DOCSLIB.ORG

Body Extended Shepherd W&K Galleries

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Body Extended Shepherd W&K Galleries BODY EXTENDED October 30th through December 7th 2019 SHEPHERD W&K GALLERIES 58 East 79th Street New York, N. Y. 10075 Tel: 1 212 861 4050 Fax: 1 212 772 1314 [email protected] www.shepherdgallery.com 1 GÜNTER BRUS * 1938 Ardning in der Steiermark ACTION DRAWING , 1966 Indian ink on paper, 297 x 210 mm (11.7 x 8.3 inch) signed and dated on lower right Provenance Private collection, Vienna. Exhibition - Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany, Vienna 25.09.- 22.11.2019. Literature - Wienerroither/Kohlbacher/Grabner, Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany (ed.), Vienna 2019, p. 84 (ill.) 2 GÜNTER BRUS * 1938 Ardning in der Steiermark DAS WILD REMINISZENZ (THE GAME REMINISCENCE) , 1975 Pencil and colored pencil on paper, 297 x 210 mm (11.7 x 8.3 inch) titled, signed and dated Provenance Collection of H.R. Giger, Switzerland; Galerie Kunst & Handel, Graz; Private collection, Austria. Exhibition - Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany, Vienna 25.09.- 22.11.2019. Literature - Wienerroither/Kohlbacher/Grabner, Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany (ed.), Vienna 2019, p. 109 (ill.). 3 GÜNTER BRUS * 1938 Ardning in der Steiermark DIE ELEFANTENDUSCHE (THE ELEPHANT SHOWER) , 25.4.1975/6 Coloured crayon on paper, 275 x 210 mm (10.8 x 8.3 inch) signed and dated on upper right Provenance Institutional collection, Vienna. Exhibition - Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany, Vienna 25.09.- 22.11.2019. Literature - Wienerroither/Kohlbacher/Grabner, Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany (ed.), Vienna 2019, p. 107 (ill.). 4 GÜNTER BRUS * 1938 Ardning in der Steiermark MENSCHENREISSVERSCHLUSS, STATISTISCH (HUMAN ZIPPER, STATISTICAL) , 1998 Pencil, colored pencil and collage on paper, 390 x 300 mm (15.4 x 11.8 inch) Inscribed, signed and dated: Menschenreissverschluss, Statistisch G Brus 98 Interpretation Brus’ striking drawings are marked by creations in form, which often emerge from syntheses between body and machine, humans and animals, or extremities and objects. He continually expands the drawing repertoire and alphabet of bodies available to him, in order to depict his half-conceived, half-intuited images. Roman Grabner Provenance Private collection, Vienna. Exhibition - Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany, Vienna 25.09.- 22.11.2019. Literature - Wienerroither/Kohlbacher/Grabner,GUnter Brus. The Loneliness ofthe Late Classical Artist, W&K- Palais Schi:inborn-Batthyany (ed.), Vienna 2019,p. 173 (ill.). KUNSTHANDEL WIENERROITHER & KOHLBACHER GMBH Strauchgasse 2 · 1010 Wien ·Austria· T +43-1-533 99 77 · [email protected] · www.w-k.art · UID Nr.: ATU 56185504 · FN 227042K HG Wien 23.10.2019 · Seite 5 5 FUCHS, Ernst 1930 – 2015 Austrian School THE TEMPTATION OF ST. ANTHONY, 1949 Egg tempera and oil mixed with resin. 