도자기제작과정(종합편) (by 이천시청)
I’m makin’ bees.
The women’s petition against coffee : representing to publick consideration the grand inconveniencies accruing to their sex from the excessive use of that drying, enfeebling liquor, 1674.
"Our men, who in former Ages were justly esteemed the Ablest Performers in Christendome; But to our unspeakable Grief, we find of late a very sensible Decay of that true Old English Vigor; our Gallants being every way so Frenchified, that they are become meer Cock-sparrows, fluttering things that come on Sa sa, with a world of Fury, but are not able to stand to it, and in the very first Charge fall down flat before us. Never did Men wear greater breeches, or carry less in them of any Mettle whatsoever."
The mens answer to the womens petition against coffee : vindicating their own performances, and the vertues of that liquor, from the undeserved aspersions lately cast upon them, by their scandalous pamphlet, 1674.
Houghton Library, Harvard University
Centre for Material Texts: “At the centre of the exhibition were two truly extraordinary stitched texts … by a woman called Lorina Bulwer, who was an inmate in the ‘lunatic wing’ of the Great Yarmouth workhouse for several years at the beginning of the twentieth century. During her time there, Bulwer covered each of these three-metre lengths with densely embroidered text in which she expressed feelings of anger and frustration. Both pieces are made up of brightly coloured cotton fabrics stitched together, with a wadded lining and a backing fabric, like a quilt. Each individual letter is stitched through all of these layers. Writing in the first person, Bulwer offers a torturous working-out of her own identity. She is obsessed by names and places, frequently referring to herself by name, as well as other people, including her own relations, members of the Royal family (she claims to be ‘Princess Victoria’s daughter’), and various towns and places in the East of England.”
When we talk about “giving something up for Lent,” let’s be honest: we usually mean “I’m going to throw God a bone.”
The art world and the art market are not the same thing, even though the general-interest press now, tellingly, uses the terms interchangeably. The latter should be subject to the former, but somewhere along the way there was a coup. When the public now thinks about the art world - if they think about the art world at all - the first thing that will likely come to mind is the unfathomable sums of money spent for a painting at the latest auction. I don’t think there is any way to overstate the exclusion that this narrative creates. It moves art closer to commodity status in the collective consciousness, and in doing so, effectively tells the 99% that there is no point in thinking about the art world, or art itself for that matter. The message is clear: If art equals money, and you are not wealthy, then art is not for you.