The All-Powerful Freedom: Creativity and Resilience in the Context of Friedl Dicker-Brandeis' Art Teaching Experiment †
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Landscapes 20 January — 24 February 2018
Avigdor Arikha Landscapes 20 January — 24 February 2018 Private View: Friday 19 January, 6-9pm Blain|Southern Potsdamer Straße 77–87 Avigdor Arikha, View from Rue de la Chaise, 2005 10785 Berlin Courtesy the Estate of Avigdor Arikha and Blain|Southern Blain|Southern presents Landscapes, a selection of landscape paintings and drawings by Avigdor Arikha (1929-2010), one of the great observational artists of the late twentieth century. The gallery now represents the Estate of Avigdor Arikha and Landscapes is the first exhibition of the artist’s work. The exhibition is on view in the Long Gallery, beginning a new programme of simultaneous exhibitions at the Berlin gallery. While Avigdor Arikha is highly regarded for his interiors, still lifes and portraits, most of which he painted in his Paris studio, he also spent long periods in Israel and New York, and he never failed to take his pencil or brush along with him. Spending summers in Israel, he painted the warm walls, arid hills and desert vegetation, and during his frequent trips to New York City, the city’s rhythmic, rising grids became a new view to stimulate his eye and hand. His adopted hometown of Paris was his most frequent subject, from iconic Haussmann cityscapes, to seemingly overlooked patches of the city. Wherever he landed his eye, he found a subject, or a structure, worthy of a picture. Landscapes allows viewers to travel with the artist, and to see places and perspectives that were important throughout the artist’s life. Window frames inspired the artist wherever he travelled. In View from Rue de la Chaise (2005), the warm glow of the interior window frames are contrasted with the cool burst of green from the tree beyond. -
Review of Dalia Ardon Ish-Shalom, Ardon: a Comprehensive Catalogue, Jerusalem: the Association for the Perpetuation of the Artistic Legacy of Mordecai Ardon, 2019
Review of Dalia Ardon Ish-Shalom, Ardon: A Comprehensive Catalogue, Jerusalem: The Association for the Perpetuation of the Artistic Legacy of Mordecai Ardon, 2019. Mordecai Ardon is a major Israeli artist and art educa- studio in 1933 that destroyed many of the works he tor who achieved international renown in his lifetime. had stored there. His transition to life in Israel is well- After his religious childhood in Poland, he moved to discussed, but Ardon Ish-Shalom doesn’t explain the Germany where he studied advanced modern art at change in his name from Bronstein to Ardon which the Bauhaus and traditional painting techniques with would have given an insight into his occasionally Max Doerner. In 1933, he escaped the Nazis and found mischievous character.2 She does discuss his long- himself in Jerusalem, which surprised him by feeling lasting affair beginning in 1935 with Rikuda Potash, to like the home he had been longing for. His art unites whom several of his paintings are dedicated. However, modern abstraction with traditional techniques and after 1945, the biography becomes more impersonal, mystic Jewish and ancient Canaanite symbolism to replete with his attainments, exhibitions, major works, comment on modern events in Israel and the world. but few details of his actual life. While objectivity is This catalogue raisonné is a definite contribution a good trait in such a book, I missed here any of the to research on this fascinating artist, as the book author’s own reminiscences or insights into the art- gives new information on his life and work and ist’s life and character, and any discussions she may 550 photographs of his works in various media. -
Summer 2014 Psychosis and Resistance by Monica Ventura, 2Nd Year
George Washington University Art Therapy Program DRAWN from the Circle Alexandria Center on Carlyle Circle Issue 37 Summer 2014 Psychosis and Resistance by Monica Ventura, 2nd year hile interning at Northern Virginia Mental Health Institute W (NVMHI), I realized that my favorite group was the admissions unit group. I noticed something that was different about these patients was their lack of resistance toward art therapy. These are individuals experiencing severe psychopathology who are in the process of becoming stabilized with medication. After a year of working at a substance abuse rehabilitation center, I expected to answer defensive initial questions about the value of art therapy. Interestingly, the patients from the ad- missions unit seemed naturally drawn to the creative process. They came Artwork created by an individual at NVMHI, into the studio and engaged in art making immediately, without hesita- diagnosed with