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Lebensguss Marc Krepp
LEBENSGUSS MARC KREPP 1 LEBENSGUSS MARC KREPP 2 Vorwort Christoph Breitwieser Ist es nicht erstaunlich, dass in einer durch und durch schmiedendes und dennoch robustes Material hervorbrachte, industrialisierten, globalisierten und digitalisierten Zeit das durch Einschmelzen auch leicht recyclebar war. einigen Materialien eine geradezu archaisch anmutende Außerdem glänzt das Material im Sonnenlicht wie ein noch Wertschätzung zukommt? Denken wir an Edelsteine oder begehrterer Rohstoff, der direkt von der Sonne zu stammen an die Edelmetalle Platin, Gold und Silber, erklärt sich scheint: dem Gold. Der Anblick der glühendflüssigen diese durch die Seltenheit der Rohstoffe. Doch woher rührt und funkenspeienden Bronze beim Legieren muss großen unsere beinahe ehrfürchtige Faszination gegenüber der Eindruck auf die Menschen gemacht haben – magisch, Bronze – einem Material, auf das wir vermeintlich unbegrenzt archaisch, göttlich. Zugriff haben? Hier lohnt ein Blick in die Urgeschichte und Einen Nachteil hat die Bronze allerdings: Auf dem besonders in eine Epoche, die der Legierung aus Kupfer und europäischen Kontinent liegen die Lagerstätten von Kupfer Zinn sogar ihren Namen verdankt: der Bronzezeit. und Zinn weit voneinander entfernt. Während Kupfer Nach rund 3,4 Millionen Jahren Evolution suchte der vor allem im alpinen Raum und in den Mittelgebirgen Mensch eine Alternative zum Stein als Werkstoff für vorkommt, wird Zinn in England, Dänemark und Spanien Arbeitsgeräte, Waffen und Schmuck, aber auch als abgebaut. Daher wird Bronze zum ultimativen Katalysator Ausdrucksmedium seiner Kreativität. Die erste Wahl fiel der Menschheitsgeschichte: Um die beiden Rohstoffe auf das Element Kupfer, das jedoch aufgrund der Weichheit zusammenzuführen, muss ein europaweites Verkehrsnetz des Metalls nur bedingt als Werkzeug verwendet werden aufgebaut werden. Der Austausch von Zinn und Kupfer zur konnte. -
Bulletin Describes the Operations of the Artmobile, Presents Some
DOCUMENT RESUME' ED 027 356 UD 007 709 Artmobile Exhibit # I: A Manual on, Operations and Instructions. Los Angeles City Schools, Calif. Div. of Secondary Education. Report No- LACS -ESEA-T -A-127-67 Pub Date 30 Jun 67 . Note-60p. EDRS Price MF-$0.50 HC-$3.10 Descriptors-Art Activities, *Art Education, Artists, *Art Materials, Educational Objectives, Instructional Materials, Learning Activities, *Mobile Educational services, *Secondary Schools Identifiers-Californik Los Angeles . An Artmobile exhibit was developed for Los Angeles secondary schools underan ESEA specially funded program. The exhibit involves two trailers and packaged instructional materials for a display of the work of 33 local artists. An instructional bulletin describes the operations of the Artmobile, presents some relevant art concepts, outlines several art education objectives, and offers some suggested learning activities for art classrooms. The document includes information about the 33 artists 'and their work (NH) r SPECIALLY FUNDED PROGRAMS" FOR CLASSROOM TRIAL ONLY ESEA NO. T - -61., SUMMER, 1967 ....... : . ,.. ARTMOBILE Exhibit #1 ii . .:: .... ... A AAANIJAL A*. :?.....,.... On Oporations ..::::::...,.. .(44,E.... .... .. :......,...:.::, AndInstructions ,.-....:E.:::::.....,. : " U.3. UtVAKIMUll Ut MAW!, CUULAIIUM Ca WELIMIL OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION MHITMNORPOLMt LoSANGELES CITY SCHOOL DISTRICTS Divi9ion of Secondary Education Beverly Boulevard Center Specially-PundedPrograms DATE: June 30, 1967 ............-______...............CLASSROOM TRIAL APPROVAL PROJECT: FINE ARTS --ART (ARTmOBILE) ARTMOBILE EXHIBIT # I TITLE OF PUBLICATION: A Manual on Operations and Instruction The material isaccepted and approvedfor classroom trial. c../ onsultant in Charge , Project Coordinator .../ . -
The Art of Society, 1900-1945: the Nationalgalerie Collection 1 / 23 1
The Art of Society, 1900-1945: The Nationalgalerie Collection 1 / 23 1. Tarsila do Amaral Long-term loan from the Fundação José Distance, 1928 e Paulina Nemirovsky to the Pinacoteca Oil on canvas do Estado de São Paulo 65 × 74.5 cm 2. Alexander Archipenko Staatliche Museen zu Berlin, Flat Torso, 1914 (cast, late 1950s) Nationalgalerie Bronze Acquired in 1965 from the Galerie 48 x 10,5 x 10,5 cm (base included) Grosshennig, Düsseldorf, by the Land Berlin for the Galerie des 20. Jahrhunderts, Berlin (West) 3. Alexander Archipenko Staatliche Museen zu Berlin, Woman Standing, 1921 Nationalgalerie Bronze Acquired in 1977 from the 67,5 x 14,5 x 15 cm Handelsorganisation (HO) Cottbusser Börse, Cottbus, for the Nationalgalerie, Berlin (East) 4. Hans Arp Staatliche Museen zu Berlin, Constellation (Shellhead and Tie), Nationalgalerie 1928 Gift from the Ulla and Heiner Pietzsch Wood, 25,1 x 33,9 x 6 cm Collection to the Land Berlin, 2010 5. Hans Arp Staatliche Museen zu Berlin, Sitting, 1937 Nationalgalerie Limestone Gift from the Ulla and Heiner Pietzsch 29,5 x 44,5 x 18 cm Collection to the Land Berlin, 2010 6. Hans Arp Staatliche Museen zu Berlin, Concrete Relief, 1916/1923 Nationalgalerie Wood Acquired in 1979 from the estate of 21,4 x 27,7 x 7 cm Hannah Höch, Berlin, by the Freunde der Nationalgalerie for the Nationalgalerie, Berlin (West) 7. Hans Arp Staatliche Museen zu Berlin, Concretes Relief, 1916/1917 Nationalgalerie Wood Acquired in 1979 from the estate of 41,2 x 60,6 x 12 cm Hannah Höch, Berlin, by the Freunde der Nationalgalerie for the Nationalgalerie, Berlin (West) 8. -
