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Martin Kippenberger Dortmund 1953 ∆ Wien
036 √>/ 037 √>/ 038 √>l Martin Kippenberger √>/ Andreas Horlitz √>/ Sigmar Polke √>/ Auke de Vries √>/ Bleistift, Kugelschreiber, Farbstift, Filzstift, Prag (CZ), 2003, Haus der Fotografie, Mos- Modern Art, Humlebæk (DK), 2004 ist im Zusammenhang mit Polkes Unter- Martin Kippenberger Letraset auf Hotelbriefpapier bzw. kau (RUS), Deutsches Historisches Sigmar Polke √>/ behind the facts – interfunktionen 1968 – suchungen zu den Möglichkeiten des Bildes Dortmund 1953 ∆ Wien (A) 1997 auf Japanpapier Museum, Berlin, 2004, Kat. √>/ Bilder, die Oels / Oles´nica (PL) 1941, lebt in Köln 1 975. Kunsthalle Fridericianum, Kassel, als Wiedergabe von Realität zu sehen. die einzelnen Blätter je: ohne Titel noch fehlten – Zeitgenössische Fotografie. 2005 √>/ Mehr als ein Auge fassen kann – In Sechs Richtige spielt der Künstler offen- √>l Heft 1994—1995 acht Blätter je 29,7 ≈ 21 cm Deutsches Hygiene-Museum, Dresden, Von 1960 bis 1967 studierte Sigmar Polke Fotokunstausstellung aus der Sammlung sichtlich auf das freundschaftliche Verhält- zwei Blätter je 26 ≈ 18 cm 2000, ZDF, Mainz, 2003, Kat. √>/ Portrait an der Kunstakademie Düsseldorf bei Ger- der Deutschen Bank. Museo de Arte de Lima nis zu Klaus Staeck an. Sie verweisen auf das gerahmt je 47,5 ≈ 38,3 cm ohne Antlitz. Kunsthalle zu Kiel, Museum hard Hoehme und Karl-Otto Götz. 1963 (PE), Museo de Artes Visuales Colección Lottospiel und hintergründig auf den Bochum, 2004, Kat. gründete er mit Konrad Fischer-Lueg und Santa Cruz – Yaconi, Santiago de Chile (RCH), Kunstmarkt. –––––––––––––––––––––––––––––––––––––––––––––––––––––––– Gerhard Richter die Bewegung >Kapitalisti- Museo de Arte Moderna, São Paulo (BR), Ankauf des Förderkreises Literatur scher Realismus<. Von 1970 bis 1971 und Pabellón de las Bellas Artes Pontificia Univer- JS 036 06. -
Exhibitions in 2019 January 19
Press contacts: Sonja Hempel (exhibitions) Tel. +49 221 221 23491 [email protected] Anne Niermann (general inquiries) Tel. +49 221 221 22428 [email protected] Exhibitions in 2019 January 19 – April 14, 2019 Hockney/Hamilton: Expanded Graphics New Acquisitions and Works from the Collection, with Two Films by James Scott Press conference: Friday, January 18, 2019, 11 a.m., press preview starting at 10 a.m. March 9 – June 2, 2019 Nil Yalter: Exile Is a Hard Job Opening: Friday, March 8, 2019, 7 p.m. Press conference: Thursday, March 7, 2019, 11 a.m., press preview starting at 10 a.m. April 10 – July 21, 2019 2019 Wolfgang Hahn Prize: Jac Leirner Award ceremony and opening: Tuesday, April 9, 2019, 6:30 p.m. Press conference: Tuesday, April 9, 2019, 11 a.m., press preview starting at 10 a.m. May 4 – August 11, 2019 Fiona Tan: GAAF Part of the Artist Meets Archive series Opening: Friday, May 3, 2019, 7 p.m. Press conference: Thursday, May 2, 2019, 11 a.m., press preview starting at 10 a.m. July 13 – September 29, 2019 Family Ties: The Schröder Donation Opening: Friday, July 12, 2019, 7 p.m. Press conference: Thursday, July 11, 2019, 11 a.m., press preview starting at 10 a.m. September 21, 2019 – January 19, 2020 HERE AND NOW at Museum Ludwig Transcorporealities Opening: Friday, September 20, 2019, 7 p.m. Press conference: Friday, September 20, 2019, 11 a.m., press preview starting at 10 a.m. November 16, 2019 – March 1, 2020 Wade Guyton Opening: Friday, November 15, 2019, 7 p.m. -
Glaser NYT Article 2020-03-27
