DOCSLIB.ORG

Women of Surrealism Franciska Clausen, Rita Kernn-Larsen and Elsa Thoresen 15 September 2018–20 January 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Women of Surrealism Franciska Clausen, Rita Kernn-Larsen and Elsa Thoresen 15 September 2018–20 January 2019 PRESS RELEASE WOMEN OF SURREALISM FRANCISKA CLAUSEN, RITA KERNN-LARSEN AND ELSA THORESEN 15 SEPTEMBER 2018–20 JANUARY 2019 Rita Kernn-Larsen: Festen,1935, the Art Museum in Tønder A NEW EXHIBITION SHINES A SPOTLIGHT ON THREE FEMALE DANISH ARTISTS, WHO IN THEIR HEYDAY MADE A NAME FOR THEMSELVES AMONG THE FRONTRUNNERS OF DANISH SURREALISM, BUT WHO WERE LATER MORE OR LESS FORGOTTEN. THE EXHIBITION PRESENTS THE THREE ARTISTS’ MAJOR SURREALIST WORKS. WOMEN OF SURREALISM FRANCISKA CLAUSEN, RITA KERNN-LARSEN AND ELSA THORESEN 15 SEPTEMBER 2018–20 JANUARY 2019 Franciska Clausen, Rita Kernn-Larsen and Elsa Thoresen all drew inspiration from Surrealism and the great European art scenes of the time. Each in their way they were frontrunners within Danish Surrealism in the 1920s and 1930s, but while their male colleagues have taken up permanent positions in art history, today only few people are familiar with the three women and their work. Kunstforeningen GL STRAND will change that with the ambitious exhibition: Women of Surrealism. Franciska Clausen, Rita Kernn-Larsen and Elsa Thoresen. The exhibition makes Danish art history by exhibiting the three female artists side by side for the first time ever. Based in an evocative and colourful set design the exhibition presents a broad selection of their works – of which several have never been shown to the public before. This unique setting, presentation and selection of works unite the three women artistically, while at the same time exploring their diverse approaches to the principles of Surrealism. Remarkable Women Franciska Clausen, Rita Kernn-Larsen and Elsa Thoresen were all significant female painters, whose paths crossed time and again in a time of artistic revolution. Early in life they all travel to the main European art centres to receive instruction from leading contemporary artists. They draw inspiration from the many new styles and Avant-garde trends of the 1920s, not least Surrealism. When Surrealism makes its entry in Denmark in the 1930s, they establish contact with the art scene and each other in Copenhagen. They each develop unique ways of expressing themselves through the principles of Surrealism and create dreamy, poetic and sensual works of a high quality. While many are familiar with the male Danish exponents for Surrealism – Vilhelm Freddie, Richard Mortensen and Vilhelm Bjerke Petersen, among others – today few are familiar with the impact of Franciska Clausen, Rita Kernn-Larsen and Elsa Thoresen within Surrealist art. For various reasons, the work of the three women falls into oblivion after their heyday. However, the work of both Clausen and Kernn-Larsen has been shown in retrospective solo exhibitions in modern times, but this is the first time the less well-known work of Elsa Thoresen is shown. The exhibition is organised by Museum Sønderjylland – the Art Museum in Tønder, Kunstforeningen GL STRAND and Art Historian, MA Johan Zimsen Kristiansen in cooperation. The latter is the curator of the present presentation of Elsa Thoresen. ‘The exhibition is in line with Kunstforeningen GL STRAND’s returning interest in female artists who, despite great talent, have more or less passed into oblivion in art history. Each in their own way the three artists are remarkable painters and women. They defy conventional contemporary views of women and thus risk their own social status – to go exploring and allow themselves to be inspired by the great artists of the time. Today their work, inspired by the principles of Surrealism, holds a unique strength, poeticism and sense of wonder. We look forward to giving the general public a chance to experience them’, says Helle Behrndt, Director of Kunstforeningen GL STRAND. CATALOGUE: Women of Surrealism. Franciska