阿拉德?艺术巴拉特

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Art Blart艺术巴拉特
art and writing blog by marcus bunyan (www.marcusbunyan.com)艺术和写博客的马库斯本仁（www.marcusbunyan.com）Australian artists and exhibitions by name and posting澳大利亚艺术家和展览的名称和发布International artists and exhibitions by name and posting国际艺术家和展览的名称和发布
Archive for the 'Ron Arad' Category昔日的'阿拉德'种类
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Aug 2008年8月
09 09
Exhibition: 'Ron Arad: No Discipline' at The Museum of Modern Art (MOMA), New York展览：'阿拉德：无纪律'在现代艺术（现代艺术博物馆），纽约博物馆
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Categories:New York ,Ron Arad ,american ,beauty ,book ,designer ,exhibition ,gallery website ,installation art andsculpture 分类：纽约 ，阿拉德 ，美国 ，美容 ，书籍 ，设计 ，展览 ，画廊网站 ，装置艺术和雕塑
Tags:Big Easy ,Big Easy: Volume 2 ,Bodyguard 2008 ,Cages sans Frontieres ,Concrete Stereo ,D-Sofa 1994 ,Do-Lo-Res ,Even the Odd Balls? 标签：大易 ，大易：第2卷 ，保镖2008年 ，无国界笼 ，混凝土立体声，?-沙发1994年 ，拒收罗清晰度 ，即使是偶尔的球？2009 ,FPE (Fantastic Plastic Elastic) ,Large Bookworm ,Lolita Chandelier ,Misfits ,MT Rocker Chair ,New Orleans 1999 ,Oh Void 2 ,PizzaKobra lamp ,Ron Arad: No Discipline ,Soft Big Easy ,Southern Hemisphere ,Table Paved With Good Intentions ,The Museum of Modern Art (MOMA) ,The Rover Chair ,Uncut 1997 ,Well Tempered Chair2009年 ，福佩（神奇塑料弹性），大书虫 ，洛丽塔吊灯 ，乱点鸳鸯谱 ，吨摇椅 ，新奥尔良1999年 ，噢无效2，PizzaKobra灯 ，阿拉德：没有纪律 ，软大易 ，南半球 ，表好心铺装 ，现代艺术（现代艺术博物馆），罗孚主席 ，未经删剪1997年 ，博物馆井钢椅
Exhibition dates: 2nd August – 19th October, 2009展览日期：第2 August - 09年10月19日
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One of my favourite designers!其中我最喜欢的设计师！ Featuring all the works in the exhibition (underWorks ) and photographs and video of the installation for the works 'Cages sans Frontieres' (2009) (underThe Show ), there is a really amazing interactive website for this exhibition at所有的特色展览（在工程 ）和照片及有关工程'笼无国界安装录像'（2009年）工程（在该展 ），但确实是一个惊人的这次展览的互动网站
www.moma.org/interactives/exhibitions/2009/ronarad/www.moma.org/interactives/exhibitions/2009/ronarad/and an interesting video of Ron Arad talking about his work at和对阿拉德有趣的影片对他的工作谈
www.moma.org/explore/multimedia/videos/56/391 .www.moma.org/explore/multimedia/videos/56/391。
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Ron Arad 阿拉德
'The Rover Chair' '罗孚主席'
1981 1981年
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Ron Arad 阿拉德
'Concrete Stereo' '混凝土立体声'
1983 1983年
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Ron Arad 阿拉德
'Sketch for Well Tempered Chair' '示意图井钢椅'
1986 1986年
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Ron Arad 阿拉德
'Well Tempered Chair' Prototype '好钢椅'原型
1986 1986年
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Ron Arad 阿拉德
'Big Easy' '大易'
1988 1988年
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Ron Arad 阿拉德
'Big Easy. '大易。 Volume 2′ 第2卷'
1988 1988年