nytimes.com Swiss Museum Settles Claim Over Art Trove Acquired in Nazi Era Catherine Hickley 6-7 minutes The Kunstmuseum in Basel agreed to pay the heirs of a Berlin collector for 200 works he sold as he fled German persecution of Jews. Credit...Julian Salinas Twelve years after the city of Basel, Switzerland, rejected a claim for restitution of 200 prints and drawings in its Kunstmuseum, officials there have reversed their position and reached a settlement with the heirs of a renowned Jewish museum director and critic who sold his collection before fleeing Nazi Germany. In 2008, the museum argued that the original owner, Curt Glaser, a leading figure in the Berlin art world and close friend of Edvard Munch, sold the art at market prices. The museum’s purchase of the works at a 1933 auction in Berlin was made in good faith, it said, so there was no basis for restitution. But after the Swiss news media unearthed documents that shed doubt on that version of events, the museum reviewed its earlier decision and today announced it would pay an undisclosed sum to Glaser’s heirs. In return, it will keep works on paper estimated to be worth more than $2 million by artists including Henri Matisse, Max Beckmann, Auguste Rodin, Marc Chagall, Oskar Kokoschka, Ernst Ludwig Kirchner and Erich Heckel. Among the most valuable pieces are two Munch lithographs, “Self Portrait” and “Madonna.” The turnaround is a major victory for the heirs but also a sign, experts said, of a new willingness on the part of Swiss museums to engage seriously with restitution claims and apply international standards on handling Nazi-looted art in public collections. -
Robert Indiana
ROBERT INDIANA Born in New Castle, Indiana in 1928 and died in 2018 Robert Indiana adopted the name of his home state after serving in the US military. The artist received his BFA from the School of the Art Institute of Chicago in 1954 and following the advice of his friend Ellsworth Kelly, he relocated to New York, setting up a studio in the Coenties Slip neighborhood of Lower Manhattan and joined the pop art movement. The work of the American Pop artist Robert Indiana is rooted in the visual idiom of twentieth-century American life with the same degree of importance and influence as Andy Warhol and Roy Lichtenstein. As a self-proclaimed “American painter of signs” Indiana gained international renown in the early 1960’s, he drew inspiration from the American road and shop signs, billboards, and commercial logos and combined it with a sophisticated formal and conceptual approach that turned a familiar vocabulary into something entirely new, his artworks often consists of bold, simple, iconic images, especially numbers and short words like “EAT”, “HOPE”, and “LOVE” what Indiana called “sculptural poems”. The iconic work “LOVE”, served as a print image for the Museum of Modern Art ‘s Christmas card in 1964 and sooner later the design became popular as US postage stamp. “LOVE” has also appeared in prints, paintings, sculptures, banners, rings, tapestries. Full of erotic, religious, autobiographical, and political undertones — it was co-opted as an emblem of 1960s idealism (the hippie free love movement). Its original rendering in sculpture was made in 1970 and is displayed in Indiana at the Indianapolis Museum of Art. -
Museum Insel Hombroich – Kunst Parallel Zur Natur 7
rheinform Informationen für die rheinischen Museen rheinschrift Museum Insel Hombroich Kunst parallel zur Natur rheinblick Das Museum neu denken Zur Wiedereröffnung des Clemens Sels Museums Neuss rheingehen „himmelwärts“. Religiöses Leben an Rhein und Maas Kulturgeschichtliches Museumsnetzwerk Niederrhein präsentiert neues Themenjahr 01/2015 www.rheinform.lvr.de 2 rheinform Inhalt rheinform Editorial 6 rheinschrift Fachartikel ■ Museum Insel Hombroich, Neuss Frank Boehm Museum Insel Hombroich – Kunst parallel zur Natur 7 ■ Skulpturenpark Waldfrieden, Wuppertal Michael Mader Der Skulpturenpark Waldfrieden in Wuppertal 12 ■ Skulpturenpark Köln Dr. Boris Stoffel Der Skulpturenpark Köln – Ein Skulpturenmuseum in der freien Natur 15 ■ Skulpturensammlung Viersen Dr. Albert Pauly Die „Skulpturensammlung Viersen“ 18 ■ Schlosspark Stammheim Dr. Romana Breuer Schlosspark Stammheim 22 ■ Das SEEWERK, Moers Claudia Rinke Das SEEWERK in Moers Privatinitiative und Forum für zeitgenössische Kunst 25 rheinblick Museumsportraits ■ Clemens Sels Museum