29 1/2” x 42 1/8” (75 x 107 cm). Signed and dated lower left: Fuchs Ernst/49. Provenance: From the artist to Manfred Mautner-Markhof; Private collection, Vienna. Note: The Vienna School of Fantastic Realism formed in 1946 included Ernst Fuchs, Rudolph Hausner, Wolfgang Hutter, and Fritz Janschka. Arik Brauer and Anton Lemden were all visionaries, born of the jagged ruins of post-war Vienna. The group saw itself as Surrealist although they were already moving away from the Surrealist painting of the 1930s towards a more visionary approach. Technically their work had the clarity and detail of early Flemish painting. The present painting, The Temptation of St. Anthony, is dated 1949. Already baptized during the war, Fuchs converted to Roman Catholicism in 1956. Between 1950 and 1961, Fuchs lived mostly in Paris, and made a number of journeys to the United States and Israel. His favorite reading material at the time was the sermons of Meister Eckhart. He also studied the symbolism of the alchemists and read Jung’s Psychology and Alchemy. In 1958, he founded the Galerie Fuchs-Fischoff in Vienna to promote and support the younger painters of the Fantastic Realism school. Together with Friedensreich Hundertwasser and Arnulf Rainer, he founded the Pintorarium. 6 GEORGE GROSZ 1893 - Berlin - 1959 LADY HAMILTON , c. 1930 Indian ink on paper, 560 x 440 mm (22 x 17.3 inch) Signed (lower right): Grosz Provenance Private collection, Austria. Exhibition - Aging Pride, Lower Belvedere, Vienna 17.11.2017-11.03.2018. Literature - Rolling/Fellner (edt.), Die Kraft des Alters/Aging Pride, exh. cat., Lower Belvedere, Vienna, 2017, ill. p. 17. 7 XENIA HAUSNER * 1951 Vienna INFORMAL ARRANGEMENT , 2017 Oil on paper on sandwich panel, 78 x 114 cm (30.7 x 44.9 inch) Provenance Studio of the Artist, Vienna. 8 GUSTAV KLIMT 1862 - Vienna - 1918 SEATED SEMI-NUDE WOMAN , c. 1907 Blue crayon with few red strokes on paper, 56 x 37.2 cm (22 x 14.6 inch) stamped Gustav Klimt and with the Nachlass mark (lower right) Strobl Cat. rais. no. 1628 Provenance Former collection of Rudolf Staechelin, Basel, no. 248; Galerie Würthle, Vienna; Private collection, Graz; Private collection (Acquired from the above). Exhibition - Galerie Würthle, Vienna 1978. Literature - Galerie WUrthle, Vienna 1978, no. 23. -Alice Strobl,Gustav Klimt,Die Zeichnungen 1912-1918,Salzburg,1984, val. II, no. 1628, illustrated p. 129 KUNSTHANDEL WIENERROITHER & KOHLBACHER GMBH Strauchgasse 2 · 1010 Wien · Austria · T +43- 1-533 99 77 · [email protected] · www.w-k.art · UID Nr.: ATU 56185504 · FN 227042K HG Wien 23.10.2019 · Seite 11 9 GUSTAV KLIMT 1862 - Vienna - 1918 SEATED NUDE WOMAN ON A DAYBED, 1908/09 pencil on paper, 56.5 x 37.2 cm (22.2 x 14.6 inch) Estate stamp on lower left In December 2018 Dr. Marian Bisanz-Prakken examined this drawing in the original and confirmed that it is identical to Strobl no. 1861. Strobl Cat. rais. no. 1861 Provenance Privat collection, Italy (1974); Privat collection, Austria. Exhibition - Gustav Klimt, Klipstein & Kornfeld, Bern 30.11.1957–4.1.1958. Literature - Klipstein & Kornfeld, Gustav Klimt, stock catalogue 61, Bern 1957, no. 33. - Novotny-Dobai, Gustav Klimt, Verlag Galerie Welz, Salzburg 1967, p. 357. - Strobl, Gustav Klimt. Die Zeichnungen 1904–1912, vol 2, Salzburg 1982, Cat. rais. no 1861, pp. 208/209 (ill.). – there with different measurements. 