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“The Museum of Modern Art presents 'Ron Arad: No Discipline', the first major US retrospective of Arad's work, from August 2 to October 19, 2009. “现代艺术博物馆展示'阿拉德：无纪律'，是美国第一次重大阿拉德工作的回顾，八月二日至2009年10月19日。 Among the most influential designers of our time, Arad (British, b. Israel 1951) stands out for his adventurous approach to form, structure, technology, and materials in work that spans the disciplines of industrial design, sculpture, architecture, and mixed-medium installation.在我们这个时代最有影响力的设计师，阿拉德（英国，1951年以色列湾）是指为自己的冒险的做法形成，结构，技术和材料的工作跨越了学科的工业设计，雕塑，建筑，以及混合中安装。 Arad's relentless experimentation with materials of all kinds – from steel, aluminum, and bronze to thermoplastics, crystals, fiberoptics, and LEDs – and his radical reinterpretation of some of the most established archetypes in furniture – from armchairs and rocking chairs to desk lamps and chandeliers – have put him at the forefront of contemporary design.阿拉德的不懈实验，各种-钢，铝和铜的热塑性塑料，水晶，fiberoptics和LED -和他的家具最悠久的原型一些激进的重新阐释-从扶手椅和摇椅的台灯和吊灯材料-已经放在他的现代设计的最前沿。
The exhibition features approximately 140 works, including design objects and architectural models, and 60 videos.该展览展出约140个，其中包括设计对象和建筑模型作品，以及60部影片。 Most of the objects featured in the exhibition are displayed in a monumental Corten-and-stainless-steel structure specially designed by the artist called Cage sans Frontières (Cage without Borders).在展出的对象大多是显示在一个巨大的Corten -和-不锈钢结构专门设计的由艺术家所谓的无国界无国界笼（笼）。 The structure measures 126.5 feet (38.5 meters) long, spanning the entire length of the Museum's International Council gallery, and over 16 feet (5 meters) tall.结构措施一百二十六点五英尺（38.5米）长，涵盖了博物馆国际理事会画廊整个长度，以及超过16英尺（5米）高。 The exhibition is organized by Paola Antonelli, Senior Curator, and Patricia Juncosa Vecchierini, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.这次展览是由保拉内利，高级馆长，和帕特里夏洪科萨Vecchierini策展助理，建筑与设计，现代艺术博物馆处。
Ms. Antonelli states: “Arad is well known for his iconoclastic disregard for disciplines – and, at least apparently, for discipline.安东内利女士指出：“阿拉德已经为他无视已知的反传统的学科- ，至少显然纪律。 He has defined much of the current panorama of design, inspiring a generation of practitioners who disregard established modes of practice in favor of mutant design careers that are flexible enough to encompass the range of contemporary design applications, from interactions and interfaces to furniture and shoes.” 他已经确定了当前的设计全景，激发了谁无视建立了突变设计的职业生涯足够的灵活性 ， 包括当代设计的应用范围从互动，有利于从业人员的实践模式和接口生成多 ， 家具和鞋子。 “
Arad's accomplishments over the past three decades have stirred up the design world by repeatedly updating the concept of the architect/designer/artist and repositioning design side by side with art, both in discourse and in the market – all while keeping one foot firmly in industrial production and large-scale distribution.在过去30年来阿拉德的成就，掀起了多次更新观念的建筑师/设计师/艺术家和设计方面的重新定位与艺术方，无论是在话语和市场-同时保持一只脚牢牢掌握在世界工业设计生产和大规模销售。 Idiosyncratic and surprising, Arad's designs communicate the joy of invention, pleasure, humor, and pride in the display of their technical and constructive skills.千变万化的，令人惊讶，阿拉德的设计传达的发明，快乐，幽默快乐，并在他们的技术和有建设性的技能展示骄傲。
