Spring 2021 EDITORIAL
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The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ART HISTORY WOLFGANG TILLMANS: WORLD-MAKING YIZHOU ZHANG SPRING 2020 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Art History with honors in Art History Reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Thesis Supervisor Sarah K. Rich Associate Professor of Art History Honors Adviser Nancy E. Locke Associate Professor of Art History Faculty Reader * Electronic approvals are on file. i ABSTRACT This thesis looks into the body of art works created by Wolfgang Tillmans from the early 1980s to the present, with a focus on the transforming quality of the photographic medium. The essay first investigates the early clashing of mediums in the artist’s work: the photo printer, digital camera, and film in the photograph surface. Then, the essay delves into a longer history of abstract photography that relates to modernist notions of medium specificity. The third chapter deals with the issue of body in a double fold: the body of the art work, and the body of the artist. The fourth chapter introduces a systematic view on Tillmans’ thirty-years-long oeuvre, connecting the motif of astronomy with a distinct world view hidden behind Tillmans photographs. ii TABLE OF CONTENTS Acknowledgements....................................................................................................................... iii List of Figures.............................................................................................................................. -
Wolfgang Tillmans Hamburger Bahnhof—(Museum Fur Gegenwart, Berlin) TOP PICK in BOTH ARTFORUM and FRIEZE “BEST of 2008”
Lighter Wolfgang Tillmans Hamburger Bahnhof—(Museum fur Gegenwart, Berlin) TOP PICK IN BOTH ARTFORUM AND FRIEZE “BEST OF 2008” As seen in Frieze, January 2009 Gigiotto Del Vicchio Beatrix Ruf Wolfgang Tillmans’ solo show, which made Wolfgang Tillmans solo show at the Ham- use of the Riek Hallen of Berlin’s Hamburger burger Bahnhof in Berlin was great. A long Bahnhof, was an absolute highlight of 2008, sequence of emotions and a great number as was the accompanying catalogue, which, of works of unflinching intensity, this was the like most of Tillmans’ books, was designed total vision of a total artist - the last of the by the artist himself. Tillmans is known for Romantics. The show confirmed almost de- his outstanding ability to use space, and he finitively who it is, today, that uses and under- managed to energize this endless sequence stands images in all their possible nuances, of rooms with a survey of works spanning his citing poetry, reality, imagination, knowledge entire career, from wall pieces comprised of and background. Tillmans is not just a pho- groups of multi-sized images to large-scale tographer: he is a complete artist. ‘Lighter’ abstracts, from archives in vitrines to politi- proved this, creating a unique and excel- cally and sociologically activated sets of lently constructed itinerary, confirming his images. status not only as a major artist but a cultural beacon. Other shows: Tris Vonna-Michell at Kunsthalle Zurich: Alexander Rodchenko at Martin-Gropius-Bau, Berlin: R. Buckminster Fuller at the Whitney Museum of American Art, New York; Marc Camille Chaimowicz (in collaboration with Alexis Vaillant) at de Ap- Wolfgang Tillmans’ Bob Nickas pel, Amsterdam; Rivane Neuenschwander at 3”Wolfgang Tillmans: Lighter” (Ham- the South London Gallery. -
Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius -
This PDF Is Part of the Catalogue of the Exhibition Wolfgang Tillmans