23.10.2019 • Seite 14 10 GUSTAV KLIMT 1862 - Vienna - 1918 SEMI-NUDE WOMAN, SEEN FROM THE REAR, c. 1911-12 Pencil on paper, 57.2 x 37.5 cm (22.5 x 14.8 inch) Estate stamp lower right Strobl Cat. rais. no. 2208 Provenance Private collection, Milan. Exhibition - Galerie Gebhard, Munich 1971, p. 42 cat. XVII (ill.); - Gustav Klimt e Vienna 1900" Galleria I Portici, Turin 1974, no. 11 (ill.); - Galleria Cernaia, Milan 1974, no. 11 (ill.). Literature - A. Strobl, Gustav Klimt: Die Zeichnungen, 1912-1918, vol. III, Salzburg 1984, p. 28, Cat. rais. no. 2208, ill. p. 29. 11 GUSTAV KLIMT 1862 - Vienna - 1918 RECLINING SEMI-NUDE WOMAN, 1914/15 Pencil on paper, 356 x 556 mm (14 x 21.9 inch) Gustav Klimt Nachlass (slightly faded) Strobl Cat. rais. no. 2423 Provenance Private Collection, Vienna. Literature - Alice Strobl, Gustav Klimt. Die Zeichnungen 1912-1918, vol. III, Verlag Galerie Welz, Salzburg 1984, Cat. rais. no. 2423, ill. p. 75. 12 GUSTAV KLIMT 1862 - Vienna - 1918 SEMI-NUDE WOMAN ON HER BACK WITH KNEES UP, 1917-18 Pencil on Japan paper, 557 x 372 mm (21.9 x 14.6 inch) Strobl Cat. rais. no. 2984 Provenance Private collection, Vienna. Exhibition - Experiment Weltuntergang, Wien um 1900, Kunsthalle, Hamburg 10.04. - 31.05.1981. Literature - Hofmann, Experiment Weltuntergang, Wien um 1900, exhibition catalogue Kunsthalle, Hamburg 1981, no. 50 (ill.). - Alice Strobl, Gustav Klimt, Die Zeichnungen 1912-1918, Salzburg 1984, Cat. rais. no. 2984. 13 OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz SEMI-NUDE ELDERLY WOMAN, SEEN FROM THE REAR, 1907 pencil on browned paper, 450 x 315 mm (17.7 x 12.4 inch) monogrammed on lower right: OK Weidinger/Strobl Cat. rais. no. 132 Provenance Collection Dr. A. W. von Dietel, Berlin; Collection Wolfgang Gurlitt, Linz/Munich; Private Collection, Germany. Exhibition - Oskar Kokoschka. Aus seinem Schaffen 1907-1950, Haus der Kunst, Munich 09.-10.1950, no. 94. - Oskar Kokoschka. Aus seinem Schaffen 1907-1950, Schloss Charlottenburg, Berlin 02.-03.1951, no. 49. - Oskar Kokoschka, Neue Galerie der Stadt Linz, Wolfgang-Gurlitt-Museum, Linz 1951, no. 47. - Kokoschka, Wiener Secession, Vienna 15.10.-13.11.1955, no. 53. - Oskar Kokoschka, Kunsthalle, Bremen 22.04.-03.06.1956, no. Z 16. - Oskar Kokoschka. Aquarelle, Handzeichnungen, Druckgraphik, Haus am Lützowplatz, Berlin 22.09-09.10.1956, no. 10. - Oskar Kokoschka, Haus der Kunst, Munich 14.03.-11.05.1958, no. 174. - Oskar Kokoschka, Künstlerhaus Wien, veranstaltet von der österreichischen Kulturvereinigung, Vienna 19.05.-13.07.1958, no. 184. - Oskar Kokoschka, Palazzo Barberini, Rome 03.12.1959-31.01.1960, no. 18. - Oskar Kokoschka. Aquarelle, Zeichnungen, Druckgraphik aus der Sammlung Wolfgang Gurlitt, Heidelberger Kunstverein, Heidelberg 08.01.-12.20.1961 no. 13. Literature - Alfred Weidinger/Alice Strobl, Oskar Kokoschka. Die Zeichnungen und Aquarelle. 1897 – 1916, Galerie Welz (edt.), Salzburg 2008, Cat. rais. no. 132, p. 76/77. 14 OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz YOUNG GIRL IN A BLUE COAT , 1907 Pencil and watercolour on paper, 454 x 316 mm (17.9 x 12.4 inch) Signed with a monogram (lower right) Weidinger/Strobl Cat. rais. no. 143 InterPretation In 1906, at the age of twenty, Oskar Kokoschka became a student at the Kunstgewerbeschule (School of Applied Arts) in Vienna, where he attended the class taught by Otto Czeschka.