Clausen, Rita Kernn-Larsen and Elsa Thoresen is accompanied by a richly illustrated catalogue containing several articles that offer new research perspectives on the impact of the three artists on Danish Surrealism and the impact of Surrealism on their art. The Danish-language catalogue will contain reproductions of all exhibited works and is addressed to WOMEN OF SURREALISM FRANCISKA CLAUSEN, RITA KERNN-LARSEN AND ELSA THORESEN 15 SEPTEMBER 2018–20 JANUARY 2019 the general public as well as to art professionals. Co-authors: Art Historian, MA Johan Zimsen Kristiansen, Museum Curator at Museum Sønderjylland – the Art Museum in Tønder Søs Bech Ladefoged, Art Historian and Curator Nathalie Ernoult at Centre Pompidou in Paris, Museum Curator at Museum Sønderjylland – the Art Museum Brundlund Castle Morten la Cour and Art Historian and Exhibition Curator Gražina Subelyte. The exhibition Women of Surrealism. Franciska Clausen, Rita Kernn-Larsen and Elsa Thoresen is shown at Kunstforeningen GL STRAND from 15 September 2018 to 20 January 2019. Subsequently, the exhibition travels to Museum Sønderjylland – the Art Museum in Tønder, where it is shown from 2 February to 2 June 2019. The opening of the exhibition at Kunstforeningen GL STRAND will be held on 14 September at 17:00-19:00. You are invited to a PRESS SHOWING on 14 September 2018 at 11:00 attended by Director of Kunstforeningen GL STRAND Helle Behrndt, Curator at Kunstforeningen GL STRAND Pernille Fonnesbech, Head of Section for Art at Museum Sønderjylland – the Art Museum in Tønder Anne Blond, Museum Curator at Museum Sønderjylland – the Art Museum in Tønder Søs Bech Ladefoged, Museum Curator at Museum Sønderjylland – the Art Museum Brundlund Castle Morten la Cour and Art Historian, MA Johan Zimsen Kristiansen. The press conference will be followed by a light lunch. If you are able to attend the event, please inform Communications Manager Charlotte Frost at [email protected]. For more INFORMATION, please contact Communications Manager Charlotte Frost at +45 33 36 02 61/[email protected] or Communications Assistant Camilla Agerskov at [email protected]. PRESS PHOTOS and PRESS RELEASES are available in our newsroom at: http://www.glstrand.dk/presse/2018.aspx Login: presse Password: glstrand1 Follow us on Facebook (Kunstforeningen GL STRAND) or Instagram (@kunstglstrand) for news about exhibitions and events at Kunstforeningen GL STRAND. WOMEN OF SURREALISM FRANCISKA CLAUSEN, RITA KERNN-LARSEN AND ELSA THORESEN 15 SEPTEMBER 2018–20 JANUARY 2019 Franciska Clausen (1899-1986) Franciska Clausen’s interest in Surrealism is evident from her works from the second half of the 1920s. During this period, she lives in Paris and is part of the art scene centred around the Modernist painter Fernand Léger. From 1924-1925 she works in Paris at Fernand Legér’s Académie Moderne, and his art has a dominant influence on her work, which however is less figurative than that of her mentor. In 1924 works by Franciska Clausen as well as by Otto Carlssund and Erik Olson are shown in Paris in an exhibition of Léger and his Scandinavian students. In the late 1920s she is drawn towards the abstract style of Neoplasti- Franciska Clausen: Fisken,1926, the Art Museum Brundlund Castle cism, and in 1930 she exhibits with the group Cercle et Carré, which includes Piet Mondrian, among others. Franciska Clausen also explores other Modernist trends and performs Surrealist experiments, mainly in the form of collages. When her father dies she returns to Aabenraa where she continues to work for many years, isolated from the Danish art scene, doing portraits on request. In 1964 her paintings and gouaches are shown in a retro- spective exhibition at Kunstforeningen GL STRAND. Rita Kernn-Larsen (1904-1998) Rita Kernn-Larsen comes to occupy a central position among Danish Surrealists after having lived abroad for a period of years and drawn inspiration from the new Avant-garde principles and tendencies of the time. Her art training begins in 1924 at Statens Tegneskole