) prepare for the publication of this issue, Voices of Photography is going into its 10th year, and what an incredible journey it has been. We sincerely thank all our readers for keeping us going, and express our heartfelt gratitude once again to all our friends and partners who have worked with us and given us the courage to overcome our difficulties to march on on this winding road.
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本期目錄 Contents
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文化調查、標本收藏與攝影
——十九世紀中葉起的台灣調查採集動力與歷史脈絡
Cultural Investigations, Material Collections and Photography:
Agencies and Historical Contexts in Taiwan Since the Mid 19th Century
#胡家瑜 Hu Chia-Yu
「空中鳥跡」與「依風彩畫」——寄鳥居龍藏與森丑之助
“The Trail of Birds in Flight” and “Paintings in the Wind”: A Letter to Torii Ryuzo and Mori Ushinosuke
#黃翰荻 Huang Han-Di
「不看」的能指——關於理蕃攝影中的「歸順者」之眼
The Significance of “Not Seeing”: On the Eyes of the “Submissives” in the Photography of the Aboriginal Taiwanese
#高俊宏 Kao Jun-Honn
關於日據時期老照片的解/反殖民書寫練習
Interpreting Old Photographs from the Japanese Occupation Period De-/Anti-Colonization Practice Writings
#瓦歷斯諾幹 Walis Nokan
人類的「展示」與殖民地再現——以1912年拓殖博覽會為中心
The “Exhibition” of Mankind and the Resurgence of Colonization: A Look at the Tokyo Colonial Exposition of 1912
#松田京子 Matsuda Kyoko
如何「做」視覺民族誌?——讀《學做視覺民族誌》
How to “do” a visual ethnography?: Understanding Doing Visual Ethnography
#顧錚 Gu Zheng
我們可以祛除帝國主義嗎?——《潛在的歷史》的指引
Can We Unlearn Imperialism?
Methods and Lessons from Potential History by Ariella Azoulay
史蒂芬.席海 #StephenSheehi
Artist’s Showcase: #葉偉立 Yeh Wei-Li
故事之野——訪葉偉立
A Field of Stories: Interview with Yeh Wei-Li
#李威儀 Lee Wei-I
「可怖的客觀性」——十九世紀的顯微攝影
“Dreadful Objectivity”: Photomicrography in the 19th Century
#李立鈞 Lee Li-Chun
偉大的否定——負影像史
The Great Disavowal: A Counter History of Image
#謝佩君 Hsieh Pei-Chun
追夢人的藥控——離散的「貝拿爾.斯蒂格勒」影像
Pharmakon by Dreamer: Discrete Image of Bernard Stiegler
#黃建宏 Huang Chien-Hung
浴火重生的香港攝影(上)——最早為香港留下照片的攝影師
Hong Kong Photography: Rising from the Ashes (I) – The Photographer Who Left Behind the First Images of Hong Kong
#黎健強 Edwin K. Lai
攝影書製作現場⑤ : 便利堂
Photobook Making Case Study #5: Benrido
#羅苓寧 Lo Ling-Ning
七等生 : 重回沙河
Qi Deng Sheng(1939-2020): A Return to Sand River
李威儀 Lee Wei-I
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更多訊息 More info :
www.vopmagazine.com
visual art history 在 ERROR Youtube 的最佳貼文
《睡到三點》
作曲:Madboii
作詞:193
編曲:Madboii
監製:Madboii
Baby I’m loving you all day
I’m loving you all night
I’m loving you baby all the time
想念你
Baby I’m loving you baby all the time
I’m loving you all day all night
Shawty的心 就像海底針
咪笑我痴筋 baby 사랑해요
I’m loving you baby all the time
I’m loving you all day all night
天天朝早 願望著你起身
期待着 your morning kiss
睡到 三點
想起 Last night 気持ち
你叫我最痛快過 回憶裡
每次與你冷戰 喊過 再飲醉
當初天真想 衷心跟你老去
哭泣的聲音 盡在我心裏
Girl you bring me down
活在回憶中死去
人海中 誰登對
I love you, say you too
求你對我真心
I’ll do everything for ya
Baby I’m loving you baby all the time
I’m loving you all day all night
Shawty的心 就像海底針
咪笑我痴筋 baby 사랑해요
I’m loving you baby all the time
I’m loving you all day all night
天天朝早 願望著你起身
期待着 your morning kiss
Miss you all day all night shawty how’re you doing
總會想起天真講過同你結婚
想你 為何藍剔不覆我
跟你遇見 令我一生改變 getting better
到海角天邊 跟你浪漫相見
已事過境遷 不再玉帛相見
想起跟你嘅history 或會抑鬱一世
回憶中 尋找你
I miss you, so do you
求你令我死心
We will never meet again
Baby I’m loving you baby all the time
I’m loving you all day all night
Shawty的心 就像海底針
咪笑我痴筋 baby 사랑해요
I’m loving you baby all the time
I’m loving you all day all night
天天朝早 願望著你起身
Shall we kiss goodbye 或在夢中找到你
Oh baby I will miss you 這一生 只可在 夢境中 相見
Oh baby I still love you 即使孤單都不重要
I will be alright
Cast: One Nine THREE / Sabrina NG / Gi
Director: Mikecold B.
