格里特. 道的作品 <内科医生>
访客接待员Aubrey Xu 讲述格里特.道的作品 <内科医生>
Related reading: Covid-19
Gerrit Dou was Rembrandt van Rijn’s first student, training with him in Leiden while in his teens, and for a significant period he eclipsed his master’s reputation. Rich with coded narratives, his extraordinarily detailed paintings were prized throughout Europe by the wealthiest royal and aristocratic collectors. The figure examining the bottle of liquid in this painting is believed to be a self-portrait, and is identified as a piskijker– a medical practitioner skilled at studying urine, here for a pregnancy test. Symbols of his skill and learning are prominent, including a celestial globe and carefully positioned anatomy textbook. The skeleton on the open page leaning like a gravedigger on his spade is the ultimate symbol of vanitas – a reminder of the fragile brevity of a human life. At the same time it looks with anticipation to a child to come.
(Persistent Encounters, March 2020)
Artists Should Be Giving Business Advice
There has been a healthy debate going in relation to Germany’s Covid-19 emergency fund, which allocated the equivalent of NZ$900 million to artists and freelancers, with extra support from the Berlin municipality, leading some to call it an ‘arts-led’ (as opposed to ‘business-led’) approach to recovery. Some in Germany are claiming this will have better long-term economic outcomes, whilst addressing social and wellbeing recoveries at the same time. Others – without necessarily denying the first claim – fear gentrification and the instrumentalisation of arts, when it’s overtly being used as a tool for the economy.
It’s been a very strange time. We’ve spent the last month or so asking after each other’s bubbles, and imploring people we barely know to stay safe. Depending on your beliefs, this was the month that the world demonstrated that we could put the interests of people above those of finance, or the end of freedom. Everyone, in every industry and every sector of every society has been affected in some way. But our core business is art, and we’re very conscious of the effects of a global shutdown on artists. It’s too early to know what changes this will bring to our sector, so we’re concentrating on the here and now. If your life is focused on making art, how are you going? We asked eighteen New Zealand artists to send us a picture of their lockdown studio set-up, and asked them a few simple questions.
What’s your Covid-19 studio set-up? Is it the same as pre-lockdown or are you in something more makeshift?
How are you finding this time? Is it hard, or is it a gift of time, or maybe a bit of both?
What are you finding essential during lockdown? Is there a piece of equipment/view/song you couldn’t have lived without?
Here are their responses.
Welcome to the winter edition of Bulletin. This issue is special for a range of reasons; some positive, some less so. It’s an anniversary for us, and a rather big celebration—our 200th issue. Since Bulletin’s humble beginnings in 1979, under the directorship of Rodney Wilson and driven by then education officer Ann Betts, this magazine has grown to become an award-winning and industry leading publication that is highly respected by our peers. It’s now one of our most important means of communicating with you, our audience, and a vital place for us to collate our thinking.