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Senast redigerad av Clay Allison 2018-12-05 kl. 14:12.
Senast redigerad av Clay Allison 2018-12-05 kl. 14:12.
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Senast redigerad av Clay Allison 2018-12-05 kl. 14:14.
Senast redigerad av Clay Allison 2018-12-05 kl. 14:14.
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Senast redigerad av hvita.nhegrer 2018-12-05 kl. 14:31.
Senast redigerad av hvita.nhegrer 2018-12-05 kl. 14:31.
Citat:
Anser ni att Hylas and the Nymphsmålning på något sätt är stötande? Varför eller varför inte?
Själv ser jag inte poängen i att den skulle tas ner från ett museums utställning. Känns som att det är lite omodernt att ta ner konst på grund av nakenhet (om det nu är en anledning). Vi lever ju trots allt i ett modernt samhälle med fri möjlighet för sexuellt uttryck. Eller har jag fel där?
Själv ser jag inte poängen i att den skulle tas ner från ett museums utställning. Känns som att det är lite omodernt att ta ner konst på grund av nakenhet (om det nu är en anledning). Vi lever ju trots allt i ett modernt samhälle med fri möjlighet för sexuellt uttryck. Eller har jag fel där?
Citat:
Målningen visar då Hylas söker vatten att dricka och då träffar kvinnliga vattennymfer. I historien om Hylas blir han bort förd mot sin egen vilja av nymferna.
Nymferna är alla helt nakna.
Läste precis att den har tolkats som en metafor för farlig kvinnlig sexualitet och en varning mot nymfomani.
Nymferna är alla helt nakna.
Läste precis att den har tolkats som en metafor för farlig kvinnlig sexualitet och en varning mot nymfomani.
Citat:
https://www.theguardian.com/commenti...ry-sonia-boyce
Our removal of Waterhouse’s naked nymphs painting was art in action
I coordinated a Manchester Art Gallery event at which the painting was taken down. It was about giving people a say in what’s on show
It is very rare that a range of museum workers (public events programmers, volunteers, gallery invigilators and security staff, conservation and gallery technicians and cleaners), let alone visitors, are invited into a dialogue about what goes on or comes off the walls, or why. Such discussions inevitably bring conflicting perspectives and interpretations into play.
Judgment is at the heart of art, and this type of engagement has wide cultural implications.
What is beautiful to some people may appear to others to represent a problematic and pejorative system.
In relation to the 19th-century galleries under discussion, for example, are there other narratives than the female subject as a deathly siren (the femme fatale) or as a submissive object to be looked at?
On the opposite wall to Hylas and the Nymphs there is a topless depiction of Sappho by Charles Mengin (1877), where she stands on a cliff edge about to commit suicide due to her failed heterosexual love for Phaon. Nothing in the painting suggests her prolific and influential role as a lyrical poet, or her status as a lesbian icon.
Some museums – I suppose the type I am most interested in – consider the museum as a place to explore new meanings and to forge new relationships between people and art.
In my mind, the past never sits still and contemporary art’s job is increasingly about exploring how art intersects with civic life. Institutions such as the Van Abbemuseum in Eindhoven, where there is a gallery dedicated to visitors creating their own displays, and MIMA (Middlesbrough Institute for Modern Art) where visitors are encouraged to become directly engaged in a hands-on way, are examples of how such ideas can be put into practice.
The removal of Hylas and the Nymphs, at the end of a performance art event, can be seen in this context.
I coordinated a Manchester Art Gallery event at which the painting was taken down. It was about giving people a say in what’s on show
It is very rare that a range of museum workers (public events programmers, volunteers, gallery invigilators and security staff, conservation and gallery technicians and cleaners), let alone visitors, are invited into a dialogue about what goes on or comes off the walls, or why. Such discussions inevitably bring conflicting perspectives and interpretations into play.
Judgment is at the heart of art, and this type of engagement has wide cultural implications.
What is beautiful to some people may appear to others to represent a problematic and pejorative system.
In relation to the 19th-century galleries under discussion, for example, are there other narratives than the female subject as a deathly siren (the femme fatale) or as a submissive object to be looked at?
On the opposite wall to Hylas and the Nymphs there is a topless depiction of Sappho by Charles Mengin (1877), where she stands on a cliff edge about to commit suicide due to her failed heterosexual love for Phaon. Nothing in the painting suggests her prolific and influential role as a lyrical poet, or her status as a lesbian icon.
Some museums – I suppose the type I am most interested in – consider the museum as a place to explore new meanings and to forge new relationships between people and art.
In my mind, the past never sits still and contemporary art’s job is increasingly about exploring how art intersects with civic life. Institutions such as the Van Abbemuseum in Eindhoven, where there is a gallery dedicated to visitors creating their own displays, and MIMA (Middlesbrough Institute for Modern Art) where visitors are encouraged to become directly engaged in a hands-on way, are examples of how such ideas can be put into practice.
The removal of Hylas and the Nymphs, at the end of a performance art event, can be seen in this context.
En aktion mycket typisk för vår tid, med andra ord.
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