Writer & Editor: Fai MAK
Assistant Director: Sunny Rain P. FONG
Videography: HoGor
Art Director: Lock
Props Master: John LO
Coordinator: Sam MAN
Production Still: Alfred CHO
Visual Effects: Steven HO
Hair Stylist: Mandy HUI
Makeup Artist: Bryan PO
visual art history 在 Humans Offshore Podcast離島人 Youtube 的精選貼文
🔥如何在美國創立藝術實踐平台?
✅離島人訪談花絮https://www.humansoffshore.com/2020/ep098/
這週離島人邀請到在HATCH的創辦人:宋若彤&李于一。
宋若彤(Minna Son)和李于一(Nana Yu-I Lee)兩人在古根漢博物館實習期間,受日益改變的後殖民全球氛圍加上,對於「全球性都市」的脈絡下,離散記憶的藝術表現,深感興趣、發想出HATCH Series概念。試著以Hatch Series作為一個實踐平台,摸索一個都會創意人 Urban Creatives的製作網絡能夠提供那些回應與解方。近年創辦人通過各自的嘗試,期望定義出平台的可能,HATCH的活動形式流動,從快閃展覽、座談至出版,思索藝術文化與都市之間的關係。
Minna畢業於NYU、曾經在古根漢、MoMa策展、NationSwell等單位持續累積經驗;Nana則畢業於Columbia University,擅長對外關係、募款與事業開發,以及文化政策諮詢等。兩人持續在不同領域耕耘,探索自己在藝術與文化產業的角色。
歡迎大家來聽聽這週的離島人播客節目,這集節目會以英文進行
來聽聽宋若彤和李于一談談Hatch Series的創立及契機,以及各自探索的路上、看到的可能性
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A podcast platform, shares experiences of those who are offshore.
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🎙Ep098- 都會創意網絡HATCH:宋若彤&李于一
#Guggenheim #CreativeDirector #FineArt
🔗 http://www.hatch-series.com/
李于一(Nana)
🏆經歷
- 英國倫敦 Tom Fleming Creative Consultancy - Senior Researcher
- 美國紐約 HATCH Series - Co-Founder and Co-Curator
- 香港 SUTTON - Senior Account Director
- 台灣 Taipei Fine Arts Museum - Head of Public Relations
🎓學歷
- 英國 UCL - MPhil / PhD candidate, Museology/Museum Studies
- 美國 Columbia University - MA in Arts Administration
- 台灣 National Taiwan University - Bachelor's degree, English Literature
宋若彤(Minna)
🏆經歷
- 美國 NationSwell - Account Manager
- 美國紐約 HATCH Series - Co-Founder
- 美國 Lewis & Harris - Creative Director
- 美國 Guggenheim Museum - Interim Curatorial Research Assistant-Asian Art Initiative
🎓學歷
- 美國 New York University - Master of Arts - MA, Media, Culture, and Communication
- 美國 Pratt Institute - Bachelor of Arts (B.A.), Critical and Visual Studies, History of Art
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0:00 Intro
3:41 Minna攻讀Pratt和NYU後,目前專注於什麼領域?
8:33 Nana到倫敦UCL攻讀PhD的理由
12:56 創立HATCH平台的契機
21:00 HATCH series是什麼?
22:59 兩位分別在HATCH裡扮演什麼角色
32:26 一個HATCH的實際範例
40:50 什麼樣的對象適合參加HATCH
42:31 HATCH如何適應2020年?
45:06 HATCH未來會在台灣有活動嗎?
visual art history 在 屯門畫室 Tuen Mun Studio Youtube 的精選貼文
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【藝術的故事 E. H. Gombrich 博客來購買 】▶ https://www.books.com.tw/products/0010672671
#藝術史 #storyofart #藝術的故事 #屯門畫室 #藝術歷史
visual art history 在 How to do visual (formal) analysis in art history - YouTube 的推薦與評價
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