画廊

Our gallery is based on stable academicism, and the objective is grasping at contemporary trends, looking at artistic predecessors with reverence and looking to the future.

画廊经理者自1989年以来从业至今，有着丰富的专业及商场殷鉴。画廊以坚实的学院为背景，在握现代、上坟前辈、关注未来为大旨。

What interested me most was the art galleries, where all kinds of paintings could be seen.

让你最感兴趣的是艺术画廊，那里能看到让你最感兴趣的是艺术画廊，各种油画。

Malcolm's work on Post-Katrina New Orleans has been exhibited at the Colorado Springs Fine Arts Center, the Mobile Museum of Art, the New Orleans Museum of Art, the Warehouse Gallery, Washington DC, B-Complex, Atlanta and Barrister's Gallery, New Orleans with solo exhibitions at Tigh Fili Cultural Centre in Cork, Ireland, the Balor Arts Centre, Donegal, Ireland, the University of New Orleans' Fine Arts Gallery and the Thomas Hunter Gallery, New York.

马尔科姆关于飓风后的新奥尔良的作品曾在科泉市精良艺术中心，移动艺术博物馆，新奥尔良艺术博物馆，Warehouse画廊，华盛顿特区，B- Complex，亚特兰大和Barrister画廊展出。关于新奥尔良的个人画展曾在爱尔兰考克的Tigh Fili文化中心，爱尔兰多尼格尔的巴勒艺术中心，新奥尔良大学艺术馆和纽约的托马斯亨特美术馆展出。

A few art collectors James Bowdoin III of Boston, William Byrd of Virginia, and the Aliens and Hamiltons of Philadelphia introduced European art traditions to those colonists privileged to visit their galleries, especially aspiring artists, and established in their respective communities the idea of the value of art and the need for institutions devoted to its encouragement.

一些艺术收藏家，如波士顿的James Bowdoin III、弗吉尼亚的William Byrd和凤凰城的Aliens and Hamiltons家族，介绍欧洲的艺术给那些有特权去参观他们画廊，尤其是那些有抱负的艺术家们的画廊的殖民者，并且建立了基于他们各自团体的艺术价值的观点和基于投入了他们资金的艺术机构的需求。

A few art collectors James Bowdoin III of Boston, WilliamByrd of Virginia, and the Aliens and Hamiltons of Philadelphiaintroduced European art traditions to those colonists privileged tovisit their galleries, especially aspiring artists, and established intheir respective communities the idea of the value of art and the needfor institutions devoted to its encouragement.

一些艺术收藏家，如波士顿的JamesBowdoin III、弗吉尼亚的William Byrd和凤凰城的Aliens andHamiltons家族，介绍欧洲的艺术给那些有特权去参观他们画廊，尤其是那些有抱负的艺术家们的画廊的殖民者，并且建立了基于他们各自团体的艺术价值的观点和基于投入了他们资金的艺术机构的需求。

Arranged around an indoor court and with the Museum's glass enclosure, the gallery display aims at orienting the Marbles Ionian frieze and metopes - exactly as they were placed at the Parthenon on the 5th century BC The visitor has the opportunity to view not only the Parthenon marbles in a space that has exactly the same dimensions as the cella of the Parthenon, but also the monument itself through the gallery's all around glass enclosure.

安排与室内法院和博物馆的玻璃外壳，画廊展出定向的大理石-爱奥尼亚楣和metopes -正是因为他们在五世纪的帕台农神庙前的访问者把目标有机会看到不仅是帕台农神庙在空间具有完全一样的巴台农神庙大理石塞拉相同的尺寸，而且本身的纪念碑，通过画廊的四周的玻璃结构。

Collections: Small Island and Man, Concert (Hong Kong Polygram Modern Art Foundation); Game; The Portrait of a Rebel; Red Color and Apple (Apple Organization, Washington, USA); Still Life; 105 Single-Eyed Peoples Deputy (Ji Fengxuan Gallery, Hong Kong;'06 Christie's Auction, HK); Idol (Ji Fengxuan Gallery, Hong Kong;'06 Sotheby's Auction NY); Girl and Handkerchief Ji Fengxuan Gallery

收 藏：《小岛与人》、《音乐会》，香港宝丽金现代艺术基金。《游戏》，PHILLIPE CHARRIOL FOUNDATION。《一个叛逆者的肖像》，PHILLIPE CHARRIOL FOUNDATION。《红色与苹果》，美国华盛顿苹果机构。《静物》，参加中鸿信拍卖行春季拍卖会。《独具慧眼的105位人民代表》香港季丰轩画廊收藏（于，2006年参加香港嘉士德秋季拍卖会。《偶像》，香港季丰轩画廊收藏（于2006年参加香港苏富比秋季拍卖会）。《女孩子与手帕》，香港季丰轩画廊收藏。

Diarmuid: The whispering gallery; the stone gallery and the golden

Yang Li：耳语画廊，石柱画廊和金色画廊。

For "I'm Real", Lang/Baumann's solo exhibition at Galerie Urs Meile in Beijing, the result of their three-month residency at the gallery, the artists have combined two elements to create a site-sensitive response to the city of Beijing and the gallery space.

L/B会在北京麦勒画廊举办个展&我是真的&，展示他们住在画廊三个月的创作成果。两位艺术家使用两种结合在一起的元素，专门为北京、为画廊创作了这件作品。

In 2000 Gate of the Century: 1979——1999 the Exhibition of Chinese Art, Chengdu Modern Art Museum, Chengdu, China; Man+SPACE, Kwangju Biennial 2000, Kwangju, Korea; Messagers of the Hearth, Center of Contemporary Art of the LycEe Xavier Bernard in RouillE; Transcending Boundaries, Montclair State University, USA; Portrait de Chine Contemporaine, Espace Culturel Francois Mitterand, Perigueux; Les Passe —— Murailles, Contemporary Art of China, Picardie Museum Amiens, France; The First Collection Exhibition of China Contemporary Art, Shanghai Art Museum, China; China, Art in the Twentieth Century, Touring Show in Beijing and Shanghai, China; Asia Contemporary Art Exhibition, Japan.

参加在法国班里哥弗郎索瓦·密特郎国际文化中心举办的&当代中国肖像&；参加在法国阿密庇加底国家美术馆举办的&中国当代艺术邀请展&；参加在中国上海上海美术馆举办的&首届中国当代艺术收藏展&；参加在中国美术馆，上海美术馆举办的&20世纪中国油画展&参加在日本宇都宫美术馆，新汤县民会馆举办的&亚洲当代艺术邀请展&。2001年作品分别在上海美术馆，四川省美术馆，广东美术馆展出；参加在法国巴黎法兰西画廊举办的&是我，是我们&展；参加在中国上海艺博画廊举办的&学院与非学院&展；参加在中国上海艺博画廊举办的&最初的形象——当代纸上作品展&

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。