This exhibition celebrates Arad's spirit by combining industrial design, studio pieces, and architecture.此次展览庆祝工业设计相结合，阿拉德的精神，工作室件，建筑。 It features Arad's most celebrated historical pieces, including the Rover Chair (1981)[see above], the Concrete Stereo (1983) [see above], and the Bookworm bookshelves (1993) [see below], along with more recent products such as the PizzaKobra lamp (2008) [see below] and the latest reincarnation of his Volumes series (1998), the armchair duo titled Even the Odd Balls?它具有阿拉德最著名的历史作品，包括罗孚主席（1981）[见上文]，具体的立体声（1983）[见上文]，书架和书虫（1993）[见下文]，以及最近的产品，如在PizzaKobra灯（2008）[见下文]和他的卷系列（1998）最新的转世，两人的扶手椅名为即使是偶尔的球？ (2009) [see below]. （2009）[见下文]。
'Cage sans Frontières' was specially designed by Arad, developed with Michael Castellana from Ron Arad Associates, and manufactured and installed by Marzorati Ronchetti, Italy, under the direction of Roberto Travaglia. '笼无国界'是专门设计的阿拉德，从开发迈克尔阿拉德Associates的卡斯提亚，并制造和马尔佐拉蒂龙凯蒂，意大利，安装在罗伯托特拉瓦利亚方向。 The structure is in the shape of a twisted loop and consists of 240 square cut-outs lined with stainless steel that act as shelves for the objects in the exhibition.该结构是一个扭曲的环形状和240平方米的削减包括超时不锈钢内衬充当在货架上展出的对象。 The dramatic installation relies on the scale of the structure and on the reflectivity of the inner walls of the cut-outs which creates a ricocheting effect.戏剧性的安装依靠规模和结构上的削减内壁反射奏它创建一个记着效果。 One side of the structure is continually covered with grey gauze fabric that acts as a translucent, elastic membrane.一个结构一边是不断纱布覆盖着灰色面料，它就像一个透明的，弹性膜。 The fabric was donated by the textile company Maharam and was cut and stitched by the jeans manufacturer Notify, which is also a sponsor of the exhibition.织物捐赠了纺织公司马哈拉姆和被切断和牛仔裤制造商通知，这也是展览的赞助商缝合。 The structure was commissioned and lent to the exhibition by Singapore FreePort Pte Ltd, an arts storage facility.委托的结构和新加坡自由港借给私人有限公司，艺储存设施的展览。
Monitors installed in the structure and on the walls feature animations of the design and production process of some of the objects on view; animated renderings of architectural projects represented in the exhibition by models; and a video showing time-lapse footage of the construction of Cage sans Frontières.监视器安装在结构和功能的墙壁的设计和生产上的一些看法对象的过程动画，动画渲染在模型展览所代表的建筑项目;和视频显示时间推移的笼施工录像无国界。 Other objects – including the Bookworm and This Mortal Coil bookshelves (both 1993) and the Shadow of Time clock (1986) – are installed along the perimeter of the gallery.其他对象-包括书虫和书架这一致命线圈（包括1993年）和时钟阴影（1986） -安装沿库周边。 Two of Arad's sofas, Do-Lo-Res (2008) [see below] and Misfits (1993) [see below], are installed outside the exhibition entrance, and visitors are invited to sit on them …在阿拉德的沙发二，拒收罗清晰度（2008）[见下文]和乱点鸳鸯谱（1993）[见下文]，安装外展览入口处，游客被邀请参加他们...
