{"id":621,"date":"2022-06-23T21:38:59","date_gmt":"2022-06-23T21:38:59","guid":{"rendered":"https:\/\/tirinha.com\/retratos-e-paisagens-no-wexner-center-for-the-arts\/"},"modified":"2023-10-11T10:43:04","modified_gmt":"2023-10-11T10:43:04","slug":"retratos-e-paisagens-no-wexner-center-for-the-arts","status":"publish","type":"post","link":"https:\/\/tirinha.com\/hr\/621\/retratos-e-paisagens-no-wexner-center-for-the-arts\/","title":{"rendered":"Portreti i krajolici\u201d u Wexner Centru za umjetnost"},"content":{"rendered":"
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Mislim da je Thomas Edison ve\u0107 postavljen da zamijeni Williama Allena <\/span>kao ikona Ohija <\/span>u Dvorani kipova Kapitola<\/span>. Da sam znao da je na\u0161a domovina Catherine Opie, u\u010dinio bih ne\u0161to da je umjesto toga vidim u sveti\u0161tu.<\/span> uz Jamesa Garfielda kao predstavnika slave Ohija. Sklonite se, drugorazredni predsjednici, kad imamo umjetnike istinske veli\u010dine i vizije.<\/span>
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\n <\/span>Catarina Opie, Miranda, <\/i>2013. Pigmentni otisak, 33 x 25 in. \u00a9Catherine Opie, slika ljubazno\u0161\u0107u umjetnika<\/p>\n

i Regen Projects, Los Angeles<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Svakako Opiejeve fotografije u <\/span>Portreti i pejza\u017ei,<\/i> prikazan u Wexner Centru u Columbusu do 2. kolovoza, bio bi kao kod ku\u0107e u najponosnijem tradicionalnom okru\u017eenju mramora i stupova. Da smo u galerijama iz 17. stolje\u0107a velikog europskog muzeja, na\u0161i bi osje\u0107aji zasigurno bili vrlo sli\u010dni onima koje do\u017eivljavamo dok se promi\u0161ljenim tempom kre\u0107emo kroz ovu izlo\u017ebu.<\/span>
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\nSvaki od Opiejevih pomo\u0107nika pojavljuje se pred dubokom, neprobojnom crnom pozadinom. <\/span>Registriramo li to kao prazninu ili kao beskona\u010dnu dubinu, u\u010dinak je isti u oba slu\u010daja. Smje\u0161ta subjekt u bezvremenski trodimenzionalni prostor koji je potpuno njihov, nepovezan s drugim mjestom ili vremenom.<\/span>
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\n<\/span>U\u010dinak je izrezbariti lik iz ovog medija crne boje. Svjetlost ne samo da definira osobine subjekta, nagla\u0161avaju\u0107i jednu nad drugom, ve\u0107 osloba\u0111a oblik od tame kao \u0161to se za skulpture ka\u017ee da osloba\u0111aju figure od velikih komada kamena. Tako je kroz dvije galerije portreta svaki lik uhva\u0107en u drugom ro\u0111enju, ro\u0111enom ne iz tijela, ve\u0107 iz uma, truda i ma\u0161te. Oni su pojedinci ro\u0111eni poput Atene iz Zeusove glave, potpuno odrasli i zreli. ( <\/span>Zanimljiva usporedba mo\u017ee se napraviti u <\/span>http:\/\/www.modigliani-drawings.com\/nude%20in%20profile.htm<\/span> .)<\/p>\n

Na svom portretu Miranda nosi haljinu gotovo kvekerske jednostavnosti i nenagla\u0161enosti. Njezina bordo boja i crvena kosa posreduju izme\u0111u tamne i blistave ko\u017ee i plavih o\u010diju koje sjaje u njezinu \u010dvrstom i odlu\u010dnom izrazu. Ljepota mo\u017ee biti otrovan dar. Ovdje se ljepota niti prikriva niti izbjegava; njegov posjednik mo\u017ee nositi te\u017einu blago uzdignute brade, izravno uzvra\u0107aju\u0107i pogled gledatelja. Slika prikazuje snagu, stas i ravnote\u017eu besprijekorno lijepe \u017eene koja nema \u0161to - \u010dak ni svoje savr\u0161eno lice - za sakriti.<\/span>
