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Zwischen Ideologie Und Kommerz
Zwischen Ideologie und Kommerz Der Kunstmarkt der DDR am Beispiel der Gegenwartskunst des Staatlichen Kunsthandels 1974 – 1990 Dissertation ur !rlangung des Grades eines Doktors der "hilosophie an der "hilosophischen #akult$t der %echnischen &ni'ersit$t Dresden 'orgelegt 'on Sa(ine %auscher ge() am 1*)1+)19,- in !isen(erg Betreuer. "ro/) Dr) 01rgen 21ller3 4nstitut /1r Kunst5 und 2usikwissenscha/t der %& Dresden Gutachter. 1) "ro/) Dr) 01rgen 21ller3 4nstitut /1r Kunst5 und 2usikwissenscha/t der %& Dresden +) "ro/) Dr) Bruno Klein3 4nstitut /1r Kunst5 und 2usikwissenscha/t der %& Dresden Eidesstattliche Erklärung 4ch 'ersichere hiermit3 dass ich die 'orgelegte Dissertation eigenst$ndig 'er/asst und keine anderen als die angege(enen 6il/smittel 'erwendet ha(e) 7rt3 Datum und &nterschri/t + Inhaltsverzeichnis I Einleitung .......................................................................................................................... 6 4)1 8or(emerkungen )))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) 9 4)+ #orschungsstand ))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) +0 4)- 2ethode und :u/(au der :r(eit )))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) +* II Kulturpolitischer Kontext ............................................................................................. 32 44)1 Die eitgen;ssische (ildende Kunst im So ialismus der 6onecker5<ra ))))))))))))))))))))))))))))) -
Visual Arts in the Urban Environment in the German Democratic Republic: Formal, Theoretical and Functional Change, 1949–1980
Visual arts in the urban environment in the German Democratic Republic: formal, theoretical and functional change, 1949–1980 Jessica Jenkins Submitted: January 2014 This text represents the submission for the degree of Doctor of Philosophy (in partial fulfilment of its requirements) at the Royal College of Art Copyright Statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from this thesis may be published without proper acknowledgment. Author’s Declaration 1. During the period of registered study in which this thesis was prepared the author has not been registered for any other academic award or qualification. 2. The material included in this thesis has not been submitted wholly or in part for any academic award or qualification other than that for which it is now submitted. Acknowledgements I would like to thank the very many people and institutions who have supported me in this research. Firstly, thanks are due to my supervisors, Professor David Crowley and Professor Jeremy Aynsley at the Royal College of Art, for their expert guidance, moral support, and inspiration as incredibly knowledgeable and imaginative design historians. Without a generous AHRC doctoral award and an RCA bursary I would not have been been able to contemplate a project of this scope. Similarly, awards from the German History Society, the Design History Society, the German Historical Institute in Washington and the German Academic Exchange Service in London, as well as additional small bursaries from the AHRC have enabled me to extend my research both in time and geography. -
Major Cultural Commemorations and the Construction of National Identity in the GDR, 1959-1983
Major Cultural Commemorations and the Construction of National Identity in the GDR, 1959-1983 David Joseph Zell A thesis submitted to the University of Birmingham for the degree of Doctor of Philosophy Department of Modern Languages The University of Birmingham October 2017 1 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Major Cultural Commemorations and the Construction of National Identity in the GDR 1959-1983 Abstract My thesis asks whether cultural commemorations helped the GDR to build a distinct national identity, and examines the role of political and cultural actors involved in them. Covering different strands of German cultural heritage, the aims, implementations and outcomes of anniversary commemorations are investigated as a longitudinal series of case-studies: Schiller (1959); Kollwitz (1967); Beethoven (1970); and Luther (1983). Substantial evidence from largely unpublished sources exposes recurring gaps between the theory and practice of these commemorations, essentially attributable to manifest examples of agency by commemoration stakeholders. Each commemoration produced some positive legacies. But driven mainly by demarcation motives versus West Germany, the appropriation of these German cultural icons as socialist role-models to promote national identity was mostly unsuccessful in three commemorations. -