Neuss Dr. Uta Husmeier-Schirlitz Das Museum neu denken Zur Wiedereröffnung des Clemens Sels Museums Neuss 29 weitere Museumsportraits Heimatmuseum, Wesel-Bislich: Dauerausstellung aktualisiert und erweitert (34) ■ Burg Rode, Herzogenrath: Einrichtung einer Dauerausstellung auf Burg Rode im Rah- men des Projektes „VIA Erlebnisraum-Römerstraße“ (34) ■ Museum Abteiberg, Mön- chengladbach: Neue Präsentation der Sammlung (35) ■ Deutsches Röntgen-Museum, Remscheid: Fortschritt durch Spezialisierung – Röntgentechnik im 20. Jahrhundert: Das neue Schauarchiv (35) ■ DIZeum Ledigenheim Lohberg: Das Dokumentations- und Informationszentrum Ledigenheime (35) ■ NS-Dokumentationsstelle der Stadt Krefeld (Villa Merländer): Die erste Stufe der überarbeiteten Ausstellung ist abge- schlossen (36) ■ MKM Museum Küppersmühle für Moderne Kunst, Duisburg: Neue Räume mit Werken von Anselm Kiefer und Peter Brüning (37) rheinform 01/2015 Inhalt rheinform 3 rheingehen Sonderausstellungen ■ Kulturraum Niederrhein e.V., Kempen Dr. Britta Spies „himmelwärts“. -
Nov-Dec 2015 / from the RABBI Y’Shar Koh’Khem
the of ohavi Zedek Synagogue voice Burlington, vermont heShvan/kiSlev/tevet nov/dec 2015 NEW RABBI ON BOARD! Sunday, November 22 9:30 - 11: 30 am Board elections (Detailed letter will follow) Scholar-in- Residence Shabbaton Nov 6 - 8 See page 15 OZ President Jeff Potash and Rabbi Amy Joy Small on contract signing day. Rabbi Amy’s tenure at Ohavi Zedek begins January 1, 2016. Leadership Contacts ..............................2 From the Rabbi......................................3 Please join us for our FABULOUS From the Assistant Rabbi........................4 From the President.................................5 From the Treasurer................................6 CHANUKAH PARTY! Profile .................................................8 Sunday, December 6 Hebrew School.....................................10 Announcements...................................11 11:30 am to 1:00 pm Library............................................12 Crafts & Games Young Judaea..................................13 Music by Gigi Weisman and Robert Resnik Scholar-in-Residence.......................15 Adult Ed..........................................16 Homemade Latkes & Applesauce Shalom Shuk.........................................17 Suggested donation...$5/adult...$3/child...$15/family Tributes................................................18 Yahrzeits...............................................20 Gift Shop will be open Calendar.......................................22 leaderShip contactS STAFF BOARD OF DIRECTORS Rabbi.............................................................Joshua -
Gerhard Richter
GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs, -
ABRIR CAPÍTULO 4 OBJETO REPRESENTADO-OBJETO PRESENTADO Relación Entre Naturaleza Muerta E Instalación En Richard Artschwager
ABRIR CAPÍTULO 4 OBJETO REPRESENTADO-OBJETO PRESENTADO Relación entre naturaleza muerta e instalación en Richard Artschwager - CONCLUSIONES - CONCLUSIONES La presente Tesis, en su propia formulación, plantea dos vías de investigación concurrentes, que plantean como resultado dos conclusiones fundamentales: La primera, de carácter más general, trata de la relación existente entre la presentación y la representación plástica de objetos (de la que se da cuenta en el apartado CA) La segunda se refiere a la relación entre la naturaleza muerta (como aplicación plástica del concepto objeto representado), y la instalación <en relación al de objeto presentado>, en la práctica artística de Richard Artschwager <tratada en el apartado C.2) Del propio desarrollo de la investigación, por otra parte, se derivan una serie de conclusiones de carácter general en relación a la confluencia entre naturaleza muerta e instalación (a las que se refiere el apartado C.3) 443 : C. 1: EL PROCESO DE PRESENTACIÓN ARTÍSTICA COMO VARIABLE REPRESENTATIVA. Una vez diferenciados los conceptos de presencia y presentación, y desgajados. de éste las contaminaciones derivadas de una interpretación extensiva de la presencia prereflexíva o de determinadas cualidades gestálticas de la obra de arte (véase la introducción acerca del concepto de representación y el capítulo 3.1, sobre la presencia como cualidad, y la diferencia entre presencia y presentación), la presentación artistica aparece como una determinada forma de representación. Las características más sobresalientes de -