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Ron Arad 阿拉德
'Soft Big Easy' '软大易'
1990 1990年
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Ron Arad 阿拉德
'Large Bookworm' '大书虫'
Tempered sprung steel and patinated steel 回火弹簧钢和钢材patinated
1993 1993年
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Ron Arad 阿拉德
'Misfits' '乱点鸳鸯谱'
1993 1993年
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Ron Arad 阿拉德
'D-Sofa' Prototype 是'D -沙发'原型
Patinated, painted, oxidized stainless steel and mild steel Patinated，油漆，氧化不锈钢和碳钢
1994 1994年
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Ron Arad 阿拉德
'Uncut' '未经删剪'
1997 1997年
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Ron Arad 阿拉德
'FPE (Fantastic, Plastic, Elastic)' '福佩（幻想，塑料，弹性）'
Aluminum and injection-molded polypropylene plastic sheet铝和注塑聚丙烯塑料片材
1997 1997年
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Ever since he founded his studio, together with long-time business partner Caroline Thorman, in 1981 (first called One Off, and then reestablished in 1989 as Ron Arad Associates), Arad has produced an outstanding array of innovative objects, from limited editions to unlimited series, from carbon fiber armchairs to polyurethane bottle racks.他创立以来他的工作室，与长期的商业合作伙伴卡罗琳Thorman，在1981年（第一次称为一次性在一起，然后在1989年重新建立的阿拉德协会），阿拉德产生了杰出的创新对象的数组，从限量版到无限系列的碳纤维座椅，以聚氨酯瓶架。 A designer and an architect, trained at the Bezalel Academy of Art in Jerusalem and at London's Architectural Association School of Architecture, he has also designed memorable spaces – some plastic and tactile, others digital and ethereal – such as the lobby of the Tel Aviv Opera House (1994-98), Yohji Yamamoto's showroom in Tokyo (2003), and the Holon Design Museum, Israel (nearing completion), all of which will be represented in the exhibition with models and videos.一个设计师和建筑师，在香港艺术馆比撒列在耶路撒冷培训学院在伦敦的建筑协会建筑学院，他还设计了令人难忘的空间-一些塑料和触觉，其他数字和飘逸-如特拉维夫歌剧院的大堂众议院（1994-98），山本耀司在东京（2003年）陈列室，霍隆和设计博物馆，以色列（即将完成），所有这些都将在与模型及录像展的代表。 In his influential role as Head of the Design Products Masters' Degree course at the Royal College of Art in London from 1997 until this year, he has nurtured several innovative designers, including Julia Lohmann, Paul Cocksedge, and Martino Gamper.在他的影响力的角色，作为产品的设计大师'学位课程负责人在英国皇家艺术学院从1997年在伦敦直到今年，他培育了多种创新，包括朱莉娅罗曼，保罗Cocksedge和马蒂诺甘珀设计师。
The 1981 Rover Chairs [see above], which launched Arad's design career even though at the time he was not seeking any particular professional label, are emblematic of his early readymade creations. 1981年罗孚椅子[见上]，它推出的时候，他不寻求任何特定的专业标签阿拉德的设计生涯，即使是他早期的成衣创作的象征。 The chairs are made of discarded leather seats from the Rover V8 2L, a British car, anchored in tubular-steel frames using Kee Klamps, an inexpensive scaffolding system.椅子是由罗孚V8引擎从2公升，英国的汽车停在，丢弃真皮座椅管状钢架使用记Klamps，便宜的脚手架系统。 Arad stopped making them once he realized that the overwhelming demand for the chairs was transforming his atelier into a dedicated Rover Chair manufacturer.阿拉德停止了他们一次，他认识到，绝大多数的椅子需求转变为一个专门的制造商罗孚主席的工作室。 The Italian company Moroso is about to produce an industrial version of the chair under the name Moreover.意大利公司莫罗索即将生产的名义下一个版本，而且椅子工业。