Hans Ticha (1940)
GALERIE ALTE SCHULE AHRENSHOOP E I S B A D E N Ausstellung zum Jahreswechsel 2013 / 2014 PDF - Ausstellungskatalog Frida Löber, Junge mit Kopfbedeckung, um 1980 Öffnungszeiten der Galerie über den Jahreswechsel: 27.12. – 30.12. und 02.01. – 03.01. von 12 bis 16 Uhr 31.12. von 10 bis 14 Uhr 01.01. von 13 bis 16 Uhr oder nach Vereinbarung Tel.: Galerie 038220 / 67 95 93 I 038220/66330 | Fax 038220 66 03 21 Hinweis: Abbildungen können technisch bedingt farblich vom Original abweichen. GALERIE ALTE SCHULE AHRENSHOOP Für Abbildungen mit größerer Auflösung kontaktieren Sie uns bitte. GALERIE ALTE SCHULE AHRENSHOOP Künstlerliste zur Ausstellung: 1. Edmund Kesting (1892 - 1970) 2. Anna Gerresheim (1852-1921) 3. Christoph Bouet (1974) 4. Ernst Wolfhagen (1907 - 1992) 5. Egon Pukall (1934 - 1989) 6. Stefan Plenkers (*1945) 7. Ekkehard Tischendorf (*1976) 8. Frida Löber (1910 - 1989) 9. Bernd Hahn (1954 - 2011) 10. Erich Wegner (1899 - 1980) 11. Jens Hausmann (1964) 12. Moritz Götze (1964) 13. Hans Christoph (1901 - 1992) 14. Paul Müller-Kaempff (1861 - 1941) 15. Hans Ticha (1940) 16. Otto Niemeyer-Holstein (1896 - 1984) 17. Isabelle Borges (1966) 18. Wolfgang Leber (1936) 19. Wolfgang Frankenstein (1918 - 2010) 20. Hermann Bachmann (1922 - 1995) 21. Max Uhlig (1937) Edmund Kesting (1892 - 1970) 1892 in Dresden geboren 1915-1922 mit Unterbrechungen Studium an der Kunstakademie in Dresden Seit 1920 konstruktivistische Arbeiten und Schnittcollagen 1922 Heirat mit seiner Schülerin Gerda Müller; enge Kontakte zu Avantgardekünstlern (Kurt Schwitters, -
East German Art Collection, 1946-1992
http://oac.cdlib.org/findaid/ark:/13030/ft538nb0c2 No online items Guide to the East German art collection, 1946-1992 Processed by Special Collections staff; machine-readable finding aid created by Steven Mandeville-Gamble. Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc © 2002 The Board of Trustees of Stanford University. All rights reserved. Guide to the East German art M0772 1 collection, 1946-1992 Guide to the East German art collection, 1946-1992 Collection number: M0772 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc Processed by: Special Collections staff Encoded by: Steven Mandeville-Gamble © 2002 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: East German art collection, Date (inclusive): 1946-1992 Collection number: M0772 Extent: 21 linear ft. (ca. 1300 items) Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Language: English. Access Restrictions None. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Provenance Purchased, 1995. Preferred Citation: East German art collection. M0772. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif. Historical note The collection was put together by Jurgen Holstein, a Berlin bookseller. -
Imagery with Power- Film Poster Artist Otto Kummert.Indd
Imagery with Power: Film Poster Artist Otto Kummert BY DETLEF HELMBOLD Looking at the cover of this DVD Die Russen kommen (1968/87, The Russians Are Coming, 1987), you see a young man covering his shadowed face with white hands. This image represents a desire not to see, a looking away from reality, or a wish that things that took place had not happened. The cover image is based on the original 1987 film poster for The Russians Are Coming 1 which was created in 1987 by graphic designer Otto Kummert. His motif di!ers significantly from how films are typically advertised nowadays and probably wouldn’t be the design of choice