Errata and Addenda to Stefan Themerson Selected Prose Annotated by Nicolaas J.I
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Franciszka Themerson Lines and Thoughts Paintings, Drawings, Calligrammes
! 44a Charlotte Road, London, EC2A 3PD Franciszka Themerson Lines and Thoughts paintings, drawings, calligrammes 4 November - 16 December 2016 ____________________ Private View: 3 November 6.30 - 8.30 pm Calligramme XXIII (‘fossil’),1961 (?), Black, gold and red paint on paper, 52 x 63.5cm, © Themerson Estate, courtesy of l’étrangère. " It seemed to me that the interrelation between these two sides: order in nature on the one side, and the human condition on the other, was the undefinable drama to be grasped, dealt with and communicated by me. - Franciszka Themerson, Bi-abstract Pictures, 1957 l’étrangère is delighted to present a solo exhibition of paintings, drawings and calligrammes by Franciszka Themerson - a seminal figure in the Polish pre-war avant-garde. She developed her unique pictorial language during the shifting years of pre- and post-war Europe, having settled in Britain in 1943. Together with her husband, writer, poet and filmmaker, Stefan Themerson, she was involved with experimental film and avant-garde publishing. Her personal domain, however, focused on painting, drawing, theatre sets and costume design. This exhibition brings together Franciszka’s three paintings completed in 1972 and a selection of drawings, dated from 1955 to 1986, which demonstrate the breadth of her work. ! The paintings: Piétons Apocalypse, A Person I Know and Coil Totem, act as anchors in the exhibition, while the drawings demonstrate the variety of motifs recurring throughout her work. The act of drawing and the key role of the line remain a constant throughout her practice. The images are characterised by a fluidity of line, rhythmic composition and the humorous depiction of everyday life. -
Oral History Interview with Peter Goulds, 2008 Mar.24-July 28
Oral history interview with Peter Goulds, 2008 Mar.24-July 28 Funding for this interview was provided by the Art Dealers Association of America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Peter Goulds on 2008 March 24 and July 28. The interview took place in Venice CA at the L.A. Louver Gallery, and was conducted by Susan Ford Morgan for the Archives of American Art, Smithsonian Institution. Peter Goulds has reviewed the transcript. His corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview SUSAN FORD MORGAN: So, this is for the Archives of American Art— PETER GOULDS: Okay. SUSAN FORD MORGAN: —for their oral history project, and so, I have to open up my identifying statement, which is: This is Susan Morgan interviewing Peter Goulds at the L.A. Louver Gallery in Venice, California, on, I believe, the— PETER GOULDS: It is Monday, March the 24th— SUSAN FORD MORGAN: —March the 24th— PETER GOULDS: —2008. SUSAN FORD MORGAN: —2008, and this is disk one. And because this is an oral history project we start at the very beginning. -
Anatol Stern and Stefan Themerson. on Europa And
Anatol Stern and Stefan Themerson and Stefan Anatol Stern Janusz Lachowski ANATOL STERN AND STEFAN THEMERSON. ON EUROPA AND THE FRIENDSHIP BETWEEN THE TWO AVANT-GARDE ARTISTS ON THE BASIS OF THEIR MUTUAL CORRESPONDENCE FROM THE YEARS 1959–1968 Anatol Stern (1899–1968) was a poet, one of the founders of Polish futur- ism, a prose and drama writer, literary critic, essayist and author of memo- rial sketches1 as well as a prolific scriptwriter and film journalist of the Pol- ish interwar period. His wife Alicja (1905–1993) was a translator of Russian literature, theatre critic, and columnist, also participating in film script writing. Towards the end of her life, she wrote a children’s book. Following her husband’s death, she took care of his manuscript collection, preparing previously unedited texts2 for publication and making their home archive available to literary researchers interested in Stern’s writing. Stefan Themerson (1910–1988) was a novelist, poet, essayist, philoso- pher, author of children’s literature, and composer; together with his wife Franciszka (1907–1988), he made experimental short films in interwar 4 Vol. 2016 Libraries Polish 1 Cf. i.a. A. Stern, Legendy naszych dni [The Legends of Our Days], Kraków 1969; idem, Poezja zbuntowana. Szkice i wspomnienia [Rebellious Poetry. Essays and Memories], revised and expanded edition, Warszawa 1970; idem, Głód jednoznaczności i inne szkice [The Craving for Unambiguity and Other Essays], Warszawa 1972. 