検索キーワード： ナレーター "Dana" すべてのカテゴリー

Artist Louise Sheridan interviewed at her exhibition at The Cafe Gallery Southwark in 1993. She describes her travels in Nepal and Thailand, and the works produced from a fellowship in Barcelona, Spain. She focuses on "The Envelope Series", votive objects made with wax and encaustic, and works made with Nepalese bark paper.

Morag Ballard describers her studio in Penzance, Cornwall, and the strategies of her work; paintings which create perspectives and settings referring to certain interiors.

Interview with painter Anthea Holmes, recorded in April 1988 at her Whitechapel Studio. She describes her training at Kingston University and at The Pratt Institute New York; with the development of an intricate play between figure, ground and light in an intimate process of accumulation and elision of elements.

Presents a collection of essays by Nicholas James on classic and contemporary art: "The Trinity" by Masaccio at Santa Maria Novella, Florence; Vermeer's "The Maid" and "Woman Weighing Pearls"; Cezanne and Salvador Dali, Francis Bacon portraits, and reviews of over 70 exhibitions in public and private galleries held between 1993 and 2010.

Interviewed during the installation of "Ghost" at Chisenhale Gallery East London in 1990, sculptor Rachel Whiteread describes her initial experience as an assistant to Alison Wilding and employment as a theatrical props maker. She reveals the development of "Ghost", cast from a room at 286 Archway, and gives details discovered in her first major project of replication.

Scottish painter June Redfern interviewed by Livvy Anson for CV Journal in March 1990. The artist discusses her methods and approach, with sources of inspiration for her work.

Interview with leading British sculptor Alison Wilding, RA, recorded at Tannery Street Studio, Bermondsey, in 1995. She describes the making of Harbour, in alabaster and pvc moulding, and Echo, a stainless steel sculpture exhibited at Karsten Schubert. Sourcing materials, the levels of the work; assistant Adam Kershaw; and its relation to other contemporary works.

Art in the Caribbean is culturally of great complexity. This complexity reflects the intricacies of the colonial history of the region, with the different islands and territories divided between many different European powers. Artists in each territory tended to mesh into a different education system and a different set of preconceptions about art.

Interview recorded with Brazilian artist Lara Viana at Domobaal Gallery in January 2010. She describes her interest in souvenirs and votive settings found in the Catholic Church, and acknowledges an influence from the art of Velazquez and Zurbaran in her refined and ethereal paintings. The conversation revolves around a recent set of still life studies; tableaux of nature morte, that carry implications of transient existence in their subtle conception.

Sharon Kivland describes strands of influence in her work, which draws on French and Russian literature of the 18th and 19th centuries, in particular concerning the changing roles of women in domestic, social, and political life.

It is an enthralling and unexpected selection, and the anthology resonates beyond this showing. It is from the Eric and Louise Franck collection, which has been donated to the Tate, and is part of the process by which the gallery has very belatedly, but with almost overwhelming enthusiasm, entered into collecting and showing photography as a medium in in its own right, with a very active patrons group supporting acquisitions. One of the benefits of Tate joining the fray is evident in the installation of this show.

One of Shakespeare's most often quoted lines, from Hamlet, simply asserts that "There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy." The current retrospective at Tate Britain of the art of Richard Long, the first in London since the Arts Council's Hayward Gallery show in 1991, has been titled Heaven and Earth by Long himself, a phrase he had earlier used for specific works of art.

EM Forster's famous dictum "Only connect!" is often quoted out of context but it is a resoundingly emotive phrase which might also be taken as the motto for the first major excursion by the National Gallery, London, into the history, portent and meaning of photography as a medium. Before Seduced by Art: Photography Past and Present, the National Gallery has only exhibited the work of a contemporary photographer on one occasion.

Felicity is on route to Beau to marry the Duke. However, when she arrives, Alistair, the prince, and heir to the throne catches her eye. His late night disappearances and roguish attitude send Felicity down a mysterious and strange path. When her best friend, the beautiful Anne, comes to town, everything takes a strange turn. Felicity must decide between love and power - before it's too late. The beggar who cursed the beast had a bigger story than anyone could have imagined.

Marina Vaizey reviews the work of Julia Margaret Cameron, Victorian photographer, exhibited at the Victoria and Albert, and Science Museum London.

This ample exhibition - 150 or so photographs, and a small complementary display of well chosen magazines, showing a succinct number in published form - by Man Ray (1890-1976) is described as the first to concentrate exclusively on his portraits. He was born in Philadelphia as Michael Emmanuel Radnitzky, the eldest child of Russian Jewish immigrants (the father's classic occupation for someone of his ethnicity and class that of a tailor); the family moved to Brooklyn in 1897, the first of Man Ray's advantageous geographical relocations.

Alice Liddell, sweetly dignified, the inspiration for the heroine of Alice in Wonderland, is posed and identified as Pomona, goddess of abundance, in a marvelous 1872 photograph by the irrepressible Julia Margaret Cameron; appropriately she is the cover girl for this lavish standalone publication, which also acted as the catalogue accompanying the recent exhibition of the same title at the National Gallery of Art, Washington, (October 31 2010-January 30 2011), and the Museé d'Orsay Paris, March 6 - May 29, 2011).

In a 1968 photograph a US Marine pauses for thought, inadvertently echoing those renaissance paintings of meditating scholars, holding his helmet rather than a book - but this is a quiet moment in the battle for Hue. It is McCullin's photographs which helped to define the savage war in Vietnam for Britain, and beyond. Some is unbearably sad: a young North Vietnamese soldier, a casualty of Hue, stares sightlessly at the photographer, his hands outstretched to the detritus of his pockets, scattered on the earth beside the body.

Several hundred photographs of varying scales, and most of them newly printed gelatin silver prints, in superb tones of greys, blacks, and whites, take us into a world that has been subliminally familiar to us for nearly 50 years. Stardust is the title given to this self-selected retrospective, three years in the making, the photographer his own curator, and the word neatly encapsulates the fascinating conundrum of photography itself. As Bailey himself puts it, "It's not the camera that takes the picture, it's the person," and these photographs are as much about Bailey as his subject.

Major discoveries can still be made in the field of visual art, but few perhaps are quite so surprising as the current first retrospective devoted to the French photographer Camille Silvy at the National Portrait Gallery, London (to October 24).