The next female artist we are celebrating as part of Women's History Month is the American photographer, Nan Goldin. Known for her deeply personal and candid portraiture; Goldin’s images act as a visual autobiography documenting herself and those closest to her. In 2010, Nan Goldin was given private access to the Musée du Louvre in Paris. “When I was alone in the museum I would find paintings and fall completely in love. That was the beginning, then I started to see my friends. I started to see my lovers. I started to find the myths and I became fascinated to see how they relate to the history of humanity. Then we found lots of old pictures of mine, from the 1970s through 2011, which related to the pictures that I’d fallen in love with [at the Louvre].” When Goldin recognized the duality between her work and the work of the painters and sculptors who had come before her, artists who had captured the likes of Psyche and Cupid on canvas, or in marble, and who had inspired viewers for centuries, she was able to create an entirely new dialogue between past and present through digital technology. To read the essay by Derek Blasberg on the new Gagosian Quarterly website, follow the link in our bio. #NanGoldin #Scopophilia #WomenArtists #WomensHistoryMonth #GagosianQuarterly #Gagosian @museelouvre @nangoldinstudio @derekblasberg __________ Image: Nan Goldin, "Veils," 2011–14, chromogenic print, 45 × 53 inches (114.3 × 134.6 cm), edition of 3

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The next female artist we are celebrating as part of Women's History Month is the American photographer, Nan Goldin.
Known for her deeply personal and candid portraiture; Goldin’s images act as a visual autobiography documenting herself and those closest to her.
In 2010, Nan Goldin was given private access to the Musée du Louvre in Paris. “When I was alone in the museum I would find paintings and fall completely in love. That was the beginning, then I started to see my friends. I started to see my lovers. I started to find the myths and I became fascinated to see how they relate to the history of humanity. Then we found lots of old pictures of mine, from the 1970s through 2011, which related to the pictures that I’d fallen in love with [at the Louvre].”
When Goldin recognized the duality between her work and the work of the painters and sculptors who had come before her, artists who had captured the likes of Psyche and Cupid on canvas, or in marble, and who had inspired viewers for centuries, she was able to create an entirely new dialogue between past and present through digital technology.
To read the essay by Derek Blasberg on the new Gagosian Quarterly website, follow the link in our bio.
#NanGoldin #Scopophilia #WomenArtists #WomensHistoryMonth #GagosianQuarterly #Gagosian @ルーブル美術館 @nangoldinstudio @デレク・ブラスバーグ
__________
Image: Nan Goldin, "Veils," 2011–14, chromogenic print, 45 × 53 inches (114.3 × 134.6 cm), edition of 3


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