The Concrete Stereo (1983) [see above] is another milestone in Arad's work with readymades.混凝土立体声（1983）[见上面]是另一个阿拉德与readymades工作的一个里程碑。 It is very simply a hi-fi system – with turntable, amplifier, and speakers – cast in concrete.这是非常简单的音响系统，转盘，放大器-和扬声器-一成不变的。 The concrete was then partially chipped away, exposing the steel armature, the electronic components, and the pebbles in the cement.当时的具体部分凿去，露出钢电枢，电子元件，和水泥的卵石。
Objects in the exhibition are grouped as families whose common thread is the exploration, sometimes over years, of a form, a material, a technique, or a structural idea.在展览的对象，其归类为家庭共同特点是探索，有时在岁月的形式，材料，技术，还是一个结构性的想法。 An example is the investigation of elasticity and surprise that began with the Well Tempered Chair (1986) [see above] - a chair made of four sprung sheets of steel held together by wing nuts that come together to suggest the archetypical shape of an armchair.一个例子是弹性和突击调查，与井钢椅（1986）[开始见上] -椅子上涌现的四翼举行坚果聚集在一起钢板作出建议应设立一个扶手椅原型的形状。 Another example is the Volumes series (1988), which comprises, among others, his renowned Big Easy (1988) [see above] and its various iterations, among them the Soft Big Easy (1990) [see above] and the painted-fiberglass New Orleans (1999) [see below].另一个例子是卷系列（1988年），即包括人，他的著名的大易（1988）[见上文]及其各种迭代，其中包括软埃尔斯（1990）[见上文]和画，玻璃纤维新奥尔良（1999）[见下文]。
Not Made by Hand, Not Made in China, another important family and a milestone in Arad's career and in the history of design, is a series of limited-edition objects – vases, sculptures, lamps, and bowls – that Arad presented in 2000 at the annual Milan Furniture Fair.不是由手，而不是在中国，另一个重要的家庭和在阿拉德的职业生涯的一个里程碑，在设计制造历史，是一个限量版的一系列对象-花瓶，雕塑，灯具，以及碗-这阿拉德在2000年提交一年一度的米兰家具展。 All the objects in the series were made using 3-D printing, which at that time was almost exclusively used to create one-off models for objects that would later be produced in series using traditional manufacturing processes.所有这个系列的对象了使用三维印刷，这在当时几乎完全用于创建一次性的，日后将在系列产品采用传统的制造工艺的对象模型。 Treating rapid prototypes as final products rather than templates, Arad turned the new process into an advanced production method, a path that was subsequently followed by several designers.当作范本，而不是最终产品的快速原型，阿拉德变成了一个先进的生产方法，新工艺，这个后来几个设计师遵循的道路。
A more recent family is the Bodyguards (2008) [see below], in which the same initial shape in blown aluminum is differently intersected by imaginary planes and cut to reveal ever-changing personalities, from a rocking chair to a stern bodyguard-like sculpture.最近的一个家庭是警卫（2008）[见下文]，其中铝相同的吹初步形成，是由不同的假想面上交叉切揭示不断变化的人士，从摇椅，在严厉的保镖像雕塑。
To give life to his ideas, Arad relies on the latitude provided by computers as much as on his own exquisite drafting skills, and he uses both the most advanced automated manufacturing techniques and the simple welding apparatuses in his collaborators' metal workshops.为了让生活他的想法，阿拉德依赖于由计算机提供尽可能以自己精湛的起草技能的纬度，他同时使用最先进的自动化生产技术，并在他的合作者'金属焊接车间简单仪器。 Often, his work is a combination of high and low technologies, such as his Lolita chandelier (2004) [see below] for Swarovski.通常情况下，他的工作是他的洛丽塔，如吊灯（2004）[高和低技术，结合了施华洛世奇见下文]。 