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\nMiranda, <\/i>tro\u010detvrtinski portret \u017eene plemenitog dr\u017eanja jasno je povezan s dugom tradicijom zapadnja\u010dkih portreta, vidljivom u svakom muzeju koji \u017eelite posjetiti. Dok ovaj<\/i> Odre\u0111ena nas \u017eena osvaja svojom ozbiljno\u0161\u0107u i ljepotom, a znamo i da je pojedina\u010dno njen fotograf svrstava u klasu ljudi koji zahtijevaju na\u0161e najve\u0107e po\u0161tovanje. Okru\u017eenje, posve\u0107enost detaljima, rasvjeta nam to govore. Trebamo li doista znati tko je ona? Ovdje je slavna osoba koja je tako\u0111er dionica stoljetne tradicije \u017eena koje poziraju za potomke. Ona je; ona je drugo<\/i>.<\/span>
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\nKada posje\u0107ujemo muzejske galerije ispunjene veli\u010danstvenim, dirljivim portretima renesanse, prosvjetiteljstva ili plemi\u0107a iz 19. stolje\u0107a, sve\u0107enstva, pjesnika i konkubina, koliko \u010desto znamo tko su bili prikazani ljudi ili \u0161to su postigli u svijetu? Svakako ne onoliko \u010desto koliko bismo htjeli. Kralj George? Henrique? I koji broj? Bez naga\u0111anja! No, slike interpretiramo svojim razumijevanjem, op\u0107im znanjem i imaginacijom kroz samu umjetnost, kroz konvencije i odstupanja od njih; vlastitih reakcija na slike luksuza, ekscentri\u010dnosti i ljepote. Reagiramo na pri\u010du koju je umjetnik ispri\u010dao i stvaramo sredi\u0161nju figuru kako bismo zadovoljili na\u0161u upotrebu slike. A-povijesno? Anakrono? Da, potpuno uobi\u010dajeno? Da opet.<\/span>
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\nZapravo, \u010dinimo istu stvar sa suvremenim portretima jednostavno zato \u0161to ne poznajemo sve koji se smatraju va\u017enima za stvaratelje slika. Niti bismo trebali. U ovoj seriji portreta, Opie identificira svoje subjekte samo njihovim imenom. \u010cini se da je na\u010din na koji su postavljeni uvelike ovisio o umjetnici, koja je dobila lijepa svjedo\u010danstva od mnogih svojih subjekata za velikodu\u0161na ili prosvjetljuju\u0107a iskustva koja su imali s njom. Kao \u0161to je navedeno u bilje\u0161kama galerije, umjetnica Kara Walker primijetila je da prije mnogih zakazanih sesija portreta nije bila u najboljem izdanju: \u201cPostoji pregr\u0161t slika poznatih umjetnika na mojim najmra\u010dnijim, najni\u017eim to\u010dkama. Cathyno pona\u0161anje i rezultiraju\u0107e slike pokazuju da se osje\u0107am cool, da imam kontrolu, da pokazujem svoje mi\u0161i\u0107e... Osjetio sam val vlasni\u0161tva ili barem dru\u017eenja \u2013 da \u0107emo nastojati ispraviti ovu pro\u0161lost.\u201d<\/span><\/p>\n

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Catarina Opie, Marija, <\/i>2013. Pigmentirani otisak, 50 x 38,4. \u00a9Catherine Opie. Slika ljubazno\u0161\u0107u umjetnika i Regen Projects, Los Angeles<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\nDakle, da, Opiejevi subjekti su eminentni ljudi, suvremeni umjetnici koji rade na \u010delu vizualnih umjetnosti, knji\u017eevnosti, performansa i glazbe. Iako mnoge prepoznaje relativno malobrojna publika, stalno ih se fotografira. Miranda, gore, je <\/span>redatelj\/umjetnik izvedbe\/pisac\/glumac Miranda July. Ako je dosad niste vidjeli, samo proguglajte njezinu sliku: ima stranica s njima. Vrijedi razumjeti razliku izme\u0111u slike i portreta.<\/span>
