検索キーワード： ナレーター "Dana" すべてのカテゴリー

Sara Cooper ist Chefermittlerin bei der Polizei in San Diego und versucht, eine Reihe von Entführungsfällen aufzuklären. Mehrere Kinder sind verschwunden und es gibt keinerlei Spuren. Das Ganze scheint außer Kontrolle zu geraten, als eine Kinderleiche entdeckt wird. Eine nervliche Zerreißprobe beginnt, bei der immer neue Wendungen auftreten und Sara bald nicht mehr weiß, wem sie noch trauen kann und welcher Spur sie nachgehen soll. Jemand spielt ein perfides Spiel mit ihr, bei dem sie eigentlich nicht gewinnen kann.

"This is going to be an adventure," James says presciently. "I have a feeling both of us are going to be very different after this." And so it proves, as one jaded New Yorker is swept by a spiritually radiant revolutionary on a journey of transformation, from the narcissistic bubble of New York City to the sweeping vistas of the Dhauladhar mountains in northern India.

The deepest riddle of Christianity is only this: How could anyone possibly believe it? In answer to this question, The Convert tells the true story of one man's punishing journey across the extremes of human experience, through fire and heartbreak, passion and betrayal, prison and madness, to the very brink of belief. This is the story of one man and one moment - the moment of God's triumph or sanity's defeat.

After decades apart, the five siblings find themselves together again at their ailing mother’s bedside, caught in a deadlocked feud over her hospice care. Into the morass steps Murron Teinetoa, one of their bastard children, who carries an idealistic hope of finally fitting in among her estranged relatives.In an interweaving narrative, Malae portrays the Felices in their formative years of the fifties; he excavates the personal lives of the siblings in the eighties and nineties; and he follows Murron in the present as she raises her son as a single mother.

Painter Claudia Carr describes her surreal landscapes, composed from reflections of found objects that suggest imaginative scenarios of play and dreams.

Interview conducted with Christiane Baumgartner in 2010, by emailed questions and replies, in which she describes the process of her graphic and video work; incorporating ideas of stop-motion time frames applied to subjects of landscape, travelling, traffic, highways, and military installations.

The Empire of Lucent has stood for centuries as a beacon of strength and light. But now an otherworldly realm has unleashed an army of nightmarish creatures upon the peaceful empire, spreading a lethal plague called The Decay that consumes its victims mercilessly from the inside out. The king of the Empire of Lucent calls upon "Lady of Death" Zephera Travelle - an infamous assassin with a weakness for braided cinnamon bread and a striking aptitude for murder and mayhem. He sends her on an impossible quest to find the one person who can concoct a cure and save the realm from total annihilation.

Interview recorded with Rachel Howard at the artist's studio in July 2011. Explores her childhood and upbringing, awareness of "God", and experience of a Quaker schooling. Attendance at Goldsmiths and work for Damien Hirst on pharmacy cabinets and the Spot Paintings. Recent exhibition in Italy, the "Via Dolorosa"; discussion of her paintings and drawings; the desired effect of her work.

Renowned artist Thérèse Oulton describes her series, Territory, detailed aerial views in small-scale paintings, exhibited at Marlborough Fine Art London. She considers their source and her excursions in London and elsewhere, and their bearing on her work.

Artist Louise Sheridan interviewed at her exhibition at The Cafe Gallery Southwark in 1993. She describes her travels in Nepal and Thailand, and the works produced from a fellowship in Barcelona, Spain. She focuses on "The Envelope Series", votive objects made with wax and encaustic, and works made with Nepalese bark paper.

Morag Ballard describers her studio in Penzance, Cornwall, and the strategies of her work; paintings which create perspectives and settings referring to certain interiors.

Interview with painter Anthea Holmes, recorded in April 1988 at her Whitechapel Studio. She describes her training at Kingston University and at The Pratt Institute New York; with the development of an intricate play between figure, ground and light in an intimate process of accumulation and elision of elements.

Presents a collection of essays by Nicholas James on classic and contemporary art: "The Trinity" by Masaccio at Santa Maria Novella, Florence; Vermeer's "The Maid" and "Woman Weighing Pearls"; Cezanne and Salvador Dali, Francis Bacon portraits, and reviews of over 70 exhibitions in public and private galleries held between 1993 and 2010.

Interviewed during the installation of "Ghost" at Chisenhale Gallery East London in 1990, sculptor Rachel Whiteread describes her initial experience as an assistant to Alison Wilding and employment as a theatrical props maker. She reveals the development of "Ghost", cast from a room at 286 Archway, and gives details discovered in her first major project of replication.

Scottish painter June Redfern interviewed by Livvy Anson for CV Journal in March 1990. The artist discusses her methods and approach, with sources of inspiration for her work.

Interview with leading British sculptor Alison Wilding, RA, recorded at Tannery Street Studio, Bermondsey, in 1995. She describes the making of Harbour, in alabaster and pvc moulding, and Echo, a stainless steel sculpture exhibited at Karsten Schubert. Sourcing materials, the levels of the work; assistant Adam Kershaw; and its relation to other contemporary works.

Art in the Caribbean is culturally of great complexity. This complexity reflects the intricacies of the colonial history of the region, with the different islands and territories divided between many different European powers. Artists in each territory tended to mesh into a different education system and a different set of preconceptions about art.

Interview recorded with Brazilian artist Lara Viana at Domobaal Gallery in January 2010. She describes her interest in souvenirs and votive settings found in the Catholic Church, and acknowledges an influence from the art of Velazquez and Zurbaran in her refined and ethereal paintings. The conversation revolves around a recent set of still life studies; tableaux of nature morte, that carry implications of transient existence in their subtle conception.

Sharon Kivland describes strands of influence in her work, which draws on French and Russian literature of the 18th and 19th centuries, in particular concerning the changing roles of women in domestic, social, and political life.

It is an enthralling and unexpected selection, and the anthology resonates beyond this showing. It is from the Eric and Louise Franck collection, which has been donated to the Tate, and is part of the process by which the gallery has very belatedly, but with almost overwhelming enthusiasm, entered into collecting and showing photography as a medium in in its own right, with a very active patrons group supporting acquisitions. One of the benefits of Tate joining the fray is evident in the installation of this show.