Trauma and Memory: an Artist in Turmoil
TRAUMA AND MEMORY: AN ARTIST IN TURMOIL By Angelos Koutsourakis Konrad Wolf’s Artist Films Der nackte Mann auf dem Sportplatz (The Naked Man on the Sports Field, 1973) is one of Konrad Wolf’s four artist films. Like Goya (1971), Solo Sunny (1978), and Busch singt (Busch Sings, 1982)—his six-part documentary about the German singer and actor Ernst Busch, The Naked Man on the Sports Field focuses on the relationship between art and power. In Goya, Wolf looks at the life of the renowned Spanish painter—who initially benefited from the protection of the Spanish king and the Catholic church—in order to explore the role of the artist in society, as well as issues of artistic independence from political powers. In Solo Sunny, he describes a woman’s struggle for artistic expression and self-realization in a stultifying world that is tainted by patriarchal values; Sunny’s search is simultaneously a search for independence and a more fulfilling social role. Both films can Film Library • A 2017 DVD Release by the DEFA be understood as a camouflaged critique of the official and social pressures faced by East German artists. The Naked Man on the Sports Field can be seen this way as well, and simultaneously explores questions of trauma and memory. The film tells the story of Herbert Kemmel (played by Kurt Böwe), an artist uncomfortable with the dominant understanding of art in his country. Kemmel is a sculptor in turmoil, insofar as he seems to feel alienated from his social environment, in which people do not understand his artistic works. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
Ceramics Monthly Jun90 Cei069
William C. Hunt........................................Editor Ruth C. Buder.......................... Associate Editor Robert L. Creager........................... Art Director Kim Schomburg....................Editorial Assistant Mary Rushley................... Circulation Manager Mary E. Beaver.................Circulation Assistant Jayne Lx>hr.......................Circulation Assistant Connie Belcher.................Advertising Manager Spencer L. Davis.................................Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio43212 (614) 488-8236 FAX (614) 488-4561 Ceramics Monthly (ISSN 0009-0328) is pub lished monthly except July and August by Professional Publications, Inc., 1609 North west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine address label and your new ad dress to: Ceramics Monthly, Circulation Of fices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra tions, announcements and news releases about ceramics are welcome and will be considered for publication. A booklet de scribing standards and procedures for the preparation and submission of a manu script is available upon request. Mail sub missions to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Infor mation may also be sent by fax: (614) 488- 4561; or submitted on 3.5-inch microdisk- ettes readable with an Apple Macintosh™ computer system. Indexing: An index of each year’s articles appears in the December issue. Addition ally, articles in each issue ofCeramics Monthly are indexed in the Art Index; on-line (com puter) indexing is available through Wilson- line, 950 University Avenue, Bronx, New York 10452. -
Summer Seminar for K-12 Educators, Teaching the Holocaust Through
Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the current Summer Seminars and Institutes guidelines, which reflect the most recent information and instructions, at https://www.neh.gov/program/summer-seminars-and-institutes-k-12-educators Applicants are also strongly encouraged to consult with the NEH Division of Education Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Teaching the Holocaust through Visual Culture Institution: Bowdoin College Project Directors: Natasha Goldman Grant Program: Summer Seminars and Institutes (Seminar for K-12 Educators) 400 7th Street, SW, Washington, DC 20024 P 202.606.8500 F 202.606.8394 [email protected] www.neh.gov Teaching the Holocaust through Visual Culture Summer Seminar for School Teachers at Bowdoin College Table of Contents Narrative 1 Intellectual Rationale 1 Program -
(Or) Dead Heroes?