2 Cf. A. Stern, Dom Appolinaire’a. Rzecz o polskości i rodzinie poety [Appolinaire’s Home. On the Poet’s Polishness and His Family], prepared for printing by A. -
Franciszka Themerson Lines and Thoughts Paintings, Drawings, Calligrammes
! 44a Charlotte Road, London, EC2A 3PD Franciszka Themerson Lines and Thoughts paintings, drawings, calligrammes 4 November - 16 December 2016 ____________________ Private View: 3 November 6.30 - 8.30 pm Calligramme XXIII (‘fossil’),1961 (?), Black, gold and red paint on paper, 52 x 63.5cm" It seemed to me that the interrelation between these two sides: order in nature on the one side, and the human condition on the other, was the undefinable drama to be grasped, dealt with and communicated by me. - Franciszka Themerson, Bi-abstract Pictures, 1957 l’étrangère is delighted to present a solo exhibition of paintings, drawings and calligrammes by Franciszka Themerson - a seminal figure in the Polish pre-war avant-garde. She developed her unique pictorial language during the shifting years of pre- and post-war Europe, having settled in Britain in 1943. Together with her husband, writer, poet and filmmaker, Stefan Themerson, she was involved with experimental film and avant-garde publishing. Her personal domain, however, focused on painting, drawing, theatre sets and costume design. This exhibition brings together Franciszka’s three paintings completed in 1972 and a selection of drawings, dated from 1955 to 1986, which demonstrate the breadth of her work. ! The paintings: Pietons Apocalypse, A Person I Know and Coil Totem, act as anchors in the exhibition, while the drawings demonstrate the variety of motifs recurring throughout her work. The act of drawing and the key role of the line remain a constant throughout her practice. The images are characterised by a fluidity of line, rhythmic composition and the humorous depiction of everyday life. -
Stefan Themerson
Stefan Themerson A Few Letters from the 1950s A FEW LETTERS FROM THE 19505 Copyright 2009 by Estate of Stefan Themerson. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo-copy, recording or any information storage and retrieval system, without permission in writing from the copyright holder, except for quotes in reviews. The cover photograph, a self-portrait by Stefan Themerson, circa 1950, is used with permission of Jasia Reichardt. Jasia also provided invaluable guidance and assistance in the preparation of this publication. First Edition OBSCURE PUBLICATIONS Paul Rosheim, Series Editor 307 River Street, Apt. 18 Black River Falls, Wisconsin 54615 "Watch Out for Obscure Publications" Stefan Themer50n A FEW LETTERS FROM THE 19505: Selected Correspondence with Lars Gustav Hellstrom and Bertrand Russell Obscure Publications - 2009 Stefan Themerson on Semantic Poetry correspondence with Lars Gustav Hellstrom References to pages which appear throughout the correspondence are those to the first edition of Bayamus published by Poetry London in 1949 On the 4th July 1950 Franciszka wrote to Stefan who was staying with friends in Cheshire: 'Hugo Manning telephoned a minute ago. That Swedish critic that he once told us about, is in London. [i.e. Lars Gustav Hellstrom] He has a copy of Bayamus and has read it, and he very much wants to meet you. It seems that he wants to write about you, or to translate Bayamus into Swedish. Anyway, he is not a phoney, as Manning says, and he absolutely must see you. -
Themerson and Schwitters 191