Made with 2,100 crystals and 1,050 white LEDs, the Lolita takes the shape of a flat ribbon wound into a corkscrew shape.与2100晶体和1,050白光LED制成，洛丽塔考虑形成一个螺旋形的扁平绕带的形状。 The ribbon contains 31 processors that enable the display of text messages sent to the Lolita's mobile phone number.剪彩包含31个处理器，使显示的文字信息发送到洛丽塔的手机号码。 For this exhibition, visitors can send texts to (917) 774-6264.对于这个展览，参观者可以发送短信（917）774-6264。 The messages appear at the top of the chandelier and slowly wind down the ribbon's curves, creating the impression that the chandelier is spinning ever so slightly.”这些消息显示在上方的吊灯，慢慢地逐步减少色带的曲线，造成的印象是，吊灯是非常轻微地转动。“
Press release from the MOMA website新闻发布网站的现代艺术博物馆
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Ron Arad 阿拉德
'New Orleans' '新奥尔良
1999 1999年
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Ron Arad 阿拉德
'Lolita Chandelier' '洛丽塔吊灯'
2004 2004年
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Ron Arad 阿拉德
'Oh Void 2′ armchair '噢 ， 无效2'扶手椅
2004 2004年
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Ron Arad 阿拉德
'Table Paved With Good Intentions' '表善意铺成的'
2005 2005年
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Ron Arad 阿拉德
'MT Rocker Chair' '吨摇椅'
2005 2005年
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Ron Arad 阿拉德
'Southern Hemisphere' '南半球'
Patinated aluminum Patinated铝
2007 2007
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Ron Arad 阿拉德
'Do-Lo-Res' '不要-罗清晰度'
2008 2008年
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Ron Arad 阿拉德
'PizzaKobra' lamp 'PizzaKobra'灯
2008 2008年
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Ron Arad 阿拉德
'Bodyguard' '保镖'
2008 2008年
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Installation Photographs of the Exhibition展览设施的照片
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Installation view of 'Cage sans Frontières' with 'Even the Odd Balls?' chairs (2009) and 'Lolita Chandelier' (2004)安装的意见笼无国界'与'即使是偶尔的球？'椅子（2009）和'洛丽塔吊灯'（2004）
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Ron Arad's 'Cage sans Frontières' with two 'Rolling Volume' chairs (1989 and 1991), left, and two 'Bodyguard' chairs (2007)阿拉德的'笼无国界'两个'滚卷'椅子（1989年和1991年）离开，和两个保镖'椅子（2007）
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The Museum of Modern Art (MOMA) 现代艺术（现代艺术博物馆博物馆）
11, West Fifty-Third Street, New York 11，西55三街，纽约
Opening hours:开放时间：
Sunday, Tuesday – Thursday 10.30 – 5.30pm周日，周二-周四上午10:30 -下午5时30分
Friday 10.30 – 8pm星期五上午10:30 -晚上8:00
Saturday 10.30 – 5.30pm星期六上午10:30 -下午五时三十分
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AUSTRALIAN ARTISTS AND EXHIBITIONS BY NAME AND POSTING AT THIS LINK澳大利亚艺术家和展览会名称 ，并张贴在此链接

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Recent Posts最近岗位