in Oslo. Later she returns to Copenhagen to continue her training at the Royal Danish Academy of Fine Arts in the years 1927-1929. Kernn-Larsen focusses on the new Modernist painting and considers the training offered in Copenhagen too conventional. She moves to Paris in 1929 and, like Clausen, becomes a student of Fernand Léger at the Académie Moderne in 1930-1931. Under his instruction she gains a detailed sense of shape, volume and principles of composition, and initially she experiments with various new styles, including Cubism and Léger’s machine aesthetics. She is promoted by Léger, who engages her to transfer his drawings onto the big canvas, but she also has an eye for Rita Kernn-Larsen: Blåt Dilemma, 1935, the Art Museum in Tønder pictures that tell a story and successfully manages to sell illustrations to Danish daily newspapers and magazines during these years. After her death the Peggy Guggenheim Collection in Venice recreates her 1938 exhibition at the Guggenheim Jeune gallery in 2017. WOMEN OF SURREALISM FRANCISKA CLAUSEN, RITA KERNN-LARSEN AND ELSA THORESEN 15 SEPTEMBER 2018–20 JANUARY 2019 Elsa Thoresen (1906-1994) Elsa Thoresen is officially introduced to the philosophy of Surrealism through her first husband, the Danish artist and Surrealist frontrunner in Copenhagen Vilhelm Bjerke Petersen (1909-1957). They meet at the academy in Oslo, to which Elsa Thoresen has moved after having spent her entire childhood in the USA with her Norwegian parents. She is a student at the Norwegian National Academy of Craft and Art Industry from 1924-1927 and the National Academy of Art in Oslo, where she is enrolled up until 1929. In the years 1927-1929 she also studies at the Académie Royal des Beaux-Arts in Brussels, Belgium. Here Surrealism also has a good grip on the art scene with the Belgian painter René Magritte as a significant front figure. In 1944 Thoresen and Bjerke Petersen are forced to flee to Sweden. Here they join the Halmstad Group, which has managed to establish an active Surrealist art milieu. After the war Thoresen and Bjerke Petersen move to the USA, when Bjerke Petersen receives a Guggenheim scholarship.
Load more

Recommended publications
  • KUNSTLEX Juni 2020: Wolthers KUNSTLEXTM
    KUNSTLEX juni 2020: TM Wolthers KUNSTLEX Udarbejdet af Anette Wolthers, 2020 Wolthers KUNSTLEXTM er udarbejdet i forbindelse med min research og skrivning af bogen: Kvindelige kunstnere i Odsherred gennem 100 år, publiceret af Odsherreds Kunstmuseums og Malergårdens Venner og Museum Vestsjælland i 2020. Bogen, der er på 248 sider, har også bidrag af museumsinspektør Jesper Sejdner Knudsen og formand for Venneforeningen Alice Faber. Bogen kan købes på de enkelte museer i Museum Vestsjælland eller kan bestilles på: [email protected] eller telefon 2552 8337. Den koster 299 kr plus forsendelsesomkostninger (ca. 77 kr.) Der var ikke plads i bogen til at alle mine ’fund og overvejelser’. Derfor har jeg samlet nogle af disse, så interesserede kan få adgang til denne viden i bredden og dybden, samt gå med ad de tangenter, der kan supplere bogens univers. Researcharbejdet til bogen Kvindelige kunstnere i Odsherred gennem 100 år er foregået 2016‐2019, og i denne proces opstod ideen om at lave mine mere eller mindre lange skrivenoter om et til et kunstleksikon. Så tænkt så gjort. Alle disse fund er nu samlet og har fået navnet Wolthers KUNSTLEX TM Man kan frit og gratis bruge oplysningerne i Wolthers KUNSTLEXTM med henvisning til kilden, forfatter, årstal samt placering: www.anettewolthers.dk Hvis der er brug for at citere passager fra Wolthers KUNSTLEXTM gælder de almindelige regler for copyright©, som er formuleret i Ophavsretsloven. Wolthers KUNSTLEXTM består af elementer af kunstviden fra ca. 1800‐tallet op til moderne tid og indeholder: 1. Korte biografer af overvejende danske kunstnere, deres familier, lærere, kolleger, kontakter og andre nøglepersoner i tilknytning til bogens 21 kunstnerportrætter samt enkelte tangenter ud og tilbage historien til vigtige personer – side 4 2.