This PDF is part of the catalogue of the exhibitionWolfgang Tillmans. Moderna Museet, Stockholm, 06.10.2012 – 20.01.2013 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 02.03.2013 – 07.07.2013 2 – 17 Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans 18 – 116 Installation views Moderna Museet 117 – 125 Captions Moderna Museet 126 – 131 List of works Moderna Museet 132 – 133 Biography 134 Colophon Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans Prelude: How a visitor may be led Warsaw, January 2012. Ascending the majestic staircase of the classicist art palace built between 1890 and 1900 for the Towarzystwo Zachęty Sztuk Pięknych, the then Society for the Encouragement of the Fine Arts, and now home to the Zachęta Naradowa Galeria Sztuki, Poland’s National Gallery, I make my way up to Wolfgang Tillmans’ exhibition Zachęta. Ermutigung (Zachęta. Encouragement). En route I see large paper-drop pictures hanging in niches that must originally have been intended for paintings. These close-ups of sheets of curling, curving photographic paper with shimmering and gleaming polychrome surfaces are unframed, held in position by the foldback clips that Tillmans uses to present his works on paper. With the three-dimensionality of the images and the three-dimensionality of the physical objects, the paper-drop pictures perform a dance of gravity, materials, reflections and shadows. They show what they are, even if not completely. For the difference between the materiality of the photographic paper ‘in’ the pictures and the archival sheets exhibited here (207 × 138 centi- metres) that have absorbed the ink-jet prints, prevents any over-hasty identification. -
Expanding the Definition of Provenance: Adapting to Changes Since the Publication of the First AAM Guide Ot Provenance Research
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Winter 12-15-2018 Expanding the Definition of Provenance: Adapting to Changes Since the Publication of the first AAM Guide ot Provenance Research Katlin Cunningham [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Museum Studies Commons Recommended Citation Cunningham, Katlin, "Expanding the Definition of Provenance: Adapting to Changes Since the Publication of the first AAM Guide ot Provenance Research" (2018). Master's Projects and Capstones. 980. https://repository.usfca.edu/capstone/980 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. Expanding the Definition of Provenance: Adapting to Changes Since the Publication of the first AAM Guide to Provenance Research Keywords: museum studies, provenance research, found in collections, technology, law, cultural biography by Katlin Cunningham Capstone project submitted in partial fulfillment of the requirements for the Degree of Master of Arts in Museum Studies Department of Art + Architecture University of San Francisco ________________________________________________________________________________ Faculty Advisor: Marjorie Schwarzer _________________________________________________________________________________ Academic Director: Paula Birnbaum December 14, 2018 Acknowledgements I would first like to thank my advisor Marjorie Schwarzer of the Museum Studies program at the University of San Francisco. -
Article: Uncovered and Unconventional: Preserving Works on Paper and Photographs On
Article: Uncovered and Unconventional: Preserving Works on Paper and Photographs on Open Display Author(s): Nina Quabeck Topics in Photographic Preservation, Volume 16. Pages: 122-140 Compiler: Jessica Keister © 2015, The American Institute for Conservation of Historic & Artistic Works. 1156 15th St. NW, Suite 320, Washington, DC 20005. (202) 452-9545, www.culturalheritage.org. Under a licensing agreement, individual authors retain copyright to their work and extend publication rights to the American Institute for Conservation. Topics in Photographic Preservation is published biannually by the Photographic Materials Group (PMG) of the American Institute for Conservation (AIC). A membership benefit of the Photographic Materials Group, Topics in Photographic Preservation is primarily comprised of papers presented at PMG meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Topics in Photographic Preservation, Vol. 16, have not undergone a formal process of peer review. