分类: 艺术预览模式: 普通 | 列表

35张惊艳的高清晰HDR图片欣赏及下载

前两天Smashing Magazine上免费推出了45个漂亮的Blog头部图片,今天他们又在这篇文章中展示了35张极奇漂亮且逼真的HDR图片。现我把其中一些能下载的已下载,并打包成了Zip文件,总共有18张,大小为20.16MB。


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分类:艺术 | 固定链接 | 评论: 0 | 引用: 0 | 查看次数: 1597

STOP BULLYING EDISON CHEN! 不要再欺负陈冠希了!
自己看吧.

点我打开

 

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推荐一个壁纸下载站点

1.简单,简洁
2.分类方便
3.速度稳定(虽然不算很快)
4. 更新很快
5.最重要,站长收集的壁纸很漂亮

来试试看 http://www.socwall.com/

分类:艺术 | 固定链接 | 评论: 0 | 引用: 0 | 查看次数: 607

The annual fair sponsored by the International Fine Print Dealers Association can sometimes seem like a high-class jumble sale. Dealers tend to cram their booths full of art, hanging Rembrandt etchings next to Rauschenberg silk-screens and piling excess inventory into forbidding stacks. If you are accustomed to the minimalist pretenses of most contemporary art fairs, however, the print dealers’ showcase may come as a relief.

Tandem Press

"Half-life Series No. 4," a lithography and relief on Mylar by Nicola López at the Print Fair.

With 89 galleries, publishers and private dealers from around the world, the fair exhibits prints by contemporary artists alongside rare works from the 16th through 20th centuries. This year it also introduces an ambitious site-specific installation by the emerging artist Nicola López.

Ms. López has transformed the booth of Tandem Press into a landscape of crumbling infrastructure: flowers sprout from barbed wire and leaky pipes (all cutouts of lithographed Mylar). More conventional prints by Ms. López, featuring similar imagery, are also on display.

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Next to MoMA, a Tower Will Reach for the Stars

Cass Gilbert’s Woolworth Building, William Van Alen’s Chrysler Building, Mies van der Rohe’s Seagram Building.

 
Jean Nouvel

A rendering of the Jean Nouvel-designed tower to be built adjacent to the Museum of Modern Art.

 
Jean Nouvel

The interior of Jean Nouvel’s building, which is to include a hotel and luxury apartments.

 
 

 

If New Yorkers once saw their skyline as the great citadel of capitalism, who could blame them? We had the best toys of all.

But for the last few decades or so, that honor has shifted to places like Singapore, Beijing and Dubai, while Manhattan settled for the predictable.

Perhaps that’s about to change.

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Hokum That Stands the Test of Time

LOS ANGELES — Before I arrived here, a flier was in my mailbox, an advertisement for “China China — Le Grand Cirque.” It described “an unprecedented dimension of body control, acrobatic precision and unbelievable capability.”

 
Hammer Museum

A handbill about George Anderson, “The Living Skeleton,” around 1862. More Photos »

Multimedia

Extraordinary Exhibitions

 

My neighbors tossed their copies into the recycling bin.

Obviously they didn’t know about Ricky Jay. For years Mr. Jay, the sleight-of-hand artist and archivist of all sorts of eccentric entertainments, has been collecting historic equivalents of the circus broadside, some dating back to Shakespeare’s day.

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Two Cities Linked by Design

Librado Romero/The New York Times

“Berlin-New York Dialogues” includes a photo-map of Berlin.

Published: November 15, 2007

The area surrounding Chausseestrasse, a former no man’s land where a wall once stood in Berlin, may not seem to invite immediate comparisons with the Red Hook section of Brooklyn. But architects and urban planners see parallels in the rapid growth of both of these formerly gritty neighborhoods, particularly in how the arts have spurred gentrification.

As New York and Berlin undergo architectural booms, such provocative juxtapositions can shed light on how the arts, immigration and community activism affect urban development. That’s the thinking behind the “Berlin-New York Dialogues: Building in Context,” an exhibition at the Center for Architecture on La Guardia Place in Greenwich Village that will travel to Berlin in March.

“These are two cities that are both on the verge of paradigm shifts in how growth happens,” said Lynnette Widder, a curator of the show and head of the architecture department at the Rhode Island School of Design.

The question in New York is whether the city can sustain its building boom, Ms. Widder added, while in Berlin the question is whether the city can continue to reverse years of shrinkage. “Germany is looking to America as a model of a much more free market,” she said.