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\nOvih su dana slike posvuda slu\u010dajne i dizajnirane. Tradicija velikih portreta u koju Opie stavlja ovu seriju potje\u010de iz vremena kada su slike velikih bile rijetke i dragocjene. Naslikani portret Voltairea postao bi osnova za gravure, koje bi se mogle tiskati i distribuirati po niskoj cijeni. Ali svijet nije bio zasi\u0107en beskrajnim nizom jedinstvenih slika jedne eminentne osobe koja je bila preure\u0111ena i \u010dija se osobnost svakodnevno preoblikovala. Postojala je postojanost temeljnih identiteta intelektualaca i umjetnika. Ovi portreti se na taj na\u010din vra\u0107aju toj ideji postojanosti. <\/span>
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\nU onoj mjeri u kojoj Opieini portreti poma\u017eu u definiranju i uspostavljanju identiteta, ona koristi vizualnu tradiciju kao okvir na kojem organizira sredi\u0161nje ideje, djela i identitete prikazanih pojedinaca. Crna pozadina, izvrsno kontrolirana rasvjeta, dostojanstvo poze, oblici portreta: oni tvore tradicionalni stol koji osigurava po\u010dasno mjesto. U tom okviru, pojedinac je upravo onakav kakav je prikazan \u2013 gol ili odjeven; pravi ili radni\u010dki; licem naprijed ili nazad prema nama; gledaju\u0107i u stranu, ili izazivaju\u0107i nas da uzvratimo brzim pogledom.<\/span><\/p>\n\n\n\n
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Catarina Opie, Idexa, <\/i>2012. Pigmentirani otisak, 50 x 38,4. \u00a9Catherine Opie. Slika ljubazno\u0161\u0107u umjetnika i Regen Projects, Los Angeles<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\nDok od Mirande <\/i>Klasicizam daje prou\u010davanu definiciju \u017eene \u010dija je slika sveprisutna i le\u017eerno ra\u0161irena, u Marija <\/i>to je Idexa,<\/i> Opie koristi konvencije kako bi smanjio temperaturu neobi\u010dnih slika. Tradicija ubla\u017eava o\u010dekivanja i lako prihva\u0107amo razlike u namjeni i perspektivi otkrivene na ovim portretima. Formalnost ne gu\u0161i ogor\u010denost, ali je izravna; vra\u0107a raspravu na doma\u0107u osnovu. \u017dene koje su ovdje prikazane nisu \u017eene s tradicionalnom samosvije\u0161\u0107u ili \u017eivotima. Ali tko su oni i koga \u017eele otkriti, to smo mi i\u0107i <\/i>vidjeti na isti dostojanstven na\u010din na koji bismo vidjeli prikazane kraljice i svece i slavne ljubavnike. <\/span>
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\nOva dva portreta udobno \u0107e visjeti u visokim dvoranama stolje\u0107ima kasnije, me\u0111u kasnim Maries, Georges i Voltaires; Slike \u0107e izazivati po\u0161tovanje izvan na\u0161eg razdoblja i, kao i sve povijesne slike, zahtijevat \u0107e radnje istra\u017eivanja i ma\u0161te koje se od nas tra\u017ei da damo pro\u0161losti iz na\u0161e vlastite sada\u0161njosti. Pitanje vri\u0161ti: Mo\u017eemo li razumjeti genijalnost razlike u na\u0161e vlastito vrijeme<\/i> s prihva\u0107anjem koje dajemo herojima pro\u0161losti? Mo\u017eemo li ma\u0161tovito sa\u017eeti godine koje su postupno potrebne da se postigne razumijevanje posredstvom formalnih vizualnih tradicija?<\/span>