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the PMG or the AIC. The PMG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. Uncovered and Unconventional: Preserving Works on Paper and Photographs on Open Display Nina Quabeck Presented as a poster at the 2014 AIC Annual Meeting in San Francisco ABSTRACT The format of the frame, quintessentially emphasizing the preciousness of a work of art, is often problematic or even undesirable for modern and contemporary works on paper and photographs. In many cases, these works are large-scale, three-dimensional or even more like room-spanning installations - in short unconventional - and a far cry from the traditional contained paper-based artwork. -
MINOR HISTORIES Statements, Conversations, Proposals MIKE KELLEY Edited by John C
KELLEY MINOR HISTORIES Statements, Conversations, Proposals MIKE KELLEY edited by John C. Welchman What John C. Welchman calls the “blazing network of focused conflations” from which Mike Kelley’s styles are generated is on display in all its diversity in this second volume of his writings. The first volume, Foul Perfection, contained thematic essays and writings about other artists; this collection concentrates on Kelley’s own work, ranging from texts in “voices” that grew out of scripts for performance pieces to expository critical and autobiographical writings. Minor Histories organizes Kelley’s writings into five sections. “Statements” consists of twenty pieces produced MINOR between 1984 and 2002 (most of which were written to accompany exhibitions), including “Ajax,” which draws on MIKE KELLEY Homeric epic, Colgate-Palmolive advertising, and Longinus to present its eponymous hero; “Some Aesthetic High Points,” an exercise in autobiography that counters the standard artist bio included in catalogs and press releases; and a sequence of “creative writings” that use mass cultural tropes in concert with high art mannerisms—approximating in prose the visu- MINOR HISTORIES al styles that characterize Kelley’s artwork. “Video Statements and Proposals” are introductions to videos made by Kelley and other artists, including Paul McCarthy and Bob Flanagan and Sheree Rose. “Image-Texts” offers writings that accom- Statements, Conversations, Proposals pany or are part of artworks and installations. This section includes “A Stopgap Measure,” Kelley’s zestful millennial essay in social satire, and “Meet John Doe,” a collage of appropriated texts. The section “Architecture” features a discussion of Kelley’s Educational Complex (1995) and an interview in which he reflects on the role of architecture in his work. -
Bonner Museen Inklusiv
Bonner Museen inklusiv Beethoven-Haus Bonn Bundeskunsthalle Deutsches Museum Bonn Haus der Geschichte Kunstmuseum Bonn LVR-LandesMuseum Bonn Museum August Macke Haus StadtMuseum Bonn Zoologisches Forschungs- museum Alexander Koenig Herzlich willkommen in den Bonner Museen! Bitte informieren Sie sich vor Ihrem Besuch über aktuelle Änderungen auf der Homepage. Es gibt auch Sonderausstellungen und Veranstaltungen. Sehr geehrte Bonn-Besucherinnen und Besucher, wir freuen uns, dass Sie sich für unsere Museen und Ausstellungen interessieren. In diesem Heft finden Sie erste Informationen, die Ihnen bei der Planung helfen. Bitte rufen Sie uns an, wenn Sie weitere Fragen haben. Wir beraten Sie gerne. Den jeweiligen Kontakt mit Telefonnummer und Schwarz / Weiß Schwarz / Weiß Schwarz / Weiß E-MailadresseSchwarz / Weiß finden Sie im Heft. Sie sind bei uns herzlich willkommen! Schwarz / Weiß Schwarz /Schwarz Weiß /Schwarz Weiß / Weiß Invertiert Invertiert Invertiert Invertiert Invertiert Invertiert Invertiert Invertiert Glossy / RGB Glossy / RGB Glossy / RGB Glossy / RGB Glossy / RGB Glossy / RGBGlossy / RGBGlossy / RGB Beethoven-Haus Bonn Das Museum befindet sich im Geburtshaus von Ludwig van Beethoven. Viele Ausstellungs- stücke erzählen vom Leben und Arbeiten des Komponisten. Öffnungszeiten Täglich von 10–18 Uhr Eintritt (mit Multimediaguide) Erwachsene 10 €, ermäßigt 7 €, bis 6 Jahre Eintritt frei Adresse Beethoven-Haus Bonn, Bonngasse 20 53111 Bonn www.beethoven.de Haltestellen Bertha-von-Suttner-Platz / Beethoven-Haus Parken Stiftsgarage, Marktgarage, -
