academic research

Revealing the sfumato Technique of Leonardo da Vinci by X‐Ray Fluorescence Spectroscopy...

2019-05-15 29 people interested

Non‐invasive X‐ray fluorescence spectroscopy was used to reveal the sfumato paint layer stacking method that was used by Leonardo da Vinci to paint the faces in seven of his paintings. A strong diversity in his technique could clearly be seen with this method. ...More


2019-02-25 232 people interested

Marc Quinn is an acclaimed British artist. The first work of his that came to our knowledge was Self, the blood head, from which our fascination with him began. We often wonder, at the present time, how a contemporary artist would work on, think about and confront the vastness of art. It is not a question that everyone can respond to or address profoundly; as a result, the distinctions and diversity of art have developed as it is now. Marc Quinn is an artist who has an intuitive sense for life; it does not come from any intentions of lecturing others, or a posteriori rules for regulating what art is or not. I have been to the UK many times in the past three years and visited Quinn’s studio four or five times, during which I enjoyed our conversations, including a formal interview. As well as having read multiple catalogues and numerous publications on him, I was able to look at and learn about Quinn through a close-up lens. His art career path manifests the fact that the key of making art is by reflecting on life and thinking liberally about the world. Since childhood, he has nurtured a curiosity in things and materiality in general, which is themost basic and raw human quality; as long as one knows how to utilise, practise and develop it, it can be transformed into art that is systematic and meaningful. The presence of art speaks for the essence of itself: boundless imagination and free will.As the fruit of Quinn’s boundless imagination, he has created art such as making breads to replicate the shape and lines of his own hands. Each person has unique palm lines. When you eat the breads, they become a part of your body, an incarnate of yourself. The act can be further extended to the notion of Holy Communion bread, therefore eating the breads, likewise, is like a conduit to the sacred. This extended imagination has transcended any art forms and techniques; without the former, the latter would profoundly lose its significance; and art, nominally, would fail to have its initial impetus and fundamentality.In the realm of the contemporary, art is constantly in flux – partly because we have a developed fine art education and communication infra-structure, whereby people, both art professionals and the general pub-lic, have their own prior expectations and presuppositions about art. If  something were to fall out of their range of known methodologies or patterns for art, one might expect misreading and suspicion to arise; even the validity of being regarded as ‘art’ would be in question. However, contemporary art intends to disregard all the rules; it can only reconcilethe intuition of the true self and reflections on life when the application of art forms becomes the least important constituent. Marc Quinn, for instance, was not bound to social or ethical norms when he pondered the human phenomenon of ‘incomplete bodies’: he noticed how the fragmented classical statuary in museums was highly admired by viewers as a paradigm of art; and how this anti-utilitarian, entrenched aesthetic perspective consciously overlooks the disparity in the real life of disability and the disabled, who are undoubtedly human beings with great life value and dignity. This inspired Quinn to make a sculpture of his artist friend Alison Lapper, Alison Lapper Pregnant. This sculpture depicts a nude Alison who was born without arms and with shortened legs, in pure white Carrara marble, gazing far forth and looking serene, solemn and peaceful. In 2005, it was chosen by the commissioning committee  in London to sit on Trafalgar Square’s fourth plinth. This sculpture raised widespread attention and debate in that year and an amplified reinterpretation even featured in the London Paralympics opening ceremony in 2012, leading to worldwide celebration. This work can only be borne of a reverence for life; it is not constrained by any prior doctrines; and its existence is glorified by the thoughts about life and the sanctified beings.  Quinn’s Self(1991) has become an internationally-recognised classic in contemporary art history, as a life-size cast of the artist’s head made up of ten pints of his own blood extracted and stored over a period of several months. The work is cryogenically frozen and displayed in a  specially-made refrigeration unit; the refrigerator also functions as a plinth while the technology secures the work survival. Albeit being an artificial product of technology, the blood head is formed of a material collected from a living being; its physicality recalls a notion of biological cyphers and the religious interpretations of the meanings of life, which in turn embody the philosophy of the mind and body. We could trace a resonance of many great minds in this mighty work, from René Descartes’s ‘Je pense, donc je suis’, the more recent Maurice Merleau-Ponty’s ‘perception and corporeity’, to the ultimate question of body and soul that human beings have been strenuously seeking for millennia (unfortunately the work will not be shown in the exhibition at CAFA Art Museum this time, due to the prohibition of importing blood-based objects). Quinn’s artistic creation is borne of liberal thinking that echoes the origin of life, derives from an understanding of it and shows respect for it. I have seen works and books of various languages and multiple forms  and types at Quinn’s studio, not in any order of taxonomy of art education or making. His art does not comply with any textbook rules. As a Cambridge graduate of History of Art and History, and not of fine art practice, he has probed the boundaries of academic classifications; materials and methodologies merely serve as a route to visualise the perceptions from his life experience and thinking. To complete his ‘Alison Lapper’ series, he made a mould of her body at his studio and then oversaw the best stone-masons in Italy in carving the finished figure out of marble. This is about life’s ‘embodiment’ experience. Quinn uses the best practices available to fulfil his artistic vision and assure the quality he envisages. Art has no rules, and this is the essence of art, which has been repeatedly proven by numerous predecessors and by common consent of the modern-day social community. Blood, DNA, performance and interaction, marble, bronze, stone, painting, photography, installations – when isolated from their connotations, they are just raw materials. Once materials are endowed with symbolic life meanings, that is when the solemnity emerges – as it is said, ‘the transfiguration of the commonplace’. Today the most striking and sublime art works pay tribute to the living,  thus, they are apt to be accepted and agreed by us, ourselves equally in pursuit of the meaning of our own existence. Despite a tortuous journey, the history of modern and contemporary art is the best testimony: this is the way it shall be. Marc Quinn is an artist among the most scintillating stars that will be praised in art history.BY WANG CHUNCHEN (DEPUTY DIRECTOR AND CURATOR CAFA ART MUSEUM) ...More

Take Away the Authority:Artists,Networks,and Collaborations in Contemporary Global Art—Minutes of Lecture by Alexandra Munroe...