    [Show full text]
  • Reading Sample
    Katharina Alsen | Annika Landmann NORDIC PAINTING THE RISE OF MODERNITY PRESTEL Munich . London . New York CONTENTS I. ART-GEOGRAPHICAL NORTH 12 P. S. Krøyer in a Prefabricated Concrete-Slab Building: New Contexts 18 The Peripheral Gaze: on the Margins of Representation 23 Constructions: the North, Scandinavia, and the Arctic II. SpACES, BORDERS, IDENTITIES 28 Transgressions: the German-Danish Border Region 32 Þingvellir in the Focal Point: the Birth of the Visual Arts in Iceland 39 Nordic and National Identities: the Faroes and Denmark 45 Identity Formation in Finland: Distorted Ideologies 51 Inner and Outer Perspectives: the Painting and Graphic Arts of the Sámi 59 Postcolonial Dispositifs: Visual Art in Greenland 64 A View of the “Foreign”: Exotic Perspectives III. THE SENSE OF SIGHT 78 Portrait and Artist Subject: between Absence and Presence 86 Studio Scenes: Staged Creativity 94 (Obscured) Visions: the Blind Eye and Introspection IV. BODY ImAGES 106 Open-Air Vitalism and Body Culture 115 Dandyism: Alternative Role Conceptions 118 Intimate Glimpses: Sensuality and Desire 124 Body Politics: Sexuality and Maternity 130 Melancholy and Mourning: the Morbid Body V. TOPOGRAPHIES 136 The Atmospheric Landscape and Romantic Nationalism 151 Artists’ Colonies from Skagen to Önningeby 163 Sublime Nature and Symbolism 166 Skyline and Cityscape: Urban Landscapes VI. InnER SpACES 173 Ideals of Dwelling: the Spatialization of an Idea of Life 179 Formations: Person and Interior 184 Faceless Space, Uncanny Emptying 190 Worlds of Things: Absence and Materiality 194 The Head in Space: Inner Life without Boundaries VII. FORM AND FORMLESSNESS 202 In Dialogue with the Avant-garde: Abstractions 215 Invisible Powers: Spirituality and Psychology in Conflict 222 Experiments with Material and Surface VIII.
    [Show full text]
  • Introduction to Section 2
    Introduction to Section 2 Benedikt Hjartarson The title of this section points towards important shifts in the activities of the avant-garde at the beginning of the period under discussion in this volume. As in other regions within Europe, in the mid-1920s the Nordic countries saw a movement away from the first wave of avant-garde movements, such as futurism, cubism, dada, constructivism and expressionism towards new cur- rents that came to be linked with labels such as functionalism, purism, post- cubism, new objectivity, cultural radicalism and surrealism. While this shift is often seen as marking the end of the “heroic” or more openly “revolutionary” phase of the avant-garde, it can also be seen in terms of a continuity by other means, often through an approach to industry and advertising. The “legacy” of the avant-garde in the period 1925–1950 thus has a double meaning: on the one hand, it refers to a rupture with earlier practices and strategies; on the other, it denotes the enduring impact of the avant-garde. In a sense, the period 1925–1950 can be seen as governed by the question of whether it was plausible or even possible to continue the avant-garde project, of whether and how it could be relevant for the search for new strategies and techniques responding to changed social, political and cultural conditions. In the first quarter of the twentieth century the involvement of Nordic art- ists in avant-garde activities can be traced along two different paths. First, art- ists and writers worked abroad and participated in activities in the centres of the European avant-garde in cities such as Berlin or Paris (see the section “Nor- dic Artists in the European Metropolises” in A Cultural History of the Avant- Garde in the Nordic Countries 1900–1925).