Psychosis NOS and recreated tion. The resistance I encountered was of a different nature; sometimes the by Ventura. clients left unexpectedly, or did not follow the directive. Nonetheless, the majority of patients were actively engaged in the artistic process. These experiences made me wonder about the efficacy of art therapy addressing the loss of ego boundaries inherent in psychosis. It is possible that through the creative process, the creator is essentially affirming their sense of self. “Engaging in art not only allows Inside this Issue the psychotic individual to express his own emotions to others, but the canvas (whether a poem, song or literal canvas) can reflect back to him his internal state. This dialogue be- Alumni Party 1-2 tween the artist and his work serves an important therapeutic function,” (Olson, 2013, para.10). -
EDITH KRAMER Edith Kramer: a Leader of the Pacific Film Archive and Film Curation
Oral History Center University of California The Bancroft Library Berkeley, California EDITH KRAMER Edith Kramer: A Leader of the Pacific Film Archive and Film Curation Interviews conducted by Kathy Geritz, Martin Meeker, and Garbiñe Ortega in 2014 Copyright © 2016 by The Regents of the University of California ii Since 1954 the Oral History Center of the Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Edith Kramer dated October 26, 2015 and with Garbiñe Ortega dated December 30, 2015. The manuscript is thereby made available for research purposes. -
ATOL: Art Therapy Online, 5 (2) © 2014
ATOL: Art Therapy OnLine, 5 (2) © 2014 ATOL: Art Therapy OnLine Obituary: Edith Kramer By Karin Dannecker Figure 1 © Karin Dannecker 1 ATOL: Art Therapy OnLine, 5 (2) © 2014 Edith Kramer is widely known not only as a prolific painter but first and foremost as the “mother” of art therapy – a pioneer who formed the thinking and writing in the field and influenced art therapists worldwide. On February 21st 2014 she died at the age of 97 in Grundlsee in the Austrian state of Styria. Born in 1916 in Vienna Edith grew up in a liberal environment, which was closely linked to the progressive youth movement of the beginning 20th century. Members of her family were artists and psychoanalysts of the Freud-circle like her aunt Elisabeth Neumann- Viertel, who was an actress at the Vienna Burgtheatre and married to Siegfried Bernfeld, a Freud scholar. Her uncle Theodor Kramer was a well-known poet. They all were part of the noted avant-garde artists and intellectuals who spent their summers between the wars in the marvellous mountainous countryside around the Grundlsee, where the spirit of progressive, leftist thinking determined the atmosphere and lifestyle. The parents sent their daughter Edith to progressive schools; one was the Schwarzwald-School in Vienna known for its liberal education. Early in her life Edith got involved with painting and sculpting. Her first art teacher was Trudl Hammerschlag, who had studied with the influential reformer in art education Franz Cizek. His art teaching encouraged children to find free and unconventional expression of unconscious feelings in their art. -
Tel Aviv University International Study Abroad Fall Semester 2017
Tel Aviv University International Study Abroad Fall Semester 2017- 2018 COURSE DESCRIPTION MAIN OFFICE UNITED STATES CANADA The Carter Building , Room 108 Office of Academic Affairs Lawrence Plaza Ramat Aviv, 6997801, Israel 39 Broadway, Suite 1510 3130 Bathurst Street, Suite 214 Phone: +972-3-6408118 New York, NY 10006 Toronto, Ontario M6A 2A1 Fax: +972-3-6409582 Phone: +1-212-742-9030 [email protected] [email protected] Fax: +1-212-742-9031 [email protected] INTERNATIONAL.TAU.AC.IL TABLE OF CONTENT ■ FALL SEMESTER 2017 DATES 3-4 ■ ACADEMIC REQUIREMENTS 5-13 ■ SCHEDULE OF COURSES 14-16 ■ TRANSCRIPT REQUEST INSTRUCTIONS 16 ■ COURSE DESCRIPTIONS 17-110 ■ REGISTRATION FORM FOR STUDY ABROAD COURSES 111 ■ EXTERNAL REGISTRATION FORM 112 2 FALL SEMESTER 2017-2018 IMPORTANT DATES ■ The Fall Semester starts on Monday, October 23rd 2017 and ends on Thursday, January 4th 2018 (inclusive). ■ Academic Orientation: Monday, August 14th 2017 at 2:00 p.m. ■ Course registration deadline: Monday, August 21st 2017. ■ Class changes and finalizing schedule (see hereunder): Sunday, October 29th 2017. ■ Last day in the dorms: Sunday, January 7th 2018. Students are advised to register to more than the required 5 courses but not more than 7 courses. Students will be allowed to delete courses from their schedules, (not add), on Sunday, October 29th 2017. Fall Semester lasts 11 weeks, most courses will be given 4 hours per week, (two hours, twice a week), in most cases 3 credits each course. As a result, no early departures will be approved prior to Thursday, January 4th 2017. Early departures may in some case be approved for students whose Fall Semester in their school overlaps with the Tel Aviv University schedule. -