2018-07-31 343 people interested

时间:2012 年 9 月 3 日 18:00-20:00 地点:中央美术学院美术馆学术报告厅 主讲人:亚历山大·孟璐(所罗门·R·古根海姆美术馆亚洲艺术部高级策展人,“首届 CAFAM 未来展”总策展人) 主持人:徐冰(中央美术学院副院长,“首届CAFAM未来展”总策展人) ...More

We Have Never Been Modern – Talk with Latour...

2017-05-13 729 people interested

本次讲座分为两部分,首先由拉图尔先生进行45分钟的主题演讲,此后将邀请对话嘉宾上台共同探讨。拉图尔先生表示,本次来中央美术学院的讲座,他并不是来谈谈他“作为知识分子的工作”,而是主要讲述他“作为一名策展人的工作”。拉图尔策划过数次展览,他谦虚的称呼自己为“一位不成熟的策展人”,其策展理念主要是试图将自己的研究和艺术家的创作结合起来思考。 ...More

Art Talk on Matthew Barney’s Art Creation...

2016-09-26 732 people interested

马修•巴尼从对“情欲”广义的定义上找到驱使一切叙事的动力。他认为“广义的情欲”这种驱动力是非常核心的,就像消化系统一样,它可以帮助消化那些来源不同的抽象的图像。另外,马修•巴尼表示,他也在影片中尝试去实现男性和女性作为核心能量至少在形式上的平衡。 ...More

Word and Line: Hamilton’s Space Installation...

2016-03-25 653 people interested

我们的身体是有听觉、视觉、触觉的,怎样来表达我们的身体呢?在科技如此发达的现代,科技让我们的触觉延伸到千里之外。 ...More

Antony Gormley: “Creating Space”...

2016-03-18 619 people interested

这是中央美术学院美术馆“思想与经验”国际艺术家讲坛的第三讲,我们很荣幸邀请到英国大师级雕塑家Antony Gormley来谈他的雕塑艺术,这次讲座是由中央美院美术馆和北京常青画廊共同主办,英国文化教育协会协办的。 ...More

Contemporary Way of Painting: Markus Lüpertz and German Neo-Expressionism...

2015-04-27 1481 people interested

马库斯·吕佩尔茨1941年生于利贝雷茨,1988年(-2009年)起担任德国杜塞尔多夫学院院长,桃李满门,德国木刻版画界代表艺术家如马蒂亚斯·曼森、费利克斯·德吕泽以及马尔库斯·厄伦都出自于吕佩尔茨门下。吕佩尔茨上世纪60年代开始从事艺术创作,80年代即已经获得了国际声誉,与基弗、伊门多夫、巴塞利兹、彭克、波尔克等人共同作为德国新表现主义最重要的艺术家闻名于世,亦被誉为德国国宝级艺术家。 ...More

International Symposium on Arthur Danto – Artwork: From Object to Theory...

2015-04-22 380 people interested

2015年4月22日至23日,阿瑟·丹托国际学术研讨会在北京中央美术学院召开。此次研讨会由中国中央美术学院、美国密西根州立大学布鲁德美术馆和美国明尼苏达大学艺术系联合举办。研讨会主要围绕丹托于1945年至1965年间撰写的一系列具有巨大影响的美国艺术理论专著及实践,以及丹托本人对当代中国艺术研究与批评与日俱增的影响而展开。 ...More

Jeff Koons: Artistic Creations Since 1978...

2012-03-21 379 people interested

杰夫·昆斯1955年生于美国,1976年毕业于马里兰艺术学院。大学毕业后,昆斯并没有立即从事与艺术相关的工作,22岁时,昆斯移居纽约,在纽约当代艺术博物馆里谋了一个职位。在新表现主义艺术盛行的年代里,昆斯是个完全不被接受的异类。作品的市场反应非常冷淡,昆斯没收获到任何利益。为了继续艺术创作生涯,昆斯去华尔街当起了证券经纪人,同时一边进行创作。80年代初,作为Neo-Geo的激进的倡导者,昆斯首次进入人们的视线,引起艺术界的关注。Neo-Geo所提倡的挪用与滑稽的模仿是这个时期昆斯艺术创作的核心。应该说美国60年代蓬勃发展的波普艺术对昆斯产生了致关重要的影响,昆斯以满足、好奇甚至是玩乐的态度表现了光怪陆离的现代商品社会。80年代初,昆斯借鉴了杜象的挪用与拿来主义,让精美的现代商品丝毫不损地转入艺术状态,他的放在有机玻璃罩中的吸尘器、悬浮的篮球,在看不懂中给人们带来不尽的遐想,至今让人记忆犹新。各种各样的商品、广告、卡通玩具不仅表现了多姿多彩的现代商品社会,也表现了现代人似孩童般无休止的消费欲望。昆斯成长于商品社会高速发展的美国,并有着虽然短暂却一生难忘的从商经历,因此,虽然同以大众商品为表现对象,与第一代波普艺术家的含蓄地批判精神不同的是,昆斯的作品充满了满足与自我陶醉。他有意打破了人们习惯了的美的标准,将最庸俗的大众图象以十分精致的手法表现出来,特别是他与夫人亲昵的系列作品,因以色情、暴露之嫌自然地引起不小的争议。 ...More
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