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\n <\/span>Catarina Opie, Bez naslova #5, <\/i>2012. Pigmentni otisak, 40 x 60 in. \u00a9Catherine Opie, slika ljubazno\u0161\u0107u umjetnice i Regen Projects, Los Angeles<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\nPortreti u Opie showu toliko su intenzivni, toliko detaljni i osobni da je kustos, Bill Horrigan, donio zanimljivu odluku podijeliti portrete u grupe od tri ili \u010detiri odvojene umjetnikovim jedinstvenim krajolicima velikih razmjera. Neke od njih, poput gornje, \u017ealim zbog osje\u0107aja obveze da ih nazovem pejza\u017eom, jer mislim da je tako otvoren za \u2013 tako primamljivu \u2013 slobodnu interpretaciju. Ali njegova je upotreba fascinantna, u kontrastu potpuno zamu\u0107enih s portretima na kojima je svaki detalj izo\u0161tren. Niti je realno, naravno. No, napor koji portreti name\u0107u promatra\u010du, sa stupnjem fokusa koji nas samo tjera da se pribli\u017eavamo i pribli\u017eavamo \u2013 \u0161alje osobu u krajolike kao da je iznenada trgnuta od stresa i poslana u hladno sanjarenje. Djeluje opu\u0161taju\u0107e i dezorijentiraju\u0107e jer ne postoji sredina izme\u0111u dva fotografska pristupa. Najvi\u0161e mi se svi\u0111a ovaj raspored na galeriji na prvom katu, koja je ve\u0107a od uske prostorije na katu. S puno prostora za odmaknuti se i zauzeti cijeli zid, u\u010dinak kombinacije je prekrasan, a njezino zna\u010denje jasno. \u0160to ste bli\u017ee radovima, na gornjem katu, to je te\u017ee razumjeti u\u010dinkovitost kontrasta.<\/span>
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\nAko postoji ikakav problem s ovom predstavom, onda je to \u0161to svaki rad u njoj mo\u017ee stajati samostalno kao predstava za sebe. To je sramota bogatstva, sigurno. Portreti su takve veli\u010dine i stupnja detalja da je svaki od njih karta svijeta, putovanje daleko iznad svega \u0161to biste mogli primijetiti na prvu. Svaki fino izra\u0111en detalj okru\u017een je poljem sve suptilnijih i otkrivaju\u0107ih manipulacija Opiejevog medija. Zadivljuju\u0107e su i nagra\u0111uju \u2013 i apsurdno ih je predstaviti u minijaturi, na blogu. Ne propustite priliku vidjeti ih.<\/span>
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Catarina Opie, Hamza, <\/i>2013. Pigmentni otisak, 33 x 25 in.<\/p>\n

\u00a9Catherine Opie, slika ljubazno\u0161\u0107u umjetnice i Regen Projects,<\/p>\n

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Mislim da je Thomas Edison ve\u0107 postavljen da zamijeni Williama Allena kao ikonu Ohia u Dr\u017eavnoj dvorani za kipove... <\/p>","protected":false},"author":1,"featured_media":622,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"http:\/\/2.bp.blogspot.com\/-zZzfNmQOMLw\/VV-711tGuXI\/AAAAAAAAHAw\/_1k1-cBAt9M\/w1200-h630-p-k-no-nu\/Miranda_33x25.tiff","fifu_image_alt":"","footnotes":""},"categories":[34],"tags":[],"class_list":["post-621","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","latest_post"],"yoast_head":"\nRetratos e Paisagens" no Wexner Center for the Arts - Tirinha.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tirinha.com\/hr\/621\/retratos-e-paisagens-no-wexner-center-for-the-arts\/\" \/>\n<meta property=\"og:locale\" content=\"hr_HR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Retratos e Paisagens" no Wexner Center for the Arts - 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