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Big Prices for Bacon Paintings Lead Sales of $315.9 Million, a Record Total for Sotheby’s

 

The art world continued its shopping spree last night at Sotheby’s, where contemporary-art collectors and dealers dropped a cool $315.9 million — a record auction total for Sotheby’s — on everything from a sculpture of a bright red heart to a somber painting of a bullfight to an image of an electric chair. Related 

The two-hour bonanza seemed to build on the froth of Christie’s postwar and contemporary sale Tuesday night, which brought in $325 million. Of the 71 lots offered at Sotheby’s, only 6 failed to sell. “On Tuesday night, people didn’t know what to expect,” Philippe Ségalot, a Manhattan dealer who bought several works for three different clients, said at Sotheby’s. “But tonight the mood was far better.”

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Abu Dhabi to Guide Buying for Its Guggenheim Branch

 

The government of Abu Dhabi will oversee acquisitions for the new Guggenheim museum in the United Arab Emirates, officials announced yesterday.

“There is not going to be an independent entity that programs in the name of the Guggenheim,” Thomas Krens, the director of the Solomon R. Guggenheim Foundation in New York, said of the Abu Dhabi branch. “At the same time, the Guggenheim doesn’t have carte blanche.”

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An Artist’s Famous Smile: What Lies Behind It?

Your first reaction upon meeting Yue Minjun might be, yes, it is indeed he! The face with the enigmatic, jaw-breaking grin, perhaps the most recognizable image in contemporary Chinese painting, is a self-portrait.

“Yes, it’s me,” Mr. Yue said in a recent interview, and he smiled, though in a gentler, less face-splitting fashion than the man in his paintings — the one who drifts Zelig-like past various familiar backgrounds making a sardonic, or perhaps ironically despairing, comment on the passing scene.

Mr. Yue, 45, was in New York in October for the opening of an exhibition of his paintings and sculptures that continues through Jan. 6 at the Queens Museum of Art. The show, “Yue Minjun and the Symbolic Smile,” is the first American museum exhibition of Mr. Yue’s work and further evidence of his remarkable rise in the superheated field of Chinese contemporary art.

A few years ago, Mr. Yue was eking out a precarious existence in one of Beijing’s artist colonies, trying to figure out a way to weave China’s tumultuous experience into his works. Now, largely on the strength of that signature grin, he has achieved stardom internationally.

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Industrial Strength in the Motor City

THE flux in Detroit’s fortunes over the last century is starkly mirrored in its world-class Beaux Arts-style museum, built in the 1920s by a cultural elite flush with money and eager for a grandly scaled downtown district.

Much of that wealth, of course, sprang from the automobile industry, which had attracted a huge, diverse work force — blacks and whites alike from the South, and Eastern European, Lebanese and Greek immigrants, among others — to the city that swelled in population sixfold in the first half of the 20th century.

This history is embedded in Diego Rivera’s renowned frescoes “Detroit Industry” (1932-33) at the Detroit Institute of Arts. Rivera, the Mexican muralist, considered them his best work. Commissioned by Edsel Ford, then the president of the Ford Motor Company and a prominent art patron, the Rivera murals celebrated workers as the engine of assembly-line production — of cars as well as weapons, airplanes, chemicals and vaccines — in a cycle of frescoes covering four walls of an interior courtyard.

Yet what was harmonious in the murals — laborers of all races working in unison for the good of industry — was far less so in reality. And over time the racial tensions in Detroit, climaxing in the riots of 1967, profoundly altered the urban landscape. So did the building of highways in the 1950s and 1960s that bisected neighborhoods and hastened the exodus of businesses and middle-class families from downtown to sprawling suburban enclaves. Detroit has never fully recovered.

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It’s Asian Work, but Abandon the Stereotypes Before Entering the Booths

 

Two young, bald Asian women in Western-style clothes are horsing around. One points her finger at the head of the other, who scrunches up her face as if bracing for a bullet.

 
ChinaSquare

Xiang Jing’s “Bang!” (2002), in painted fiberglass.

Titled “Bang!,” this tableau of life-size figures in painted fiberglass, by the Chinese sculptor Xiang Jing, calls to mind a famous Vietnam War photograph by Eddie Adams: the 1968 image of South Vietnam’s national police chief executing a Viet Cong prisoner. So the playful surface of “Bang!” masks a half-repressed trauma.

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分类:艺术 | 固定链接 | 评论: 0 | 引用: 0 | 查看次数: 381