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Articles sur Painting

Affichage de 61 à 80 de 143 articles

Colour blind people are really good at spotting things that are far away, and they are better than most people at telling things apart by their shape. Shutterstock

Curious Kids: why are people colour blind?

Some colour blind people only have two kinds of cone cell in their eye. Others have three kinds, but the cones do not pick up the same light waves as the cone cells in most people’s eyes do.
Mario Klingemann’s ‘Neural Glitch Portrait 153552770’ was created using a generative adversarial network. Mario Klingemann

When the line between machine and artist becomes blurred

Later this month, Christie’s will be auctioning its first piece of AI art – a portrait created via machine learning.
Detail from Artemisia Gentileschi’s Self-Portrait as Saint Catherine of Alexandria, c. 1616. Her role playing predates by centuries the preoccupations of artists such as Cindy Sherman. Wikimedia

Explainer: Artemisia Gentileschi, a Baroque heroine for the #MeToo era

Born into late-16th century Papal Rome, Gentileschi transcended the path of utter obscurity that was the lot of her female peers to become one of the most famous painters of the day.
Visitors look at Blue poles (1952) during its trip to London for an abstract expressionism exhibition in 2016. Andy Rains/EPA

Blue poles 45 years on: asset or overvalued drip painting?

The 1973 purchase of Jackson Pollock’s abstract expressionist painting – at a record price for the time – was a controversial moment in Australian art. Was it worth it?
Detail from Brett Whiteley. Sacred baboon 1975 brush and ink, wood stain, watercolour, gouache and cut printed colour illustration on cardboard 81.6 x 67.6 cm National Gallery of Victoria, Melbourne Purchased, 1978 (A23-1978) © Wendy Whiteley

An ape in anguish: Brett Whiteley’s Sacred baboon

Throughout his life, Brett Whiteley made images of apes and monkeys. He found much in their character and physiognomy to identify with.
Mirka Mora sitting surrounded by her colourful doll and soft sculpture creations and tapestries in 1978. Courtesy of the Rennie Ellis Photographic Archive, State Library of Victoria.

Au revoir Mirka Mora, your joie de vivre will live on

Mirka Mora survived the second world war to carve out a unique place for herself in the Australian art world. Over six decades, her creativity was legendary.
Charles Blackman posed next to his work in Sydney in 2013. Tracy Nearmy/AAP

Charles Blackman’s poetic vision contained an undertone of dread

Charles Blackman forged an urbanised image of Australia that for most, was more familiar than the mythic landscapes of Sidney Nolan or Arthur Boyd. Yet though familiar, it remains uncomfortable.
Sidney Nolan’s Steve Hart dressed as a girl 1947 from the Ned Kelly series 1946 – 1947 enamel paint on composition board 90.60 x 121.10 cm. Gift of Sunday Reed 1977 National Gallery of Australia

Here’s looking at: Steve Hart dressed as a girl, 1947 by Sidney Nolan

As a bushranger in the Kelly gang, Steve Hart took to dressing as a woman and riding side-saddle to avoid detection. Sidney Nolan’s painting captures Hart’s adolescent cockiness, bravery, and foolhardy bluster.
Former President Bill Clinton promotes ‘The President is Missing,’ the new novel he wrote with James Patterson, in New York. AP Photo/Bebeto Matthews

In retirement, most ex-presidents can’t resist the urge to stay relevant

What happens to motivated, determined and egotistical men when they are forced to abandon the White House? As John Quincy Adams once said, ‘There is nothing more pathetic in life than a former president.’
Artist Nyapanyapa Yunipingu is assisted by art centre worker Jeremy Cloake at Buku-Larrnngay Art Centre,Yirrkala. Siobhan McHugh

Aboriginal art: is it a white thing?

White people hugely influence the Aboriginal art world – but that can be a good thing, according to the artists.
Katharina Grosse Untitled Trumpet, 2015, All the World’s Futures, 56th Art Biennale, La Biennale di Venezia 09.05. - 02.11.2015 acrylic on wall, floor, and various objects, 660 x 2,100 x 1,300 cm / 259 ¾ x 826 ¾ x 511 ¾ in. Photo: Nic Tenwiggenhorn Copyright: © Katharina Grosse and VG Bild-Kunst, Bonn 2017

How painting escaped the canvas and another brush with death

How is it that contemporary painting has dug its heels in, so to speak, and refuses to look like a painting anymore?

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