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Empire of the Sun artwork
This is an original, rolled, one-sheet movie poster from 1987 for Empire of the Sun starring Christian Bale, John Malkovich, Miranda Richardson and Joe Pantoliano. Steven Spielberg directed the film based on the novel by J.G. Ballard. John Alvin is the artist for the poster.
Conflict, Time, Photography brings together photographers who have looked back at moments of conflict, from the seconds after a bomb is detonated to 100 years after a war has ended. Staged to coincide with the centenary of the First World War, this major group exhibition offers an alternative to familiar notions of war reportage and photojournalism, instead focusing on the passing of time and the unique ways that artists have used the camera to reflect on past events.
Artists: Jules Andrieu, Pierre Antony-Thouret, Nobuyoshi Araki, George Barnard, Adam Broomberg and Oliver Chanarin, Luc Delahaye, Ken Domon, Roger Fenton, Ernst Friedrich, Jim Goldberg, Toshio Fukada, Kenji Ishiguro, Kikuji Kawada, An-My Lê, Jerzy Lewczyński, Emeric Lhuisset, Agata Madejska, Diana Matar, Eiichi Matsumoto, Chloe Dewe Mathews, Don McCullin, Susan Meiselas, Kenzo Nakajima, Simon Norfolk, João Penalva, Richard Peter, Walid Raad, Jo Ratcliffe, Sophie Ristelhueber, Julian Rosefeldt, Hrair Sarkissian, Michael Schmidt, Ursula Schulz-Dornburg, Indre Šerpytyte, Stephen Shore, Harry Shunk and János Kender, Taryn Simon, Shomei Tomatsu, Hiromi Tsuchida, Marc Vaux, Paul Virilio, Nick Waplington, Jane and Louise Wilson, and Sasaki Yuichiro.
This is an original, rolled, one-sheet movie poster from 1987 for Empire of the Sun starring Christian Bale, John Malkovich, Miranda Richardson and Joe Pantoliano. Steven Spielberg directed the film based on the novel by J.G. Ballard. John Alvin is the artist for the poster.
Conflict, Time, Photography brings together photographers who have looked back at moments of conflict, from the seconds after a bomb is detonated to 100 years after a war has ended. Staged to coincide with the centenary of the First World War, this major group exhibition offers an alternative to familiar notions of war reportage and photojournalism, instead focusing on the passing of time and the unique ways that artists have used the camera to reflect on past events.
Theatrical artwork
This is not to say that the contribution of the author to the theatrical experience is unimportant. The script of a play is the basic element of theatrical performance. In the case of many masterpieces it is the most important element. But even these dramatic masterpieces demand the creative cooperation of artists other than the author. The dramatic script, like an operatic score or the scenario of a ballet, is no more than the raw material from which the performance is created. The actors, rather than merely reflecting a creation that has already been fully expressed in the script, give body, voice, and imagination to what was only a shadowy indication in the text. The text of a play is as vague and incomplete in relation to a fully realized performance as is a musical score to a concert. The Hamlets of two great actors probably differ more than two virtuoso renditions of Johann Sebastian Bach’s Goldberg Variations possibly can. In general, the truly memorable theatrical experience is one in which the various elements of performance are brought into a purposeful harmony. It is a performance in which the text has revealed its meanings and intentions through skillful acting in an environment designed with the appropriate measure of beauty or visual impact.
Everyone can recognize the look of the theater stage. The lighting is dynamic with sharp contrast, the figures are starkly illuminated, and almost everything is exaggerated in some way, whether in costume or in gesture or both. The theatre carries a wonderful notion of story-telling and imagination with it that creates a framework for imagination. The dark curtains and raised platforms of the stage create the illusion that scenes that play before the viewer are in fact real, and that the audience is merely intruding on a story that would have happened regardless of whether or not they were listening in. This, to me, is the essence of the stage. In a sense, nearly all artistic arrangements of figures within a piece draw from the same principles that make up the ways in which a director would position actors within a scene. Paintings of interactions between people can be created to have an almost cinematic feel, drawing from that same notion that what is happening within the image would happen by itself, regardless of whether or not the viewer was there to see it. These images aren’t static; the events depicted are motion-oriented, and the viewer is almost always left wondering what might happen next within the scene. These works in particular create their own “stages”, where some of the details of the locale are shrouded through tenebrism or infinite space, placing more importance on the figures and their implied actions. This gallery is a collection of Renaissance and Baroque paintings that depict events happening within their own stages, alluding to the idea of being in theater.
Theatre has a long-standing relationship with societal commentary, and that hasn’t changed. Now, the focus frequently shifts towards contemporary social issues, and cultural representation has become a crucial part of modern productions. Theatrical pieces openly tackle subjects of restoration and change within societies, leveraging the intimate connection between actors and spectators to prompt reflection and dialogue.
This is not to say that the contribution of the author to the theatrical experience is unimportant. The script of a play is the basic element of theatrical performance. In the case of many masterpieces it is the most important element. But even these dramatic masterpieces demand the creative cooperation of artists other than the author. The dramatic script, like an operatic score or the scenario of a ballet, is no more than the raw material from which the performance is created. The actors, rather than merely reflecting a creation that has already been fully expressed in the script, give body, voice, and imagination to what was only a shadowy indication in the text. The text of a play is as vague and incomplete in relation to a fully realized performance as is a musical score to a concert. The Hamlets of two great actors probably differ more than two virtuoso renditions of Johann Sebastian Bach’s Goldberg Variations possibly can. In general, the truly memorable theatrical experience is one in which the various elements of performance are brought into a purposeful harmony. It is a performance in which the text has revealed its meanings and intentions through skillful acting in an environment designed with the appropriate measure of beauty or visual impact.
Everyone can recognize the look of the theater stage. The lighting is dynamic with sharp contrast, the figures are starkly illuminated, and almost everything is exaggerated in some way, whether in costume or in gesture or both. The theatre carries a wonderful notion of story-telling and imagination with it that creates a framework for imagination. The dark curtains and raised platforms of the stage create the illusion that scenes that play before the viewer are in fact real, and that the audience is merely intruding on a story that would have happened regardless of whether or not they were listening in. This, to me, is the essence of the stage. In a sense, nearly all artistic arrangements of figures within a piece draw from the same principles that make up the ways in which a director would position actors within a scene. Paintings of interactions between people can be created to have an almost cinematic feel, drawing from that same notion that what is happening within the image would happen by itself, regardless of whether or not the viewer was there to see it. These images aren’t static; the events depicted are motion-oriented, and the viewer is almost always left wondering what might happen next within the scene. These works in particular create their own “stages”, where some of the details of the locale are shrouded through tenebrism or infinite space, placing more importance on the figures and their implied actions. This gallery is a collection of Renaissance and Baroque paintings that depict events happening within their own stages, alluding to the idea of being in theater.
Theatre has a long-standing relationship with societal commentary, and that hasn’t changed. Now, the focus frequently shifts towards contemporary social issues, and cultural representation has become a crucial part of modern productions. Theatrical pieces openly tackle subjects of restoration and change within societies, leveraging the intimate connection between actors and spectators to prompt reflection and dialogue.