    [Show full text]
  • Gallerymanagergross (142.Honds.Net)
    B A R B A R A G R O S S G A L E R I E YORGOS SAPOUNTZIS 1976 Geboren in Athen, Griechenland Born in Athens, Greece Lebt und arbeitet in Berlin Lives and works in Berlin 1995-1998 Conservation of Antiquities and Works of Art, Technological Educational Institute of Athens 1998-2002 Hochschule der Bildenden Künste Athen, Klasse von George Lappas Athens School of Fine Arts, in the studio of George Lappas 1998-2002 Bühnenbildner und Regieassistent am Diplous Eros Theater, Athen Set designer and Assistant director for the Diplous Eros Theatre, Athens 2002-2006 Universität der Künste Berlin, Klasse von Rebecca Horn Berlin University of the Arts, in the studio of Rebecca Horn 2012 Villa Romana-Preis Villa Romana Fellowship 2013-2014 kunstzeitraum Stipendium, München kunstzeitraum Residency, Munich 2016-2017 Gastprofessor für Zeitbezogene Medien, Hochschule für Bildende Künste, Hamburg Guets Professor in the Time-based Media department, University of Fine Arts, Hamburg, Germany Einzelausstellungen (Auswahl) / Selected Solo Exhibitions 2016 Yorgos Sapountzis: ATM (...songs about love and death), Eleni Koroneou Gallery, Athens, Greece 2015 Übersetztes Handbuch „weich und hart“ - Duo-Ausstellung mit Benedikt Rugar, Prince of Wales, Munich, Germany 2014 Die Landschaften Griechenlands, Barbara Gross Galerie, Munich, Germany The Protagonists, abc Berlin, Barbara Gross Galerie, Germany Athens Screens, Eleni Koroneou Gallery, Athens, Greece 2013 Freymond-Guth !ne Arts, Zurich, Switzerland The Protagonists, Arnol!ni Gallery, Bristol, UK Urnerknabe am Schaufenster/ Empathie, Kunsthaus Glarus, Glarus, Switzerland Schinken und Käse, Kunsthalle Lingen, Lingen, Germany 2012 Videos and Picnic, Ursula Blickle Stiftung, Kraichtal-Unteröwisheim, Germany Stech!iegen Festtage/ The Gad!y Festival, Westfälischer Kunstverein, Münster, Germany Deus Ex Machina, Overgaden.
    [Show full text]
  • Stanford Auctioneers
    Stanford Auctioneers Pop Art, Modern & Contemporary Art Saturday - April 12, 2014 Pop Art, Modern & Contemporary Art 1: JEAN-MICHEL BASQUIAT [by or attrib] - Oil on paper USD 25,000 - 35,000 Jean-Michel Basquiat [by or attrib] (American, 1960-1988). "Asbestos". Oil on paper. 1982-1983. Signed on the verso. Textured tan paper. Fine condition. Provenance: Estate of a private collector, Long Island, New York, acquired directly from the artist, with the monogram signature verso as requested. Image copyright © Artists Rights Society (ARS), New York. Overall size: 9 3/8 x 10 3/4 in. (238 x 273 mm). [27933] |16000| {R100} 2: JEAN-MICHEL BASQUIAT - Color offset lithograph USD 5,000 - 6,000 Jean-Michel Basquiat (American, 1960-1988). "Basquiat @ Gagosian". Color offset lithograph. 1986. Signed in black marker. Edition unknown, presumed small. Cream wove paper. The full sheet. Fine impression. Condition: folds (as issued?), toning verso, else very good. A rare poster. No auction records located. For the exhibition entitled "Jean-Michel Basquiat" at the Larry Gagosian Gallery, Los Angeles, January - February, 1986. This was Basquiat's last show at Gagosian and his last on the West Coast. Image copyright © The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York, 2013. Overall size: 39 3/8 x 26 1/2 in. (1000 x 673 mm). [28126] |3000| {R100} 3: JEAN-MICHEL BASQUIAT - Color lithograph USD 2,000 - 2,500 Jean-Michel Basquiat (American, 1960-1988). "Hamlet". Color lithograph. 1987. Signed in black marker, lower left. Edition unknown, probably very small. Very light cream wove paper. The full sheet.