The Place of Diasporic Imagery in the Canon of Israeli National Art
arts Article The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art Noa Avron Barak Department of Arts, Ben-Gurion University of the Negev, Beer-Sheba 8499000, Israel; [email protected] Received: 9 January 2020; Accepted: 15 March 2020; Published: 26 March 2020 Abstract: This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Artists Society. Examining texts and artworks associated with these institutions through the prism of migratory aesthetics, I claim that the art made by Jerusalem’s artists was rooted in their diasporic identities as East or Central European Jews, some German-born, others having settled in Germany as children or young adults. These diasporic identities were formed through their everyday lives as members of a Jewish diaspora in a host country—whether that be the Russian Empire, Poland, or Germany. Under their arrival in Palestine, however, the diasporic Jewish identities of these immigrants (many of whom were not initially Zionists) clashed with the Zionist–Jewish identity that was hegemonic in the nascent field of Israeli art. -
Association for Jewish Studies
Association for Jewish Studies c/o Center for Jewish History West th Street New York, NY - Phone: () - Fax: () - E-mail: [email protected] www.ajsnet.org Sara R. Horowitz, York University President Marsha Rozenblit, University of Maryland Conference Program Chair Rona Sheramy, Association for Jewish Studies Executive Director Th e Association for Jewish Studies is a Constituent Society of Th e American Council of Learned Societies. Th e Association for Jewish Studies wishes to thank the Center for Jewish History and its constituent organizations—the American Jewish Historical Society, the American Sephardi Federation, the Leo Baeck Institute, the Yeshiva University Museum, and the YIVO Institute for Jewish Research— for providing the AJS with offi ce space at the Center for Jewish History. Copyright © 2007 No portion of this publication may be reproduced by any means without the express written permission of the Association for Jewish Studies. The views expressed in advertisements herein are those of the advertisers and do not necessarily refl ect those of the Association for Jewish Studies. A SSOCIATION FOR JEWISH STUDIES 39TH ANNUAL CONFERENCE Program Book Contents Association for Jewish Studies Mission Statement.................................................... 4 Institutional Members................................................................................................... 5 Message from the Conference Chair........................................................................... 6 Conference Information.............................................................................................. -
Object Checklist
Object Checklist History of the Bauhaus Fig. 1 Postcard sent to Jan Tschichold with aerial photograph of Bauhaus Dessau. Building: Walter Gropius, 1926. Photo: Junkers Luftbild, 1926. Gelatin silver print on postcard. 10.5 x 14.7 cm. Jan and Edith Tschichold Papers, 1899–1979. The Getty Research Institute, 930030 Fig. 2 Walter Gropius. Photo: Lucia Moholy, n.d. The Getty Research Institute, 920020. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Fig. 3 Hochschule für bildende Kunst, Weimar (Academy of Fine Arts, Weimar). Building: Henry van de Velde, 1904–1911. Photo: Louis Held, ca. 1906. Gelatin silver print. 15.5 x 22.2 cm. Bauhaus-Archiv Berlin, 6677 1 The Getty Research Institute 1200 Getty Center Drive, Suite 1100, Los Angeles, CA 90049 www.getty.edu Object Checklist Figs. 4, 5 Programm des Staatlichen Bauhauses in Weimar (Program of the State Bauhaus in Weimar), front and back. Text: Walter Gropius, 1919. Woodcut: Lyonel Feininger, 1919. Letterpress and woodcut on blue paper. 32 x 39.4 cm. Bauhaus Typography Collection, 1919–1937. The Getty Research Institute, 850513. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Masters and Apprentices Fig. 6 Group portrait of Bauhaus masters, from left: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl, Oskar Schlemmer, photographer unknown, 1926. Newsprint. 19.1 x 28.7 cm. From Das Illustrierte Blatt, No. 50, p. 1131. Jan and Edith Tschichold Papers, 1899–1979. The Getty Research Institute, 930030 Fig. -
Rekindling the Multicultural History of the American Art Therapy Association, Inc.1