READING ART ADAM DZIADEK THEMERSON AND SCHWITTERS 191 Adam Dziadek Themerson and Schwitters DOI:io.i83i 8/td.2o i5.en.2.i2 Adam Dziadek is a professor a t the University of Silesiam and the author o f Rytm i podmiot w liryce Jarosława Iwaszkiewicza i Aleksandra Wata Milton, Themerson and Schwitters (1999), Obrazy i wiersze. Z zagadnień To begin with, a quotation: interferencji sztuk w polskiej poezji This neglect then of rime so little is to be taken for współczesnej (2004), a defect, though it may seem so perhaps to vulgar Na marginesach readers, that it rather is to be esteemed an example lektury. Szkice teoretyczne (2006), set, the first in English, of ancient liberty recovered Projekt krytyki to heroic poem from the troublesome and modern somatycznej (2014). bondage of riming.1 He has published Wybór wierszy This passage comes from John Miltons Paradise Lost, Aleksandra Wata (2008) as a part of the but what could such a quotation have to do with Stefan Biblioteka Narodowa Themerson and Kurt Schwitters? What could Milton, series. With Jan Schwitters and Themerson possibly have in common? Zieliński, he recently “Common sense” would suggest that this is a funda- co-edited the mentally wrong juxtaposition. But this strange juxta- heretofore unedited Notatniki Aleksandra position is only partly guided by chance, while “com Wata (2015). He mon sense” itself, as rightly noted by Roland Barthes in has translated the Mythologies, is a thoroughly bourgeois term, and there- works of R. Barthes, fore, I would suggest, unworthy of being stooped to or J. Derrida, J.-L. -
Children's Titles and Merchandise
Children's titles and merchandise Autumn/Winter 2013 Tate Publishing is delighted to be bringing you a wide range of exciting new publications to entertain and instruct over the months ahead. There’s even a meditating cat, from the inspired French illustrator Jean-Vincent Sénac. With such a diverse range of books on offer, I hope you’ll agree that there’s something here for everyone! Roger Thorp Publishing Director, Tate Publishing This Autumn we’re delighted to launch a new range of merchandise to accompany Claudia Boldt’s enchanting book, Melvin the Luckiest Monkey in the World; the products are stationery based, and we hope that they’ll prove popular in both bookshops and gift shops alike. This range adds to our stationery featuring works of art from Tate’s collection, our art materials, and our other products for children. Rosey Blackmore Merchandise Director A regularly updated catalogue can be found on our website www.tate.org.uk/publishing To request press review copies contact Anna Ridley [email protected] New children's titles and merchandise Claudia Boldt Melvin: The Luckiest Monkey in the World Melvin is certain he’s the unluckiest monkey in the world but his best friend Pete the penguin has other ideas! Claudia Boldt, a winner of the Booktrust Best New Illustrators Award in 2011, has designed a new range of merchandise for us featuring Melvin, Pete and other characters from Melvin: The Luckiest Monkey in the World. Wall Stickers Learn to count with Melvin and his friends,using these wall number stickers from 1 to 10. -
Kobro Ing.Pdf
KATARZYNA KOBRO & WŁADYSŁAW STRZE MIŃ KOBRO STRZEAVANT-GARDE PROTOTYPES ŃSKI atarzyna Kobro (1898–1951) and Władysław Strzemiński (1893–1952) are among the silent protagonists of the Eu- ropean avant-gardes, to which they contributed by both fostering and questioning the legacy of modernism with a plastic and theoretical oeuvre that was as fertile as it was Kcomplex. Dedicated to experimentation on pure forms—Kobro funda- mentally in sculpture and Strzemiński in painting—and closely related to international artistic movements like the Bauhaus, neoplasticism and constructivism, their work is pivotal for an understanding of abstract art in the Central Europe of the first decades of the twentieth century. The Museo Reina Sofía presents a retrospective on their work made up of drawings, paintings, collages, sculptures and designs ranging from the typographical