today. It includes no images of the main actors or any details about the film’s tone, genre, or plot. In East Germany and Eastern Europe in the late 1980s, however, film posters served a somewhat di!erent purpose. The • A 2016 DVD Release by the DEFA Film Library • A 2016 DVD Release by the DEFA 1 goal was not to convey everything about the film—not to find a design that leaves no question open and avoids all possible of misinterpretation. Instead, the poster language that was typical of the movie posters in that time and place focused more generally on creating a work of graphic art. Metaphors, symbols, and pictorial analogies were incorporated into the graphic design in order to intellectually challenge viewers and invite them, in the process of exploring the poster, to have an emotional experience of the film in advance of actually seeing it. -
A Look at Klaus Wittkugel, East Germany's Most Prolific Graphic
Lighting & Ceiling Fans Prefab Professional Services Culture Green <Food > Design Ideas Technology City Guides Travel All Culture Subscribe Print Digital P! Print + Digital Gift "OnSep eacsipaelc Its osfu Kelsaus Wittkugel's work that always fascinated me is his self-reflexivity about the process and labCour sotfo gmraeprh iSce drevsicigen," says Prem Krishnamurthy, director of the experimental New York gallery P!, where he hasE mjusati ml Nouenwtesdle att sehrosw of works by the East German designer. He first began researching Wittkugel eight years ago, when he discovered a book of his work in a Boston bookstore. "In the poster Das Plakat from 1954, an exhibition of international posters is communicated through an image of a poster column, just moments aAfte rL soomeoonke h aas ftin isKhedl awhueats-p aWstingi itt. tThke 1u95g7 peolliti,c aEl poastser ton Gthe erigrhtm callsa fonr cyitiz'esns to run for a local council. It represents a scene-within-a-scene: a worker putting up posters for other candidates as the pMostoer istsetlf ."Prolific Graphic Designer Courtesy of P! WRITTEN BY: AILEEN KWUN FEBRUARY 10, 2016 Photo details On view through February 21 at New York's P! g1a l/l e6ry, a new show explores the politics of Cold War-era graphic design with a presentation of works by Klaus Wittkugel—East Germany's most prolific graphic designer. Curator Prem Krishnamurthy walks us through the highlights. On view through February 21 at Manhattan’s pocket-sized P! gallery, OST UND oder WEST (East and/or West) presents an abbreviated survey of the late graphic designer Klaus Wittkugel (1910–1985), who, despite a prolific four-decade career spanning logos, posters, publications, posters, and architectural signage, has remained largely unknown to Western audiences. -
Bernhard Heisig and the Cultural Politics of East German Art
BERNHARD HEISIG AND THE CULTURAL POLITICS OF EAST GERMAN ART by April A. Eisman BA, Lawrence University, 1994 MA, Courtauld Institute of Art, 1998 Submitted to the Graduate Faculty of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS & SCIENCES This dissertation was presented by April A. Eisman It was defended on April 27, 2007 and approved by Stephen Brockman, Professor, Dept of Modern Languages, Carnegie Mellon University Terry Smith, Professor, History of Art and Architecture Kathy Linduff, Professor, History of Art and Architecture Kirk Savage, Associate Professor, History of Art and Architecture Dissertation Advisor: Barbara McCloskey, Associate Professor, Hist. of Art and Architecture ii Copyright © by April A. Eisman 2007 iii BERNHARD HEISIG AND THE CULTURAL POLITICS OF EAST GERMAN ART April A. Eisman, PhD University of Pittsburgh, 2007 This dissertation focuses on the (East) German artist Bernhard Heisig (b. 1925), one of the most important German artists of the twentieth century. In English-language scholarship, however, he is virtually unknown, the result of lingering Cold War-era stereotypes that presume East Germany had no art, merely political propaganda or kitsch. This study focuses, in particular, on a crucial but little understood moment in Heisig’s life and work, the decade between 1961 and 1971, a time when the style and subject matter for which he is best known today first emerged in his oeuvre. The introduction provides an overview of Heisig’s reception in East, West, and unified Germany that will show how Cold War-era thinking affected—and continues to affect—his reception. -
