View allAll Photos Tagged pathos
I was thinking a lot about pathos and the compulsion to collect, and while the idea of stuff just being everywhere might seem visually interesting, I know from experience in archival work that it's never like that. A lot of things are crammed into drawers and labeled. Books are organized and shelved. If stuff is on display, I think it should have a museum like quality - displays under glass and clearly organized.
The Imperial Theatre and Admiral Beatty buildings on King's Square in uptown Saint John. Both structures were built prior to 1930.
Nacheiferung ist politisch nicht mehr korrekt.
Kriegerdenkmäler
In zeitlicher Entfernung zum I. Weltkrieg errichtete Denkmäler (insbesondere nach 1920) zeigen in Schrift und oftmals überbordender Form nationales Pathos,
machen aus Gefallenen Helden des Vaterlandes und lassen etwas von geschichtsrevisionistischer bzw. chauvinistischer Haltung seiner Errichter ahnen.
Die in Form und Farbe unterschiedene Ergänzung der neuen Tafel versteht sich hier offensichtlich als mahnende Korrektur an der letzten Ecke des Steins. Man kann den Zorn über die dominierende Botschaft des Steins spüren."
Quelle: Wolfram Hülsemann, Kriegerdenkmäler
Wolfram Hülsemann ist Leiter des „Brandenburgischen Instituts für Gemeinwesenberatung“ – demos
ok - its not a good photo - but it made me laugh. It's sort of pathetic - in the pathos sense - that he or she actually have sufficient experience of being fed up to know when it happens!
By Michael Armitage
Oil on Lubugo bark cloth
From The Kenyan Election Series
In the run-up to the 2017 elections in Kenya, Armitage joined a local TV crew filming an opposition party rally in Uhuru Park, Nairobi. The atmosphere he experienced there and the carnivalesque scenes he witnessed inspired this series of paintings in which Armitage explores power dynamics and the links between religious rhetoric, pathos and politics.
[Royal Academy]
Michael Armitage: Paradise Edict
(May — September 2021)
Michael Armitage is a Kenyan-born artist who works between Nairobi and London. His colourful, dreamlike paintings are loaded with provocative perspectives that play with visual narratives and challenge cultural assumptions, exploring politics, history, civil unrest and sexuality.
Made using Lubugo bark cloth, a culturally important material made of tree bark by the Baganda people in Uganda, many of his large-scale works draw on contemporary events, combining these with Western painting motifs.
This spring – just over 10 years since Armitage graduated from the Royal Academy Schools – we bring together 15 of his large-scale paintings from the past six years, exploring East African landscapes, politics and society.
Alongside will be a selection of 31 works by six East African contemporary artists: Meek Gichugu, Jak Katarikawe, Theresa Musoke, Asaph Ng’ethe Macua, Elimo Njau and Sane Wadu. Chosen by Armitage for their important role in shaping figurative painting in Kenya, these seminal artists have also had a profound impact on his own artistic development. A version of this part of the exhibition will be shown at the Nairobi Contemporary Art Institute, a non-profit visual arts space founded by Armitage.
[Royal Academy]
Taken in Royal Academy
Progetto Giovedì per i Giovani con Liceo Michelangelo, in occasione della mostra Bronzi ellenistici. Firenze, primavera 2015
Progetto Giovedì per i giovani realizzato in collaborazione con il Liceo Michelangelo di Firenze, in occasione della mostra Potere e pathos. Bornzi del mondo ellenistico (14 marzo-21 giugno 2015).
foto: Martino Margheri