Minimal Art 1965 - 1999 L’ARENGARIO STUDIO BIBLIOGRAFICO Via Pratolungo 192 - 25064 Gussago BS - Italia
minimal art 1965 - 1999 L’ARENGARIO STUDIO BIBLIOGRAFICO Via Pratolungo 192 - 25064 Gussago BS - Italia tel. ++39 030 25 22 472 - fax ++39 030 25 22 458 mail: [email protected] - web: www.arengario.it Facebook - Instagram @arengariostudiobibliografico A.L.A.I. Associazione Librai Antiquari d’Italia I.L.A.B. International League Antiquarian Booksellers (immagine in copertina) n. 48. On Kawara, Arbeitsplatz des Künstlers, Stockholm 1973, Köln, Gebr. König, s.d. [1973] minimal art 1965 - 1999 ARTISTS Donald Judd Imi Knoebel Carl Andre Robert Mangold Steven Antonakos Brice Marden Richard Artschwager Agnes Martin Carel Balth Tony Morgan Larry Bell Wolfgang Nester Ronald Bladen Barnett Newman Robert Breer Blinky Palermo Alan Chrlton David Rabinwitch Walter De Maria Ad Reinhardt Dan Flavin Peter Roehr Robert Grasvenor Ulrich Rückriem Eva Hesse Reiner Ruthenbeck Jene Highstein Robert Ryman Robert Huot Fred Sandback Will Insley Richard Serra Robert Irwin Richard Smith Paul Isenrath Tony Smith Alan Johnston William Tucker Peter Joseph Richard Van Buren 1. AA.VV., Minimal Art, Düsseldorf, Stadtische Kunsthalle Düsseldorf, 1969, 20x50 cm, foglio d’invito ripiegato a leporello in cinque parti con 2 immagini fotografiche in bianco e nero e 1 composizione geometrica in nero stampata su entrambe le faccia- te, due brevi testi trascritti in tedesco. Invito edito in occasione della mostra (Düss- eldorf, Städtische Kunsthalle, dal 17 gennaio al 23 febbraio 1969). € 70 2. AA.VV., Minimal Art. Andre-Bladen-Flavin-Grosvenor-Judd-LeWitt-Morris-Smi- th-Smithson-Steiner, Berlin, Akademie der Künste, 1969, 19,8x19,8 cm., brossura, pp. 64, copertina illustrata a colori, 1 immagine fotografica a colori e 22 in bianco e nero nel testo conopere di Carl Andre, Ronald Bladen, Dan Flavin, Robert Grosve- nor, Donald Judd, Sol Lewitt, Robert Morris, Tony Smith, Robert Smithson, Michael Steine. -
Josef Albers Change Direction, 1942 Josef Albers Kam 1920, Nach Dem
Josef Albers 1888 Bottrop, D – 1976 New Haven, Connecticut, USA Change Direction, 1942 Öl auf Spanplatte/Oil on chipboard Erworben/Acquired 1985 Daimler Art Collection Stuttgart/Berlin Josef Albers kam 1920, nach dem Studium in Berlin, Essen Having studied in Berlin, Essen and Munich, Albers, aged 32 at und München, bereits 32-jährig ans Bauhaus in Weimar und the time, moved to Weimar in 1920 to continue his studies at studierte zunächst bei Johannes Itten. Als Leiter der the Bauhaus, initially under Johannes Itten. As head of the Glaswerkstatt gab Albers Kurse in Materialkunde und glass workshop, Albers taught material science and influenced beeinflusste als Bauhaus-Meister über zehn Jahre mehrere several generations of Bauhaus students in the course of ten Generationen von Studenten. Albers erste abstrakte Bilder years. Albers’ first abstract pictures date back to the year datieren in das Jahr 1913, aber erst seine Glasfenster- 1913, but it was not before the 1930s that his glass window entwürfe der 1930er Jahre markieren prägnante Entwick- drafts reflected distinctive development steps towards a lungsschritte zu visuell wahrnehmbarer Räumlichkeit auf visually perceptible three-dimensionality on a level surface. planer Fläche. Zwischen 1941–42 entwickelt Albers die Serie Albers worked on the Graphic Tectonic series in 1941–42, to Graphic Tectonic, zu welcher auch die Arbeit Change which the work called Change Direction, 1942, belongs: Direction, 1942, gehört: Mehrere einander überlappende Several overlapping pictorial levels are folded out by means of Bildebenen in unterschiedlicher Farbigkeit werden durch ein a structure of white lines. Movements in opposite directions weißes Liniengefüge wechselseitig aufgeklappt. Gegen- meet in front of a diagonal surface in a brownish shade. -