    [Show full text]
  • Authorities Heading for a Fall
    Authorities Heading for a Fall - IT Policy White Paper Presented to the Folketing 1997 Ministry of Research and Information Technology May 1997 While in stock this publication is available free of charge from: Statens Publikationer Postboks 1103, 1009 Copenhagen K Telephone: 3337 9228 Fax: 3337 9280 E-mail: [email protected] While in stock this publication is available on computer disk from Statens Publikationer. This publication is available on the webserver of the Ministry of Research and Information Technology http://www.fsk.dk While in stock this publication is available as a sound tape and in braille from: The Danish National Library for the Blind, Teglværksgade 37 2100 Copenhagen Ø, Telephone: 3927 4444. Published by the Ministry of Research and Information Technology Bredgade 43 1260 Copenhagen K Telephone: 3392 9700 Fax: 3332 3501 E-mail, Internet: [email protected] E-mail: X.400 S=fsk; P=fsk; A=dk400: C=dk Design: Bysted Printing: Bysted Edition: 15,000 ISBN 87-90007-95-6 2 Table of Contents Authorities Heading for a Fall 4 A New Democratic Agenda 5 Citizens' Rights in the Information Society 8 Greater Flexibility for the Individual 11 Open Public Sector 13 Digital Trade and Industry 16 New Plan of Action 20 3 Authorities Heading for a Fall The information society means that a number of fundamental conditions in our society are changing out of all recognition. Authorities are heading for a fall, existing values and rights are being challenged. We are experiencing a revolution of knowledge, which will change our ways of working, communicating, consuming and learning.
    [Show full text]
  • Masters-Of-Cubism-Catalogue.Pdf
    1. 13 ⁓ 18 OCTOBER 2015 T E L BULLETIN E P H O N OF E : + simon c. dickinson ltd 4 58 Jermyn street 4 C LONDON ( 0 sw1y 6lx ) 2 0 7 U 4 9 3 O . 0 3 4 0 N B D N I A C4 T S S M dickinson WWW.SIMONDICKINSON.COM 1 5 - 2 0 F R E R I E B Z O E T M C A O S 8 T 1 E ⁓ R 3 S 1 - - 2015 R N E O G D E N N T O L S P - A R K B ULLETIN MASTERS OF CUBISM SIMON C. DICKINSON, LTD 58 JERMYN STREET LONDON SW1Y 6LX T. +44 (020) 7493 0340 W. www.simondickinson.com Contents INTRODUCTION . .Emma W ARD THE ORIGINS OF CUBISM. Molly D ORKIN LÉONCE ROSENBERG AND THE GALERIE DE L’EFFORT MODERNE . Molly D ORKIN ARTISTS . .A RCHIPENKO - Z ADKINE dickinson INTRODUCTION “Cubism is like standing at a certain point on a mountain and looking around. If you go higher, things will look different; if you go lower, again they will look different. It is a point of view.” (Jacques lipchitz) Dickinson is delighted to present ‘Masters of Cubism’, a survey of Léonce Rosenberg’s Galerie de L’Effort Moderne, for Frieze Masters 2015. Léonce and his brother Paul were two of the most important Parisian gallerists supporting artists during the early decades of the 20th century. The significant influence of Cézanne and the popularity of African sculptures in France led Cubism to become an established school of painting in Paris prior to the outbreak of the First World War.