The Exhibitionist No
THE EXHIBITIONIST NO. 10 / JOURNAL ON EXHIBITION MAKING / OCTOBER 2014 THE EXHIBITIONIST OVERTURE CURATORs’ FAVORITES BACK IN THE DAY MISSING IN AcTION ATTITUDE ASSESSMENTS RIGOROUS RESEARCH SIX x SIX REAR MIRROR USD 15 EUR 10 GBP 10 10 NO. 10 / JOURNAL ON EXHIBITION MAKING / OCTOBER 2014 10 The Exhibitionist NO. 10 OCTOBER 2014 CONTENTS Overture Jens Hoffmann, Julian Myers-Szupinska, and Lumi Tan 3 Curators’ Favorites Dominic Willsdon Architecture Versus the Kids 5 Wassan Al-Khudhairi Forceful Change 8 Matthias Muehling Not My Favorite 11 Back in the Day Geir Haraldseth The Lost Tribes of the Moderna: A Discord from 1969 14 Missing in Action Jan Hoet L’Exposition imaginaire— Cindy Sherman Contradiction in terms? 22 Untitled (Secretary), 1978/1993 Sepia-toned photograph Introduced by Chelsea Haines Attitude Martin Waldmeier “I Propose, Therefore I Am”: Notes on the Art World’s Proposal Economy 28 Assessments: Philippe Parreno’s Anywhere, Anywhere Out of the World Florence Ostende One Brain Cannot Take It All 35 Pierre-François Galpin Paris Spleen 36 Anne Dressen Ménage à trois 38 Liam Gillick How-To 47 Rigorous Research Prem Krishnamurthy Selling Socialism: Klaus Wittkugel’s Exhibition Design in the 1950s 49 Six x Six Zoe Butt, Nazli Gürlek, Daniel Muzyczuk, Remco de Blaaij, Patrick D. Flores, Nicolaus Schafhausen 61 Rear Mirror Johanna Burton and Anne Ellegood Too Much, Never Enough: Take It or Leave It: Institution, Image, Ideology 75 Sofía Hernández Chong Cuy Of Whether and Weather: On the 9a Bienal do Mercosul | Porto Alegre 75 The Exhibitionist RIGOROUS RESEARCH SELLING SOCIALISM: KLAUS WITTKUGEL’s EXHIBITION DESIGN IN THE 1950s Prem Krishnamurthy For the artists of the 20th-century European avant-garde, exhibition design played a crucial role. -
Galerie Am Gendarmenmarkt Vom 25
G ALERIE AM G ENDARMENMARKT Kunsthandel & Ausstellungen Presseinformation zur Ausstellung Malerei, Grafik und Plastik aus neuen Beständen Ausstellungsdauer: 27. Januar bis 19. März 2006 Öffnungszeiten (NEU!): täglich 14.00 bis 20.00 Uhr und nach Vereinbarung Nach den Personalausstellungen von Charles Crodel, Waldemar Otto und Erich Seidel zeigt die Galerie am Gendarmenmarkt vom 25. Januar bis zum 19. März 2006 eine Ausstellung mit neuen Werken aus ihren Beständen. Vor allem um jüngere Künstler hat die Galerie ihr Programm erweitert. Drei großformatige Bilder von Christian Thoelke - in der Technik der Lasurmalerei und am Stil des Verismus geschult - aus der Serie FAME sind sehr einprägsam und anders, als die in der Galerie bisher gezeigte Malerei, die überwiegend an die ›Berliner Malerei‹ anknüpft. Christian Thoelke, der 1973 geboren wurde und bei dem Leipziger Maler Wolfgang Peuker an der Kunsthochschule Berlin-Weißensee und nach dessen Tod an der Hochschule für Grafik und Buchkunst bei Ulrich Hachulla studiert hat, vertritt quasi die so genannte Leipziger Schule. Die Malerin Mideele Schade, geboren 1963, ist mit Landschaften strenger formaler Ordnung und expressiver Farbigkeit vertreten. Die Stilleben von Monika Taffet, geboren 1968, leben vom virtuos gestalteten pastosen Farbauftrag mit eher dezenten harmonischen Klängen. Luise Dewerny wurde 1971 geboren und hat an der Hochschule für Bildende Künste in Dresden studiert. Sie ist mit stimmungsvollen Winterlandschaften von der Ostsee vertreten. Linolschnitte, Radierungen und Lithographien (Landschaften und Blüten) des Berliner Malers und inzwischen emeritierten Professors der Universität der Künste Berlin Klaus Fußmann sind erstmalig in der Galerie zu betrachten und ergänzen eindrucksvoll das bisherige Programm. Roland Manzke, der in Berlin-Prenzlauer Berg lebt, war bis 1989 als Schriftsteller tätig, bevor er sich der Malerei zuwandte.