arrangement of a poem to furnishing concepts or the projection of architectural spaces. With exhibits dating from the early 1920s to the late 1940s, the show functions as an exegesis of their heterogeneous production through a description of the artistic transi- tions that marked their careers. Clearly influenced at first by such great avant-garde figureheads as Tatlin, Rodchenko and Malevich, their work moves on to their unist creations, their great contribution. Unism was abandoned with the arrival of the economic crisis, and after a period dedicated to an art they classed as “recreational” and, simultaneously, to the practice of functionalism, Kobro and Strzemiński took different paths. At the end of the Second World War, she made sculptures of nudes close to cubism, while he started to sketch out a realist theory ver- tebrated by works where afterimages live side by side with abstraction. -
Teresa˙Zarnower's Mnemonic Desire for Defense of Warsaw
arts Article Teresa Zarnower’s˙ Mnemonic Desire for Defense of Warsaw: De-Montaging Photography Maria Anna Rogucka Department of Art and Visual History, Humboldt University, 10117 Berlin, Germany; [email protected] Received: 22 April 2020; Accepted: 20 July 2020; Published: 28 July 2020 Abstract: Teresa Zarnower˙ (1897, Warsaw, Poland–1949, New York, United States), a Polish Constructivist artist of Jewish descent who was forced to emigrate abroad during World War II, became a dominant figure working for the Polish government in exile. She produced a series of photomontages for a book titled The Defense of Warsaw, which was published in 1942 by a “Polish Labor Group” in New York. Zarnower˙ used her technical expertise in photomontage to create new configurations of war photographs documenting Nazi Germany’s attack on Poland in 1939. She chose this shocking and politically loaded content to gain credibility and global attention for her work. Drawing on Benjamin Buchloh’s essay From Faktura to Factography, the aim of this study is to analyze the factographic paradigm in the usage of war photography and in the context of the esthetics of constructivist photomontage. The focus will lie on its mnemonic and archival functions, further highlighting the montage’s function as a key form of social memory model. Keywords: Polish constructivist photomontage; politics of architectural photomontage; antiwar book; Jewish female artist; exiled interwar avant-garde; model of social memory; war photography; mnemonic construction of war; iconography of death; documentary methods in art 1. Introduction The first and only monograph on Polish artist Teresa Zarnower˙ was published in 2014 under the title Teresa Zarnower˙ ówna.1 Artystka Ko´ncaUtopii (1897–1949) [Teresa Zarnower˙ (1897–1949). -
Neotipografia Material Poetics In
NEO-TIPO-GRAFÍA: MATERIAL POETICS IN THE SPANISH HISTORICAL AVANT-GARDE Zachary Rockwell Ludington Severna Park, Maryland Master of Arts, University of Virginia, 2009 Bachelor of Arts, University of North Carolina at Chapel Hill, 2007 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Spanish, Italian & Portuguese University of Virginia August, 2014 © 2014 Zachary Rockwell Ludington 2 ACKNOWLEDGEMENTS AND DEDICATION I must first extend my warmest thanks to my advisor, Andrew A. Anderson, for his scholarship and for his sharp and supportive critical eye. My work in this dissertation owes a great deal not only to his previous research but also to his helpful comments and his guidance throughout the course of the project. I would also like to thank every member of the Department of Spanish, Italian & Portuguese at the University of Virginia, past and present. I owe specific debts of gratitude to a few friends in the department who have especially enriched my experience during my time at the University, both academically and personally. They are Fernando Operé, David T. Gies, Gustavo Pellón, Randolph Pope, Mané Lagos, Daniel Chávez, Eli Carter, Omar Velázquez Mendoza, Tally Sanford, Shawn Harris, Julia Garner, Luca Prazeres, Diana Arbaiza, Stephen Silverstein, Jülide Etem, Sarah Bogard, Alejandra Gutiérrez, Keith Howard, Tim McAllister, Adriana Rojas Campbell, Gabrielle Miller, Gillian Price, Melissa Frost, and Diana Galarreta. Friends and colleagues outside the department but ever present and interested in my work are Ana Elia García Pérez, Nathan Brown, John Lyons, Paul A. Cantor, Shaun Cullen, Chicho Lorenzo, Tico Braun, Antonio Reyes, Manuela Jiménez, Brian Carr, and Erik J. -