    [Show full text]
  • Download Som PDF (7Mb)
    2015 KUNSTNERSAMMENSLUTNINGEN GRÆNSELANDSUDSTILLINGEN 2015 KUNSTNERSAMMENSLUTNINGEN GRÆNSELANDSUDSTILLINGEN Nils Vollertsen og Monika Heide Poulsen (Foto: Grænselandsudstillingen 2014) KUNSTNERSAMMENSLUTNINGEN GRÆNSELANDSUDSTILLINGEN2015 Sønderjyllandshallen Aabenraa 16. - 30. august kl. 10 - 17. FERNISERING Lørdag 15. august kl. 14. Åbningstale v. Thomas Andresen, borgmester i Aabenraa. RUNDVISNINGER Kunsthistoriker mag.art. Lise-Lotte Blom gennemgår udstillede værker for alle interesserede: Torsdag 20. august kl. 18 - 19. Rundvisning i Sønderjyllandshallen. Søndag 30. august kl. 15 - 16. Rundvisning i Sønderjyllandshallen. KONCERT Onsdag 19. august kl. 19.30. Violin Duo Gitana & Kajetan - bestående af Gitana Aksionova-Balaban og Kajetan Marek Balaban Rundvisning i udstillingen for koncertpublikum kl. 18 v. cand.mag. Kirsten Bengtson. Arrangør: Aabenraa Kunst- og Musikforening. KVADRAT, KUGLE OG KUBE Et udvalg af kunstnere fra Grænselandsudstillingen og Artweek udstiller i parken ved Kunstmuseet Brundlund Slot. Fernisering 30. august kl. 11.00. Udstillingen er åben fra søndag 30. august - søndag 18. oktober 2015. Alle dage 11.00 - 17.00 undtagen mandag. Dog fra 1. oktober - 18. oktober 12.00 - 16.00. 2016 Grænselandsudstillingen med gæster udstiller på Dansk Centralbibliotek for Sydslesvig. FORORD Grænselandsudstillingen fylder 45 år i år og det er værd at døde forrige år samt Maria Lüders Hansen, der nu er 90 år og fejre. Det er ikke planlagt, men udstillingen ”Nolde Clausen æreskunstner af Grænselandsudstillingen. og Eckersberg – Alt
    [Show full text]
  • REVOLT, THEY SAID. 1 a Project by Andrea Geyer
    REVOLT, THEY SAID. 1 a project by Andrea Geyer INSTALLATION MUSEUM OF MODERN ART NEW YORK Ida York Abelman (1908–2002) was a highly regarded Social OCTOBER 16th - NOVEMBER 27th 2015 Realist, known for the graphic work that she produced for the various Federal Art Projects in New York during the Depression. BIOGRAPHIES FOR DRAWING Her etchings and lithographs of the 1930s depict the difficult living conditions endured by many. Abelman also completed two murals for the Federal Art Projects: Lewiston Milestones in Lewiston, Illinois, and Booneville Beginnings in Booneville, Indiana, both extant. Her art training included the National Academy of Design, Grand Central Art School, College of the City of New York, and Hunter College, all in New York City. She was a member of the American Artists Congress and exhibited at the Museum of Modern Art, the Whitney Museum Louise Abbéma (1853–1927) was an artist known for her of American Art, and the Berkshire Museum, Massachusetts, portraits of notable figures of the Belle Époque, including among other venues. Her work is the collections of numerous Emperor Dom Pedro II of Brazil, architect Charles Garnier, and museums as well as the Library of Congress. actress Sarah Bernhardt. Bernhardt and Abbéma were lovers and exhibited artworks together at the 1893 World’s Columbian Gertrude Abercrombie (1909–1977) was an American Exposition in Chicago. Abbéma was a regular exhibitor at the painter. She spent much of her childhood traveling Europe with Paris Salon and regular contributor to the journals Gazette des her parents who toured with an opera company. The outbreak of Beaux-Arts and L’Art.
    [Show full text]
  • New Typography in Scandinavia 2 in the Design Histories of Kjetil Fallan and Julia Meer.2 Titled
    New Ty pog raphy in Scandinavia: Domesticating theory and practice amongst the graphic trades, 1927–43 Trond Klevgaard A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy The Royal College of Art / Victoria and Albert Museum 22 December 2017 79,976 words ii 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 the thesis may be published without proper acknowledgement. iii Abstract This work provides the first extended account of New Typography’s path in Scandinavian countries, a topic which has yet to receive attention beyond a handful of articles and book chapters. Based on an exhaustive study of graphic trade journals published in Denmark, Norway and Sweden between the years of 1927 and 1943, it charts debate on New Typography and discusses the journals’ changing designs. Additional visual material has been sourced from a number of Scandinavian archives. In discussing the spread of New Typography’s theory and aesthetic from elsewhere in Europe, and then primarily from Germany, the thesis uses the concepts of domestication and networks, rather than those of diffusion or influence and centre–periphery. Dealing with a period in which the graphic designer had yet to appear as a professional figure, New Typography’s impact on a range of professional groups — all of which held responsibility for the design of graphic materials — is considered.
