254 épisodes

Stay up to date with video podcasts from the National Gallery of Art, which include documentary excerpts, lectures, and other films about the Gallery's history, exhibitions, and collections.

National Gallery of Art | Videos The National Gallery of Art

    • Arts visuels

Stay up to date with video podcasts from the National Gallery of Art, which include documentary excerpts, lectures, and other films about the Gallery's history, exhibitions, and collections.

    • video
    Vera Lutter | nga

    Vera Lutter | nga

    Drawing on one of the earliest forms of photographic technology, Vera Lutter (German, b. 1960) creates monumental photographs of compelling architectural spaces. She first builds a camera obscura by darkening the interior of closed spaces—a suitcase, shipping container, or apartment—and leaving a small pinhole opening for light to enter. Placing light-sensitive paper opposite the opening, Lutter then exposes an image of the exterior view on the paper for an extended period of hours, days, even months. The unusually long exposure time challenges notions of photography’s instantaneity, producing images that capture the passage of time rather than a singular moment. For Ca' del Duca Sforza, Venice II: January 13–14, 2008 Lutter transformed a room in the Palazzo Sforza into a camera to create a stunning and uncanny view of the Grand Canal in Venice.

    • 51 min
    • video
    John Wilmerding Symposium on American Art Part VI: Rockwell Kent and the End of the World

    John Wilmerding Symposium on American Art Part VI: Rockwell Kent and the End of the World

    Justin Wolff, associate professor of art history, University of Maine. In November 1937 Life magazine featured four lithographs by the American artist Rockwell Kent (1882-1971) in the article “Four Ways in Which the World May End.” In this lecture from the inaugural John Wilmerding Symposium on American Art, held at the National Gallery of Art on October 22, 2016, Justin Wolff analyzes the so-called “End of the World” lithographs, part of the National Gallery of Art collection, in the context of scientific theories about cosmic cataclysm, suspicions that European fascism portended an apocalypse, and Kent’s solidarity with a radical leftism that anticipated capitalism’s disintegration. Wolff considers looking beyond their political meaning to what the lithographs tell us about Kent’s renowned emotional intensity and wanderlust—specifically, what they reveal about his tenacious quest to acquire psychic integrity in barren lands at the ends of the world. The John Wilmerding Symposium on American Art is made possible by a generous grant from The Walton Family Foundation.

    • 57 min
    • video
    Hubert Robert at the Flower-Strewn Abyss

    Hubert Robert at the Flower-Strewn Abyss

    Nina L. Dubin, associate professor of art history, University of Illinois at Chicago. On the occasion of the exhibition Hubert Robert, 1733–1808 at the National Gallery of Art, Nina Dubin presented a lecture on September 26, 2016, that examined a series of Hubert Robert’s paintings from the 1780s. The theme of these works is courtship menaced by the potential for calamity. Male suitors climb ladders in an attempt to procure flowers for their female love interests or cling to tree branches while trying to secure a token of their affection in the form of a bird’s nest. No less than his contemporaneous views of Paris—evocations of a city vacillating between prosperity and ruin—Robert’s chronicles of the rise and potential fall of a man in love embody the suspenseful confluence of dread and hope that characterized the prerevolutionary period. As Dubin argues, it is no accident that in such a climate, Robert would take up the theme of a lover’s potential mishap: along with the ancient myths of Icarus, Phaethon, and others who fatally believed they could defy the force of gravity, the folly of love furnished eighteenth-century audiences with a shorthand means of coming to terms with the dawning ethereality—the manias, fads, and bubbles—of modern existence.

    • 57 min
    • video
    Discoveries from the Dwan Gallery and Virginia Dwan Archives

    Discoveries from the Dwan Gallery and Virginia Dwan Archives

    Paige Rozanski, curatorial assistant, department of modern art, National Gallery of Art. In this lecture held on September 26, 2016, as part of the Works in Progress series at the National Gallery of Art, Paige Rozanski sheds light on the discoveries she made during her research at the Dwan Gallery Archives and the Virginia Dwan Archives in preparation for the exhibition Los Angeles to New York: Dwan Gallery, 1959–1971. Rozanski underscores the integral role this material played in planning the exhibition, illustrates how the archives contributed to scholarship, and outlines her approach to writing the chronology and exhibition history published in the exhibition catalog.

    • 57 min
    • video
    John Wilmerding Symposium on American Art, V: Marsden Hartley’s Maine

    John Wilmerding Symposium on American Art, V: Marsden Hartley’s Maine

    Randall Griffey, associate curator, department of modern and contemporary art, Metropolitan Museum of Art. American painter Marsden Hartley (1877-1943) entered the modernist canon as a result of the abstract paintings he created in Germany in 1914-1915. But the paintings he created of his home state of Maine late in his career beginning in 1937 brought him his greatest acclaim during his lifetime. In fact, Hartley began his career in 1909 at Alfred Stieglitz’s 291 gallery as a painter of Maine. Previewing a major exhibition to open in March 2017 at the Met Breuer and in July 2017 at the Colby College Museum of Art, Randall Griffey illuminates the painter’s dynamic, rich, and occasionally contradictory artistic engagement with his native Maine. Maine was to Hartley a springboard to imagination and creative inspiration, a locus of memory and longing, a refuge, and a means of communion with previous artists who painted there, especially Winslow Homer. Speaking at the inaugural John Wilmerding Symposium on American Art, held on October 22, 2016, at the National Gallery of Art, Griffey showcases Hartley’s impressive range, from early post-impressionist interpretations of seasonal change in the region to late, folk-inspired depictions of Mount Katahdin, the state’s great geological landmark. The John Wilmerding Symposium on American Art is made possible by a generous grant from The Walton Family Foundation.

    • 57 min
    • video
    John Wilmerding Symposium on American Art, IV: Arthur Dove: Circles, Signs, and Sounds

    John Wilmerding Symposium on American Art, IV: Arthur Dove: Circles, Signs, and Sounds

    Rachael Z. DeLue, associate professor, department of art and archaeology, Princeton University. The modern American artist Arthur Dove (1880–1946) drew inspiration from the natural world when making his paintings and assemblages, but he also played around with found objects, popular music, sound technology, aviation, farm animals, meteorology, language, and script, including his own signature. The circle motifs that appear persistently across Dove’s art serve to signify and connect these disparate things, creating a vital and unique form of abstraction, one resolutely if paradoxically bound to objective reality and material existence. As Dove himself said, “there is no such thing as abstraction,” preferring the term “extraction” to describe the essential relationship between his work and the world. Speaking at the inaugural John Wilmerding Symposium on American Art, held on October 22, 2016, at the National Gallery of Art, Rachael Z. DeLue discusses some of the chief characteristics of Dove’s extractions, focusing on examples from the Gallery’s collection. The John Wilmerding Symposium on American Art is made possible by a generous grant from The Walton Family Foundation.

    • 51 min

Avis d’utilisateurs

Accordion Player ,

Formidable

Je cherchais des programmes courts pour améliorer mon anglais et grâce à ce podcast j'améliore mon anglais ET ma connaîssance des arts.
Les sujets proposés sont passionnants.Regardez la série sur " l'empire des illusions optiques" et vous serez scotchés par la démonstration!
Oui internet permet d'avoir accès à la connaîssance.En voici encore une preuve éclatante.
Tant pis pour ceux qui n'en profitent pas!

itunesvasco ,

formidable Hopper, génial iTunes!

génial.MERCI iTunes.je ne pourrai pas voir l'expo sur new york en avril car elle se trouvera sur Chicago.
ça me console...de très belles photos des toiles, je n'ai plus de superlatifs dispo!
bye-bye.

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