Load more

Recommended publications
  • Namoda 2020 Itsnicethat Ang
    Functioning like a story, the work of Cassi Namoda is filled with narra- tive. And now with what is set to be her first UK exhibition held at Pippy Houldsworth Gallery in London, Cassi – who grew up between Mozam- bique, Haiti and the United States – has released a new set of artworks that explore her multicultural upbringing. The artist refers to this new show, titled Little is Enough For Those in Love, as a “survey of life”, and one that should be “held at the highest cur- rency” – that currency, of course, being love. “I think I wanted to expand on that truth, and I felt that the best way to create this cathartic release was to create a spiritual body of work,” she tells It’s Nice That. Cassi spent the most of September last year in East Hampton (where the artist lives and works) in order to create the earlier part of the show. At this time, she was particularly inspired by Helen Frankenthaler, an American abstract expressionist painter whom broadened her ideals of what can be achieved in terms of the “application of paint, landscape and abstraction”. As for the work she produced, Cassi adds: “There was a cohesive tissue that connected all the works – the palette – because every morning I would take walks in nature and that came through in the pinks, soft yellows and bright blues, which sometimes contrast with the meaning of the picture.” An example of this allegory in context can be seen within the 3 month old lung patient painting – one that Cassi refers to as having an “ethere- al beauty” before the audience takes note of what’s actually taking place within the image.
    [Show full text]
  • Hans Ulrich Obrist a Brief History of Curating
    Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist.
    [Show full text]
  • 084/13 Raubkunst Und Restitution Der Fall Gurlitt Und Die Aufarbeitung
    Wissenschaftliche Dienste Ausarbeitung Raubkunst und Restitution Der Fall Gurlitt und die Aufarbeitung der NS-Kunstpolitik © 2013 Deutscher Bundestag WD 10- 3000 - 084/13 Wissenschaftliche Dienste Ausarbeitung Seite 2 WD 10- 3000 - 084/13 Raubkunst und Restitution Der Fall Gurlitt und die Aufarbeitung der NS-Kunstpolitik Verfasser: Aktenzeichen: WD 10- 3000 - 084/13 Abschluss der Arbeit: 11. Dezember 2013 Fachbereich: WD 10: Kultur, Medien und Sport Telefon: Ausarbeitungen und andere Informationsangebote der Wissenschaftlichen Dienste geben nicht die Auffassung des Deutschen Bundestages, eines seiner Organe oder der Bundestagsverwaltung wieder. Vielmehr liegen sie in der fachlichen Verantwortung der Verfasserinnen und Verfasser sowie der Fachbereichsleitung. Der Deutsche Bundestag behält sich die Rechte der Veröffentlichung und Verbreitung vor. Beides bedarf der Zustimmung der Leitung der Abteilung W, Platz der Republik 1, 11011 Berlin. Wissenschaftliche Dienste Ausarbeitung Seite 3 WD 10- 3000 - 084/13 Inhaltsverzeichnis 1. Einleitung 4 2. NS-verfolgungsbedingt entzogene Kulturgüter („NS- Raubkunst“) 6 3. Die Aktion „Entartete Kunst“ und die nationalsozialistische Kunst- und Kulturpolitik 16 4. Die Rückführung kriegsbedingt verlagerter Kulturgüter 25 5. Der Fall Gurlitt und seine Aufarbeitung 28 5.1. Einrichtung einer Task Force 30 5.2. Schwierige Rechtslage 31 5.3. Unklare Perspektiven 35 6. Literatur 38 7. Anlagen 44 Wissenschaftliche Dienste Ausarbeitung Seite 4 WD 10- 3000 - 084/13 1. Einleitung Am 4. November 2013 enthüllte das Magazin „Focus“, dass bei einer Wohnungsdurchsuchung im Rahmen eines Steuervergehens bei Cornelius Gurlitt etwa 1400 Bilder beschlagnahmt wurden. Es handelt sich hierbei um die sogenannte Sammlung Hildebrand Gurlitt. Hildebrand Gurlitt war einer von vier Kunsthändlern, die während der Zeit des Nationalsozialismus mit der Verwertung beschlagnahmter Kunstwerke beauftragt waren.