    [Show full text]
  • Claudia WIESER
    ClAUDIA WIESER Born 1973, Freilassing, Germany MA in Painting, Akademie der Bildenden Künste, Munich, Germany, 2004 Apprenticeship as blacksmith, 1993–1997 Lives and works in Berlin, Germany Solo Exhibitions 2021 Rehearsal, Brooklyn Bridge Park, Brooklyn, NY [organized by Public Art Fund] 2020 Lobby, Sies + Höke, Düsseldorf, Germany Comedies, Histories and Tragedies, Von Bartha, S-chanf, Switzerland Generations, Bemis Center for Contemporary Arts, Omaha, NE As If, Kunstpavillon, Munich, Germany 2019 Double Feature (with Jochen Plogsties), G2 Kunsthalle, Leipzig, Germany Shift, London Mithraeum Bloomberg SPACE, London, UK Forum, Jessica Silverman, San Francisco, CA 2018 Storage, Farbvision, Berlin, Germany Chapter, Boesky East, New York, NY Inside Stop Making Sense, BNKR Space Munich 2017 What Remains, Galería Casado Santapau, Madrid, Spain Waiting in the Wings, Museo D’Arte Contemporanea Villa Croce, Genoa, Italy 2016 Stories, Studio SALES di Norberto Ruggeri, Rome, Italy 2015 All That Is, Arratia Beer, Berlin, Germany FIAC, Paris, France 2014 Claudia Wieser, Galería Casado Santapau, Madrid, Spain Container, Sies + Höke, Düsseldorf, Germany The Store, Berlin, Germany 2013 The Mirror, Marianne Boesky Gallery, New York, NY Claudia Wieser, Galerie Kamm, Berlin, Germany 2012 Wallwork #8, L40, Berlin, Germany Ghent, Belgium, KIOSK, Furniture, October 6 – November 18, 2012 Auch in geschlossenen Schränken müssen echte Sachen liegen, Sies + Höke, Düsseldorf, Germany Furniture, Galeria S.A.L.E.S, Rome, Italy 2011 Muster und Formen, Galerie Ben
    [Show full text]
  • Berlin and the Swedish Avant-Garde – Gan, Nell Walden, Viking Eggeling, Axel Olson and Bengt Österblom
    BeRlin And the sWedish AvAnt-gARde – gAn, nell WAlden, viking eggeling, AXel olson And Bengt östeRBlom jan torsten Ahlstrand in the 1910s Berlin was the fastest-growing major city in europe. from the unification of germany in 1871 until 1910 the population of Berlin grew from 827,000 to 2,076,000. it was no wonder the capital of the german Reich acquired the reputation of being “the biggest tenement city in the world”. Berlin also became the most important railway node in europe, with no less than 22 railway stations. Before 1914, around 100 daily newspapers and a wealth of periodicals were published in Berlin. the world of theatre, entertainment and the cafés flourished, and film was making rapid strides. during the Wilhelmine era Berlin was a great city with growing pains, typified by huge, growing political differences. not even the great War of 1914-1918 was able to stall its expansion – production was kept going by the war. during the 1920s Berlin, alongside Paris, became a european centre of the continued development of modernism in various arts. But while Paris, with interruptions caused by the world war, attracted a never-ending flow of swedish artists during these years, only five swedish modernist artists of major significance went to Berlin in the years 1910-1925. gösta Adrian-nilsson, gAn (1884-1965) was the only swedish modernist artist of importance who studied in Berlin before the World War of 1914-1918. he was born in lund in 1884 and grew up in a new workers’ neighbourhood where his parents had a market stall.
    [Show full text]