Juli Székely HEROES AFTER THE END OF THE HEROIC COMMEMORATING SILENT HEROES IN BERLIN Living (or) dead heroes? Although meditations over the influence of key figures on the course of history have already been present since antiquity, the heroic imagination of Europe considerably changed in the nineteenth century when the phenomenon of hero worship got deeply interwoven with a project of nation-states.1 As historian Maria Todorova describes, ‘the romantic enterprise first recovered a host of “authentic” folk heroes, and encouraged the exalted group identity located in the nation’ and then it ‘underwrote the romantic political vision of the powerful and passionate individual, the voluntaristic leader, the glorious sculptor of human destinies, the Great Man of history.’2 Nevertheless, in the period after 1945 these great men – who traditionally functioned as historical, social and cultural models for a particular society – slowly began to appear not that great. In 1943 already Sidney Hook cautioned that ‘a democratic community must be eternally on guard’ against heroic leaders because in such a society political leadership ‘cannot arrogate to itself heroic power’.3 But after World War II the question was not simply about adjusting the accents of heroism, as Hook suggested, but about the future legitimacy of the concept itself. Authors extensively elaborated on the crises of the hero that, from the 1970s, also entailed a Juli Székely, ‘Heroes after the end of the heroic. Commemorating silent heroes in Berlin’, in: Studies on National Movements, -
The California Art Quilt Revolution
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Public Access Theses and Dissertations from Education and Human Sciences, College of the College of Education and Human Sciences (CEHS) Spring 4-14-2011 The California Art Quilt Revolution Nancy C. Bavor University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/cehsdiss Part of the Arts and Humanities Commons, and the Education Commons Bavor, Nancy C., "The California Art Quilt Revolution" (2011). Public Access Theses and Dissertations from the College of Education and Human Sciences. 98. https://digitalcommons.unl.edu/cehsdiss/98 This Article is brought to you for free and open access by the Education and Human Sciences, College of (CEHS) at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Public Access Theses and Dissertations from the College of Education and Human Sciences by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE CALIFORNIA ART QUILT REVOLUTION by Nancy Curry Bavor A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: Textiles, Clothing & Design Under the Supervision of Professor Michael F. James Lincoln, Nebraska April 2011 THE CALIFORNIA ART QUILT REVOLUTION Nancy Curry Bavor, M.A. University of Nebraska, 2011 Adviser: Michael F. James The American studio art quilt movement that emerged in the last decades of the twentieth century had its primary origins in Ohio and California, and to a lesser degree, Massachusetts. There is no study that considers the early quilt artists in California as a group nor are there studies that consider their work from an art historical viewpoint. -
ANNUAL REPORT 2005 1 2 Annual Report 2005 Contents
ANNUAL REPORT 2005 www.mam.org 1 2 Annual Report 2005 Contents Board of Trustees . 4 Committees of the Board of Trustees . 4 President and Chairman’s Report . 6 Director’s Report . 9 Curatorial Report . 11 Exhibitions, Traveling Exhibitions . 14 Loans . 14 Acquisitions . 16 Publications . 35 Attendance . 36 Membership . 37 Education and Public Programs . 38 Year in Review . 39 Development . 43 Donors . 44 Support Groups . 51 Support Group Officers . 55 Staff . 58 Financial Report . 61 Financial Statements . 