Early Modern Artist 8 September 2017 to 28 January 2018
FERDINAND HODLER Early Modern Artist 8 September 2017 to 28 January 2018 Media Conference: 7 September 2017, 11 a.m. Content 1. Exhibition Dates Page 2 2. Information on the Exhibition Page 4 3. Biography Ferdinand Hodler Page 6 4. Wall quotations Page 10 5. Publication Page 15 6. Current and Upcoming Exhibitions Page 16 Head of Corporate Communications / Press Officer Sven Bergmann T +49 228 9171–204 F +49 228 9171–211 [email protected] Exhibition Dates Exhibition 8 September 2017 to 28 January 2018 Director Rein Wolfs Managing Director Dr. Bernhard Spies Curator Dr. Monika Brunner Exhibition Curator Dr. Angelica Francke Head of Corporate Communications / Sven Bergmann Press Officer Catalogue / Press Copy € 35 / € 17 Opening Hours Tuesday and Wednesday: 10 a.m. to 9 p.m. Thursday to Sunday: 10 a.m. to 7 p.m. Public Holidays: 10 a.m. to 7 p.m. Closed on Mondays Admission standard / reduced / family ticket € 10 / € 6.50 / € 16 Happy Hour-Ticket € 7 Tuesday and Wednesday: 7 to 9 p.m. Thursday to Sunday: 5 to 7 p.m. (for individuals only) Guided Group Tours information T +49 228 9171–243 and registration F +49 228 9171–244 [email protected] Public Transport Underground lines 16, 63, 66 and bus lines 610, 611 and 630 to Heussallee / Museumsmeile. Parking There is a car and coach park on Emil- Nolde-Strae behind the Bundeskunsthalle. Navigation: Emil-Nolde-Strae 11, 53113 Bonn Press Information (German / English) www.bundeskunsthalle.de For press files follow ‘press’. General Information T +49 228 9171–200 (German / English) www.bundeskunsthalle.de An exhibition of the Bundeskunsthalle in cooperation with Kunstmuseum Bern Supported by Media Partner Supported by Cultural Partner Information on the Exhibition Ferdinand Hodler (1853-1918) is one of the most successful Swiss artists of the late 19th and early 20th century and was perceived as one of the most important painters of modernism by his contemporaries. -
Pressemappe BTHVN2020 – 3. Presse-Talk 6. Juni 2019, Bonn
Pressemappe BTHVN2020 – 3. Presse-Talk 6. Juni 2019, Bonn Inhalte _Beethoven Jubiläums Gesellschaft _LVR LandesMuseum Bonn _Bundeskunsthalle _Beethoven-Haus Bonn _Kunstmuseum Bonn _Bonner Kunstverein _Haus der Geschichte _Frauenmuseum Bonn _August-Macke-Haus _Beethoven Orchester Bonn _Theater Bonn _Beethovenfest Bonn _Presseamt Stadt Bonn Beethoven Jubiläums Gesellschaft Beethoven Jubiläums Gesellschaft gGmbH Loggia am Stadthaus Thomas-Mann-Straße 4 D – 53111 Bonn bthvn2020.de Dr. Claudia Weller +49 228 976650-22 [email protected] Karoline Gaudian +49 228 976650-24 [email protected] Pressemitteilung Kaleidoskop Ausstellungen Bonner Ausstellungen zum Beethoven Jubiläumsjahr Bonn, 6. Juni 2019 Die Beethoven Jubiläums Gesellschaft fördert neben Aufführungen der Sparten Musik, Theater, Oper und Tanz auch zahlreiche bedeutende Ausstellungen, die sich inhaltlich von Beethovens Zeit bis in zeitgenössische digitale Kunst erstrecken. So entsteht über das ganze Jahr 2020 ein vielfältiges visuelles und edukatives Angebot, das die Konzerte und Events als „Tagesprogramm“ unterstützt, aber auch neue Zielgruppen aller Generationen mit Beethoven und seiner Zeit in Berührung bringt. Die hohe Qualität und Bandbreite der BTHVN2020-geförderten Ausstellungen tragen wesentlich zur Sichtbarkeit des Jubiläumsjahres für die Menschen aus Bonn und der Region sowie für Gäste