Themerson S Fragments.Pdf
FRAGMENTS FROM DARKNESS This edition is dedicated to Franciszka. Special thanks to Jasia Reichardt and Nick Wadley of Themerson Archive for permitting OP to publish this 1941 poem by Stefan Themerson, together with related drawings by Franciszka Themerson. This translation by Barbara Wright has previously appeared only in Stefan Themerson's COLLECTED POEMS, Gaberbocchus Press, Amsterdam, 1997. Thanks to Barbara Wright, Jasia Reichardt, and Tom Whalen for helping with the production. Copyright 1997 by Stefan Themerson Estate Translation, copyright 1997 by Barbara Wright Illustrations by Francisrka Themerson First Edition Obscure Publications Paul Rosheim, Series Editor 1307 River Street, Apt. I8 Black River balls, WI 54615 "Watch Out for Obscure Publications" FRAGMENTS FROM translated by Barbara Wright drawings by Franciszka Themerson Obscure Publications 2001 c PETIT NEGRE ECRIRE PETIT POEME I am a poor child abandoned by the Muses. They’ve gone up the marble staircase, the cloud-staircase, and they’ve climbed higher towards On High, while I’ve been left down here, all alone. It’s true, the Heavens begin where the earth stops being hard and palpable, they start a quarter of a millimeter above the pavements and the grass. Yes, I I too am immersed in the Ocean of the Heavens, but I move through it as the crab movesJhrough the sea-with its claws. It’s because my soles and heels are stuck in the bed of the Ocean of the Heavens that I’ve been left down here, where I was born. Why did you lose patience, oh my Muses, why did you flee, why didn’t you wait until the end of the war? I’ve been left all alone with my pencil and a glass gf wine-so much has happened around me in thirty long years that I can neither remember it, nor draw any conclusions, nor find any common denominator. -
Tate Report 2018–2019
TATE ANNUAL REPORT 2018/19 CONTENTS 3 CHAIRMAN’S FOREWORD 43 EXHIBITIONS 44 Tate Britain 4 INTRODUCTION 49 Tate Modern 54 Tate Liverpool 5 OUR VISION 58 Tate St Ives 62 Other venues 6 TATE’S FIVE–YEAR OBJECTIVES 71 FACTS AND FIGURES 7 HIGHLIGHTS 77 ACQUISITIONS HIGHLIGHTS 8 PROGRAMME 16 The collection 116 OUR SUPPORTERS 21 Partnerships 26 Audiences 31 Learning and research 35 People and culture 37 Estates and infrastructure 39 Business model 2 CHAIRMAN’S FOREWORD Tate’s Board of Trustees As at 31 March 2019 Tate displayed and shared exceptional art in 2018/19, and I mention Lionel Barber (Chairman) a small selection only. At Tate Britain, Don McCullin’s photography show John Akomfrah, CBE John Booth offered a moving testament of war and socio-economic decay in post- Tim Davie, CBE Dame Jayne-Anne Gadhia, DBE war Britain, to critical and public acclaim. At Tate Modern, exhibitions Dame Moya Greene, DBE Katrin Henkel by Anni Albers and Pablo Picasso, combining works from public and Anna Lowe Michael Lynton private collections, drew hundreds of thousands of visitors. Three Dame Seona Reid, DBE Roland Rudd solo exhibitions by international women artists opened at the newly James Timpson, OBE Jane Wilson expanded Tate St Ives. At Tate Liverpool, the photographs of Francesca Stephen Witherford Woodman were shown alongside the work of Egon Schiele. We also sent more than 1,500 works of art around the world, working with new partners in Asia and Latin America. Tate has enjoyed another highly successful year, with record-breaking exhibitions, innovative art and ambitious My fellow Trustees and I are immensely proud of Tate’s skilled and public programmes which have inspired millions of visitors.