    [Show full text]
  • Presskit Maria Lassnig.Pdf
    Contents Exhibition facts Press release Wall texts Quotes Biography Exhibition facts Opening 4 May 2017 | 6.30 pm Duration 5 May – 27 August 2017 Venue Tietze Galleries for Prints and Drawings Curator Dr Antonia Hoerschelmann, Albertina Exhibits 80 Catalogue The catalogue is available for EUR 29,90 (German/English) in the Albertina’s museum shop and at www.albertina.at Contact Albertinaplatz 1 | A-1010 Vienna T +43 (0)1 534 83–0 [email protected] | www.albertina.at Opening hours Daily 10 am – 6 pm, Wednesdays 10 am – 9 pm Press contact Mag. Verena Dahlitz T +43 (01) 534 83 - 510 | M +43 (0) 699 10981746 [email protected] Mag. Ivana Novoselac-Binder T +43 (01) 534 83 - 514 | M +43 (0)699 12178741 [email protected] Mag. Fiona Sara Schmidt T +43 (01) 534 83 - 511 | M +43 (0)699 12178720 [email protected] Mag. Barbara Walcher T +43 (01) 534 83 – 512 | M +43 (0)699 10981743 [email protected] Partner Sponsor Medianpartner Maria Lassnig – Dialogues 5 May – 27 August 2017 Maria Lassnig (1919–2014) numbers among the most outstanding and important artists of the recent past. In the oeuvre that she built, Lassnig strove consistently to put her very own perception of her body and emotions to paper. The pictures she created revolve around deep- reaching sentiments and sensations. Three years after Maria Lassnig’s death, the Albertina is paying homage to Lassnig’s drawn work with a retrospective showing that will bring together around 80 of the artist’s most evocative drawings and watercolors.
    [Show full text]
  • 1 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: the Importance of Émigré Art Dealers As Reflecte
    Working Paper--Draft 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies Of Curt Valentin and Otto Kallir-Nirenstein Please permit me to begin with some reflections on my own work on art plunderers in the Third Reich. Back in 1995, I wrote an article about Kajetan Mühlmann titled, “The Importance of the Second Rank.” 1 In this article, I argued that while earlier scholars had completed the pioneering work on the major Nazi leaders, it was now the particular task of our generation to examine the careers of the figures who implemented the regime’s criminal policies. I detailed how in the realm of art plundering, many of the Handlanger had evaded meaningful justice, and how Datenschutz and archival laws in Europe and the United States had prevented historians from reaching a true understanding of these second-rank figures: their roles in the looting bureaucracy, their precise operational strategies, and perhaps most interestingly, their complex motivations. While we have made significant progress with this project in the past decade (and the Austrians, in particular deserve great credit for the research and restitution work accomplished since the 1998 Austrian Restitution Law), there is still much that we do not know. Many American museums still keep their curatorial files closed—despite protestations from researchers (myself included)—and there are records in European archives that are still not accessible.2 In light of the recent international conference on Holocaust-era cultural property in Prague and the resulting Terezin Declaration, as well as the Obama Administration’s appointment of Stuart Eizenstat as the point person regarding these issues, I am cautiously optimistic.
    [Show full text]
  • Irina Pushkareva 06.24.15 Early 20Th Century Figure Paintings Early 20Th
    Irina Pushkareva 06.24.15 Early 20th Century Figure Paintings Early 20th century was the time when artists experimented with representing objects, nature, and most importantly, the human form, in more abstract and self-expressionist style. The artists who are famous for experimenting with human forms and shapes were Henry Matisse, Pablo Picasso, and Egon Schiele. Matisse used very abstract way to paint people. He depicted them in simple shapes with dark outline representing a basic human form. Pablo Picasso saw people as geometric forms in his Cubist paintings. He used rectangular shapes to convey his models' forms on a canvas. Picasso, as a very emotional person, often was affected by the political events or his lovers, which was reflected in what colors he used in his paintings. On the other hand, Egon Schiele's palette was limited to the light, soft colors, and the use of rough black contour around the figures. Schiele's goal was to show the mortality of human's body, and its fragility. Henry Matisse was a law clerk in France, who accidentally found that he had a passion for painting. His paintings are bright , soft, and pretty abstract, compared to the artists of 19th and earlier periods. Matisse is known to be the founder of the art movement called Fauvism, where the pure colors and bright light are the main subjects. He was one of the artists of earlier 20th century, who was focused on the human's figure a lot in his paintings and collages. Henry Matisse represented the body in simple, abstract shape, that captures every curve of the figure.