und Besucher aus Deutschland und aller Welt bei. Im Zentrum des dritten BTHVN2020 Presse-Talks steht die Ausstellung des Gastgebers LVR-LandesMuseum Bonn: Musik! Hören, Machen, Fühlen. Eine Mitmachausstellung. Sie wird in engem Miteinander unter anderem mit dem Beethoven Orchester Bonn umgesetzt. Nach dem Überblick über diese, gezielt für Kinder und Jugendliche ausgerichtete interaktive Ausstellung schließt sich ein kaleidoskopischer Blick zu acht weiteren Ausstellungen an, die mit einem Kurzstatement vorgestellt und im Gespräch mit den jeweiligen Vertretern der ausstellenden Institutionen näher beleuchtet werden können. -
Arte Irregolare: Analisi E Proposte Per Una Considerazione Espositiva
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Storia delle arti e conservazione dei beni artistici Tesi di Laurea Arte irregolare: analisi e proposte per una considerazione espositiva Relatore Ch. Prof. Stefania Portinari Laureando Giulia Ficco Matricola 813196 Anno Accademico 2012 / 20013 INDICE INTRODUZIONE p.1 CAPITOLO 1. L’EVOLUZIONE TEORICA E CRITICA DELL’ARTE IRREGOLARE 1. La parola all’alienista: Cesare Lombroso p.4 1.1 Cesare Lombroso e la teoria fisiognomica del Genio p.5 2. La parola agli psichiatri: Walter Morgenthaler, Hans Prinzhorn e Vittorino Andreoli p.11 2.1 L’esperienza di Walter Morgenthaler e di Adolf Woelfli: Eingastkrank als Künstler (1921) p. 11 2.2 Hans Prinzohorn a Heidelberg: L’Arte dei folli. L’attività plastica dei malati mentali (1922) p. 13 2.3. Vittorino Andreoli e Carlo Zinelli: Il linguaggio grafico della follia (2012) p. 19 3. La parola agli artisti p. 29 3.1 Il contesto artistico, l’espressionismo, il cubismo, il surrealismo p. 29 3.2 Jean Dubuffet: Asfissiante cultura (1968) p. 35 4. La parola ai curatori di arte contemporanea: Bianca Tosatti, Massimiliano Gioni e Lucienne Peiry p. 41 4.1 Bianca Tosatti e l’arte irregolare in Italia p.41 4.2 Massimiliano Gioni e la 55ma Esposizione Internazionale d’Arte di Venezia p.44 4.3 Lucienne Peiry e la collezione di Art Brut di Losanna .p. 47 CAPITOLO 2. LE ISTITUZIONI PIONIERISTICHE NELLA CONSIDERAZIONE DELL'ARTE IRREGOLARE. DUE NAZIONI A CONFRONTO: SVIZZERA E ITALIA 1. Una breve premessa p. 50 2. La Svizzera p. 53 2.1 La fondazione Adolf Woelfli a Berna (1975) p.53 2.2 La collezione dell'Art Brut di Losanna (1976) p. -
Be the Dead Tree on Albert Oehlen's Paintings
Be the Dead Tree On Albert Oehlen’s Paintings Daniel Baumann The table is well covered, but the interpretation and discourse are running towards desserts and love. And we? We keep reading, because in the past fifteen years alone more than twenty exhibition catalogues on the work of Albert Oehlen have appeared, and each one includes at least one essay with at least one pronouncement or explanation. This artist has been relentlessly pursued by a wave of interpretations that he himself has encouraged. At times he rides it, at other times he ignores it; he has been known to play with it and then to disperse it again—preferably all at once, so that a sense of autonomy sets in, not for the art but for the artist. “I am not willing to be a pawn of the art market, theorists, or curators.” 1 “Albert Oehlen is a difficult artist to pin down. This is deliberate on his part.” 2 True, yet it is generally agreed that he makes paintings. These are described as varied and unpredictable, which may explain the nervous search for interpretations. Two different approaches seem to prevail. The first one attempts to place Oehlen in a kind of genealogy by comparing him with other artists. With more or less success he is associated with and discussed in relation to Salvador Dalí, Willem de Kooning, Philip Guston, Anselm Kiefer, Francis Picabia, Sigmar Polke, Jackson Pollock, Robert Rauschenberg, Julian Schnabel, and so on. In some cases he has triggered these comparisons himself by mentioning Dalí or Picabia in interviews.