63 OPPOSITE: Ludwig Meidner, Self-Portrait (detail), 1912. See listing p. 16. PREVIOUS PAGE: Milwaukee Art Museum, Quadracci Pavilion designed by Santiago Calatrava as seen looking east down Wisconsin Avenue. www.mam.org 3 Board of Trustees As of August 30, 2005 BOARD OF TRUSTEES COMMITTEES OF Earlier European Arts Committee Jean Friedlander AND COMMITTEES THE BOARD OF TRUSTEES Jim Quirk Milton Gutglass George T. Jacobi MILWAUKEE ART MUSEUM EXECUTIVE COMMITTEE Chair David Ritz Sheldon B. Lubar Sheldon B. Lubar Martha R. Bolles Helen Weber Chairman Chair Vice Chair and Secretary Barry Wind Andrew A. Ziegler Christopher S. Abele Barbara B. Buzard EDUCATION COMMITTEE President Donald W. Baumgartner Joanne Charlton Lori Bechthold Margaret S. Chester Christopher S. Abele Donald W. Baumgartner Frederic G. Friedman Stephen Einhorn Chair Vice President, Past President Terry A. Hueneke George A. Evans, Jr. Kim Abler Mary Ann LaBahn Eckhart Grohmann Frederic G. Friedman John Augenstein Marianne Lubar Frederick F. Hansen Assistant Secretary and James Barany P. M ichael Mahoney Avis M. Heller Legal Counsel José Chavez Betty Ewens Quadracci Arthur J. Laskin Terrence Coffman Mary Ann LaBahn James H. -
California Design, 1930-1965: “Living in a Modern Way” CHECKLIST
^ California design, 1930-1965: “living in a modern way” CHECKLIST 1. Evelyn Ackerman (b. 1924, active Culver City) Jerome Ackerman (b. 1920, active Culver City) ERA Industries (Culver City, 1956–present) Ellipses mosaic, c. 1958 Glass mosaic 12 3 ⁄4 x 60 1 ⁄2 x 1 in. (32.4 x 153.7 x 2.5 cm) Collection of Hilary and James McQuaide 2. Acme Boots (Clarksville, Tennessee, founded 1929) Woman’s cowboy boots, 1930s Leather Each: 11 1 ⁄4 x 10 1⁄4 x 3 7⁄8 in. (28.6 x 26 x 9.8 cm) Courtesy of Museum of the American West, Autry National Center 3. Allan Adler (1916–2002, active Los Angeles) Teardrop coffeepot, teapot, creamer and sugar, c. 1957 Silver, ebony Coffeepot, height: 10 in. (25.4 cm); diameter: 9 in. (22.7 cm) Collection of Rebecca Adler (Mrs. Allan Adler) 4. Gilbert Adrian (1903–1959, active Los Angeles) Adrian Ltd. (Beverly Hills, 1942–52) Two-piece dress from The Atomic 50s collection, 1950 Rayon crepe, rayon faille Dress, center-back length: 37 in. (94 cm); bolero, center-back length: 14 in. (35.6 cm) LACMA, Gift of Mrs. Houston Rehrig 5. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (exterior perspective), 1937 Graphite on paper 9 3 ⁄4 x 19 1⁄4 in. (24.8 x 48.9 cm) Gregory Ain Collection, Architecture and Design Collection, Museum of Art, Design + Architecture, UC Santa Barbara 6. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (plan), 1937 Ink on paper 9 1 ⁄4 x 24 3⁄8 in. -
Kulturgut 19
I. Quartal 2014 Kulturgut 19 Exil und Rückkehr Zu Will Lammerts Figurenentwürfen für das Mahnmal im ehemaligen Frauenkonzentrationslager Ravensbrück, 1957 Will lammert, der seine künstlerische laufbahn 1910 im lammert arbeitete in freier und angewandter Kunst und umfeld des hagener mäzens Karl ernst osthaus (1874– richtete eine keramische Werkstatt ein, die zugleich lehr- 1921) begann, war in der Weimarer republik ein renom- betrieb war. er befasste sich intensiv mit der entwicklung mierter Bildhauer. er sei ein künstlerischer „Mittelpunkt des von Verfahren zum Brennen großformatiger Bauplastik Ruhrgebietes und darüber hinaus des damaligen Rheinlandes und kooperierte mit namhaften essener architekten. im und Westfalens“ gewesen, so fritz cremer (1906-1993), der sommer 1931 erhielt er den rom-Preis der Preußischen als junger steinmetzgeselle einige Plastiken nach lammerts akademie und arbeitete bis Juli 1932 in der Villa massimo. modellen ausführte, wie auch hermann Blumenthal (1905– Zu seinen mitstipendiaten zählten u. a. hermann Blument- 1942), von dem in der sammlung 20. Jahrhundert arbeiten hal, ernst Wilhelm nay (1902–1968) sowie Werner gilles ausgestellt sind. in lammerts atelier trafen sich aufstreben- (1894–1961), mit dem er sich besonders anfreundete. ihre de junge Kräfte. arbeiten in der museumssammlung laden zum Vergleich 1922 hatte er sich mit seiner frau hedwig („hette“), geb. mit lammerts Werken ein. meyerbach (1895–1979), einer jungen Ärztin, die er 1920 seine in rom entstandenen gipsarbeiten, luzide sinnzei- heiratete, auf