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・ Dirk Rossmann
・ Dirk Rupnow
・ Dirk Sadowicz
・ Dirk Sager
・ Dirk Scalongne
・ Dirk Schachtsiek
・ Dirk Schlächter
・ Dirk Schrade
・ Dirk Schreyer
・ Dirk Schuebel
・ Dirk Schulze-Makuch
・ Dirk Schuster
・ Dirk Schäfer
・ Dirk Serries
・ Dirk Shafer
Dirk Skreber
・ Dirk Smorenberg
・ Dirk Sondermann
・ Dirk Spennemann
・ Dirk Spierenburg
・ Dirk Stahmann
・ Dirk Steffens
・ Dirk Sterckx
・ Dirk Stettner
・ Dirk Stikker
・ Dirk Stoop
・ Dirk Strangely
・ Dirk Struan
・ Dirk Tazelaar
・ Dirk ter Haar


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Dirk Skreber : ウィキペディア英語版
Dirk Skreber

Dirk Skreber, (b. 1961 Lübeck, Germany) is a contemporary artist who lives and works in New York. He studied at the Kunstakademie Düsseldorf〔http://8c.4d.344a.static.theplanet.com/artistpages/skreber/biography.html Blum & Poe〕 and is considered one of the leading contemporary German artists.〔(ART IN REVIEW; Dirk Skreber )〕
==Work==
For Skreber, natural shocks, car crashes and near-miss train accidents become monumental icons of beauty. His epic paintings lovingly embrace catastrophe, offering a religious awe of their grim expectation. Depicted with high-gloss allusion to media imagery and viewed through the odd angles of a surveillance camera, Skreber's works are sublime mediations of death and isolation, rendered more intimate and appealing through the astringent sheen of consumerism.
Working in sculpture, installation and painting, Skreber's ranges from the abstract to the representational, though his work is concerned with the architecture of the hyperreal: highly articulated constructions which reside in suspended space and time. His subject matter draws from the mundane flow of contemporary life: buildings, car crashes and natural disasters are treated with the most clinical formalism. His work offers the detached seduction of the sublime.
Often working in epic scale, Dirk Skreber’s paintings monumentalise the banal. Figurative scenes of lone train carriages and road accidents aren’t tableaux of narrative spectacles, but abstract incidents of incomprehensible beauty and horror. Rendered perfect in their making, their surfaces are impenetrable, exacting and serene; they don’t offer spatial illusion, but vast fields of emptiness. Skreber does not strive for photorealism; his work only borrows from the tropes of mechanical reproduction. The soft focus of advertising, aerial views of surveillance photography and image replication of print media are placebos of intimacy. Translated into painting, these devices serve as filters transforming the familiar into the uncanny.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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