Michigan IT Lawyer a Publication of the State Bar of Michigan Information Technology Law Section
State Bar of Michigan Michigan IT Lawyer A Publication of the State Bar of Michigan Information Technology Law Section http://www.michbar.org/it Table of Contents September 2012 . Vol. 29, Issue 6 Bits and Bytes from the Chair Contents . Bits and Bytes from the Chair ................1 By Charlie Bieneman, Rader, Fishman & Grauer PLLC . Appropriate Testing and Resolution: How to Determine Whether Appropriation Art is Transformative Greetings, everyone, “Fair Use” or Merely an Unauthorized Derivative?..............................................2 I will make my last “Bits and Bytes” a short one. I have had a . Publicly Available Websites for IT great year as Section Chair, and I am looking forward to work- Lawyers ................................................24 ing with all of you in the Section for the years to come. Thanks to everyone who has contributed and participated in the past year. We . Mission Statement Information Technology Law Section, State Bar of have a great group. Michigan ...............................................24 I hope to see everyone at our Annual Meeting and Fifth Annual . The State of Information Technology Law IT Law Seminar next week, Thursday, September 27, 2012, at the – 2011 ..................................................... 25 St. John’s Inn in Plymouth. We have a great lineup of speakers and topics, plus excellent networking opportunities at our seminar lun- . 2013 Edward F. Langs Writing Award ..37 cheon and post-seminar cocktail hour. If you haven’t yet registered, you can do so by going to the ICLE website, www.icle.org. To sign up for the center, select the “Store” tab, choose “Seminars” from the “Search” drop-down box, and then enter “information technolo- Michigan IT Lawyer is published every other gy” for your search. -
Michael Sailstorfer
1 / 18 Michael Sailstorfer Born 1979 in Velden / Vils, Germany Lives and works in Berlin, Germany EDUCATION 2019 CCA, Andratx, Mallorca 2006 International Studio Program, Office for Contemporary Art Norway, Oslo 2005 Villa Aurora Residency, Los Angeles 2003 - 2004 MA Fine Arts, Goldsmiths College, London, UK 1999 - 2005 Studies at the Akademie der Bildenden Künste, Munich, Germany SOLO EXHIBITIONS 2020 C'est la vie, Celery, Gallery Jahn, Landshut, Germany Michael Sailstorfer: 1-32, Galerie Zink, Waldkirchen, Germany 2019 SINK, SANK, SUNK, König Galerie, Berlin, Germany Space is the place (2/4): Michael Sailstorfer, BNKR, Munich, Germany TEAR SHOW, Galerie Emmanuel Perrotin, New York City, USA 2018 Tear Show, König London, London, UK Brainspotting, AVLSKARL, Copenhagen, Denmark WE LOVE THEM ALL, Carbon 12, Dubai, United Arab Emirates Troubling Matter II, Galerie Jahn, Landshut 2017 CLOUDS AND TEARS, PROYECTOSMONCLOVA, Mexico City, Mexico Michael Sailstorfer. Zwei Äpfel, Kunsthaus Alte Mühle, Schmallenberg, Germany Hitzefrei, König Galerie, Berlin, Germany Altenheim für Populisten, Grieder Contemporary, Zurich, Switzerland Nursing home for Cosmonauts, Kunsthal 44Møen, Askeby, Denmark Brenner, 1:43-47, Traenen, Jupiter Artland, Edinburgh, UK 2 / 18 2016 Michael Sailstorfer. Maze, Senatsverwaltung für Justiz, Berlin, Germany Michael Sailstorfer. Troubling matter, Galerie Jahn, Landshut, Germany Michael Sailstorfer. Silver Cloud, Studio Michael Sailstorfer, Berlin, Germany 2015 Michael Sailstorfer, Freundschaft, Galerie Michael Zink, Waldkirchen,