Review: 'Between Lines' by Kim Lawler at fortyfive downstairs, Flinders Lane, Melbourne修改：'行间的金劳勒'在fortyfive楼下，弗林德斯巷，墨尔本Review: 'Slow Down, You Move Too Fast' by Kirra Jamison at Sophie Gannon Gallery, Richmond, Melbourne修改：'慢下来，你走得太快的由季拉贾米森'在梁刘柔芬甘农画廊，里士满，墨尔本Exhibition: 'Doug Aitken' at Regen Projects, Los Angeles展览：'奖艾肯'在雷根项目，洛杉矶Review: 'Diction' by Stormie Mills at Helen Gory Galerie, Prahran, Melbourne修改：'言语'的Stormie米尔斯在海伦山画廊，Prahran酒店，墨尔本Exhibition: 'Snow Machine' by Florian Maier-Aichen at Gagosian Gallery, Britannia Street, London展览：'雪机由弗洛里梅尔，艾兴'的高古轩画廊，不列颠街，伦敦Review: 'Scenes' by David Noonan at the Australian Centre for Contemporary Art (ACCA), Melbourne回顾：'场景由大卫努南'在当代艺术（ACCA），澳大利亚墨尔本中心Review: 'Ivy' photographs by Jane Burton at Karen Woodbury Gallery, Richmond, Melbourne修改：'常春藤的照片 ，由简伯顿在卡伦伍德伯里画廊，里士满，墨尔本Exhibition: 'Ansel Adams: A Life's Work' at Museum of Photographic Arts, San Diego展览：'亚当斯：一个生活的工作 ，在摄影艺术博物馆，圣地亚哥'Review: 'Climbing the Walls and Other Actions' by Clare Rae at the Centre for Contemporary Photography, Fitzroy, Melbourne回顾：'由克莱尔李博攀岩墙和其他行动'在当代摄影，菲茨罗伊，墨尔本中心Review: 'First Jobs' by Tracey Moffatt at Centre for Contemporary Photography, Fitzroy, Melbourne修改：'第一乔布斯在中心的特蕾西法特当代摄影，菲茨罗伊，墨尔本Exhibition: 'Don McCullin – In England' at the National Media Museum, Bradford展览：'唐McCullin -在国家媒体博物馆，在英国布拉德福德'Review: 'All the Little Pieces' by Lyndal Hargrave at Anita Traverso Gallery, Richmond, Melbourne回顾：'所有的小件的Lyndal哈格雷夫'在阿妮塔特拉韦尔索画廊，里士满，墨尔本Review: 'Connection is Solid' by John Nicholson at Sophie Gannon Gallery, Richmond, Melbourne修改：'连接是固体约翰尼科尔森在梁刘柔芬甘农画廊，里士满，墨尔本Exhibition: 'Ball Parks: Jim Dow's Photographs of Baseball Stadiums' at The National Gallery of Canada展览：'球公园：吉姆道指棒球场馆的照片在加拿大国家美术馆'Exhibition: 'In Focus: Making A Scene' at The J. Paul Getty Museum, Los Angeles展览：'焦点：创造一个场景'在J.保罗盖蒂博物馆，洛杉矶
Top Posts热门岗位
'Man Ray: Unconcerned, but not indifferent' exhibition at The Hague Museum of Photography, The Netherlands'人雷：袖手旁观，而不是冷漠'展览在海牙的摄影博物馆，荷兰Exhibition: 'Looking In: Robert Frank's The Americans' at The National Gallery of Art, Washington展览：'看在：罗伯特弗兰克的位于香港艺术馆，华盛顿国家美术馆美国人Exhibition: 'Picturing America: Photorealism in the 1970s' at Deutsche Guggenheim, Berlin展览：'想象没有美国：照相写实主义在德意志古根海姆博物馆，柏林的1970'Exhibition: 'Cecil Beaton: Portraits' at the Walker Art Gallery, Liverpool展览：'塞西尔比顿：画像'的沃克艺术画廊，利物浦'Edward Burtynsky: The Residual Landscapes' opens at The Whyte Museum of the Canadian Rockies, Banff, Alberta'爱德华伯汀斯基：在剩余景观'在加拿大落基山脉，班夫怀特开放时间Exhibition: 'Diane Arbus' at the National Museum of Wales, Cardiff展览：'戴安阿勃丝'在威尔斯，加的夫国家博物馆Diane Arbus photograph戴安阿勃丝照片'Polaroids and Portraits: A Photographic Legacy of Andy Warhol' exhibition at The Krannert Art Museum, Champaign IL'宝丽莱的画像：一个安迪沃霍尔'展览在克兰纳特艺术博物馆，香槟白介素摄影遗产Exhibition: 'In Focus: Making A Scene' at The J. Paul Getty Museum, Los Angeles展览：'焦点：创造一个场景'在J.保罗盖蒂博物馆，洛杉矶Josef Sudek: Master of Photography约瑟夫苏德克：摄影大师
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5B4: Photography and Books5B4：摄影和书籍American Suburb X美国郊区XArtKritiqueArtKritiquebLOGOS/ HA HAbLOGOS /房屋委Fredrick White Sculpture弗雷德里克白雕塑Hey!嗨！Hot Shot篮球火Lens Culture: Photography and Shared Territories镜头文化：摄影和共享区Marcus Bunyan [] Image Maker马库斯本仁[]图片制作Melbourne Art and Culture Critic墨尔本艺术和文化批评家Melbourne Jeweller墨尔本珠宝匠Melbourne Museum of Printing墨尔本印刷博物馆Rory Hyde architecture blog罗里海德建筑博客The Theory of Nevolution理论的Nevolution
 
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英语原文：
Exhibition: 'Ron Arad: No Discipline' at The Museum of Modern Art (MOMA), New York
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