検索キーワード： ナレーター "Dana" すべてのカテゴリー

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.

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).

Reviews events in the London Festival of the Cultural Olympiad. Writer Alexandra James visits a variety of exhibitions, music, and performances, staged through July 2012, witnessing a range of creative voices drawn from the international arena.

Once upon a time in Düsseldorf, in the 1970s, there was an astonishing art academy, the Kunstakademie, with amazing teachers, and amazing students. Düsseldorf was a very proud art city, and even published at the time, a book of photographs called Düsseldorf City of Artists. The presence of that great, messianic leader, Joseph Beuys loomed large. Gerhard Richter, (and Gotthard Graubner among others), taught painting, and an outstanding couple, Bernd and Hilla Becher, taught photography.

Education, employment, and home ownership have long been considered stepping stones to the middle class. But in Abandoned Families, social policy expert Kristin Seefeldt shows how many working families have access only to a separate but unequal set of poor-quality jobs, low-performing schools, and declining housing markets, which offer few chances for upward mobility. Through in-depth interviews over a six-year period with women in Detroit, Seefeldt charts the increasing social isolation of many low-income workers.

Linnaeus Tripe? Shades of a minor character in Dickens or Trollope, but in fact the resoundingly named Tripe (1822-1902), army officer and photographer, was the sixth son and ninth child of a professional middle-class family from Devonport, his father a surgeon in the Royal Navy. He joined, as so many of his background did - younger son, but of a certain social status - the East India Company's army (the 12th Madras Native Infantry) aged only 17, the third Tripe son to do so.

The extraordinary exhibition of thousands of photographs ranging from cumbersome, beautifully detailed, sharply acute photographs of the aftermath of the 1860s American Civil War to mundane landscapes taken in 2013, are based on an enlivening, provocative, and even perhaps controversial organizing principle. What is novel is the unusual premise: eschewing more conventional and immediate reportage, or documentary series, the selection moving from gallery to gallery - and section by section in the catalogue - is defined by time.