Art Therapy: Journal of the American Art Therapy Association, 22(4) pp. 184-188 © AATA, Inc. 2005 V iewpoints Rekindling the Multicultural History of the American Art Therapy Association, Inc.1 Jordan S. Potash, Washington, DC There are few among us who would disagree with the stories were maintained by art therapists of color. They importance of stories and personal narratives in art thera- wanted to ensure that the teachings and struggles of their py. Most of us seek to elicit them from our clients. As art predecessors would not be forgotten, that their contempo- therapists, we see it as our responsibility to honor each raries would continue to carry the torch, and that their stu- individual story, help integrate it where it is disconnected, dents would know their place in a long and rich tradition. and guide our clients to illustrate these narratives in a In her book A History of Art Therapy in the United States, manner that allows for healing. Stories, whether personal Junge (1994) wrote: or communal, offer a glance into belief structures, values, and lessons. Clearly, this cannot be a comprehensive history. There will Stories in the oral tradition often intentionally leave be inevitable omissions since, like those writers before us, we room for interpretation and variation. They may be told in too are limited in information and have made particular choices. Fortunately, because art therapy is a relatively new song, stitched into art, and shared on special occasions. endeavor, much is still “living history” and there are those Written stories, even the most detailed, are often no more who can tell us what is missing. -
Art Therapy: Children's Mental and Emotional
ART THERAPY: CHILDREN'S MENTAL AND EMOTIONAL BENEFITS by Fran Keeney A SENIOR THESIS m GENERAL STUDIES Submitted to the General Studies Council in the College of Arts and Sciences at Texas Tech University in Partial fulfillment of the Requirements for the Degree of BACHELOR OF GENERAL STUDIES Approved DR. KATHERINE GANNON Department of Psychology Chair of Thesis Committee MR. DANlEL LEWIS Department of Art DR. rviiCHAEL SCHOENECKE Director of General Studies MAY2000 0 ~ o If J ACKNOWLEDGEMENTS iJO,. 6P I am grateful to Dr. Katherine Gannon, who is the Chair on my ^ Committee. I would also like to thank Dan Lewis for serving on my committee. They both were helpful and supportive. I appreciate the time they devoted to this study. I would like to thank Dr. Michael Schoenecke for helping me with deadlines and direction. I also need to thank my family for support and encouragement. I am mostly thankful and appreciate my mother. She helped me tremendously with my research and organization. This study is dedicated to her, Holly Keeney, for she inspires me daily and is the main influence for my passion for art. I thank my father. Gene Keeney, for allowing me to borrow his computer. I also need to thank Scott Payne for his encouragement and patience with me during this semester. TABLE OF CONTENTS ACKNOWLEDGEMENTS ii CHAPTER I. INTRODUCTION Brief History and Origin of Art Therapy 1 II. METHODS OF ART THERAPY Communication 4 Expression Healing III. THE PROCESS OF VISUAL JOURNALING 9 IV. INTERPRETATIONS WITH THE USE OF ART THERAPY 13 Our Personalities The Monster Drawing by Jaime V. -
Edith Kramer, Una Pioniera Dell'arteterapia
Edith Kramer, una pioniera dell’arteterapia di Margherita Gandini* Abstract Ad un anno dalla morte di Edith Kramer, si riconsidera il suo percorso di vita, il suo pensiero innovativo, la sua attività pionieristica nel campo dell’arteterapia e le linee metodologiche del suo particolare approccio “Arte come Terapia” che vede la centralità del processo creativo nel percorso terapeutico. “Wien, New York, Grundslee” è il titolo di un Convegno Internazionale dedicato alla memoria di Edith Kramer che si è tenuto a Vienna il 7 e 8 ottobre 2014, in cui si ripercorre la sua straordinaria esperienza che va dalla conduzione di laboratori artistici per i bambini nel ghetto di Praga dal 1934 al 1938 per arrivare alla fondazione, nel 1976, di un programma per l’insegnamento dell'Arteterapia presso la New York University. Gli arte terapeuti che si riconoscono nel metodo “Arte come Terapia”, che in Italia viene trasmesso dalla Scuola di Formazione Lyceum-Vitt3, valutano l’eredità culturale e metodologica che Edith Kramer ha loro lasciato. Ad un anno dalla morte di Edith Kramer (Fig. 1), avvenuta a Grundslee (Austria) il 22 febbraio 2014, ci apprestiamo a riconsiderare il suo percorso di vita, la sua attività pionieristica nel campo dell’arteterapia e l’eredità culturale che ha lasciato a noi, arte terapeuti che ci siamo formati nell’ottica della sua particolare metodologia “Arte come terapia”. * Margherita Gandini, educatore professionale, formatore e arteterapeuta diplomata presso la Scuola Quadriennale di Psicoterapia Espressiva non Verbale Il Porto-ADEG di Torino. Direttore didattico e Supervisore presso la Scuola di Formazione in Arteterapia Clinica Lyceum – Vitt3 di Milano.