    [Show full text]
  • Retrospective Exhibit-Oscar Kokoschka
    THE MUSEUM OF MODERN ART £ ~?~- ft WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 [$07l5 - Sk FOR WEDNESDAY RELEASE OSKAR K0K0SCHKAf FAMOUS EXPRESSIONIST PAINTER, SEEN IN RETROSPECTIVE EXHIBITION AT MUSEUM The first major retrospective exhibition in New York of the well-known Austrian expressionist Oskar Kokoschka will be on view at the Museum of Modern Art, 11 West 53 Street, from July 20 to September 28, More than JO paintings, an early sculpture and a selection of prints and book illustrations summarize the artist* s career of l|0 years. Loans from European and American museums include 5 major works from The Austrian State Picture Gallery never before exhibited in this country. Two recent canvases are to arrive from Switzerland in time for the New York opening* The exhibition was assembled for circulation by the Boston Institute of Contemporary Art and has been shown in 1| other American cities. It Is to be installed in the first floor galleries by Margaret Miller of the Museum of Modern Art's Department of Painting and Sculp­ ture. A personality of great and diverse talents, Kokoschka has fought throughout his stormy career as a pamphleteer, playwright and painter for the freedom of the artist and the integrity of the individual. The first of the "degenerate" artists in the Hitler sense of the word, he | estimates that the Nazis destroyed perhaps one-third of his total work. The artist's portraits show us the personalities involved in the intel­ lectual ferment of pre-World War I Vienna, as well as of the doomed .
    [Show full text]
  • MARIA LASSNIG Curated by Andrea Teschke November 19 – December 23, 2005 Opening Reception: Saturday, November 19, 6-8 Pm
    FOR IMMEDIATE RELEASE MARIA LASSNIG curated by Andrea Teschke November 19 – December 23, 2005 Opening reception: Saturday, November 19, 6-8 pm Friedrich Petzel Gallery is pleased to announce a solo exhibition of paintings and drawings by Vienna-based artist Maria Lassnig curated by Andrea Teschke. This is the artist’s second gallery show in New York since 1989. Maria Lassnig is considered one of the most preeminent international artists today. Her work has been exhibited in galleries, museums and institutions since the early 1950s. She has become well known for her body-awareness paintings, drawings for which she first started creating in 1948: At first I called my body awareness “paintings”, then “introspective” experiences; later on I did not call them anything at all after I had been ridiculed for claiming that my blobs and piles of color were “self portraits.” I recommend my body awareness paintings as an ideal application of art because the subject matter can never be exhausted. I have only abandoned this “content” when outside events were stronger than I was, when I encountered love, death and oppression and had to submit to or revolt against something.1 MARIA LASSNIG For this exhibition, the artist selected a group of 11 paintings and 11 Untitled (crutches, broken leg) drawings, all of which feature the artist as her own model in different 2005 Oil on canvas emotional and physical states. These pictures are not traditional self-portraits; instead they express the artist’s inner awareness. Four paintings show the artist in different positions on crutches. Despite displaying a disability they are funny and grotesque because, according to Lassnig, “imperfections may be overcome through humor.” The figures are painted on a white background with strong contours as in “Death and the Girl” which shows the artist dancing with a skeleton.
    [Show full text]
  • Grußwort Grußwort Biografie Wolfgang Gurlitt Leben Und Wirken
    Hemma Schmutz 9 Grußwort Marlene Lauter 11 Grußwort Dank 13 Biografie Wolfgang Gurlitt 17 Elisabeth Nowak-Thaller 33 Leben und Wirken Wolfgang Gurlitts Versuch einer Rekonstruktion Meike Hoffmann 61, 65 „Alte Streite verbinden" Hildebrand und Wolfgang Gurlitt Sonja Feßel 71,83 Kunst leben. Expressionistische Wohnräume zwischen Kunstförderung, Galerieerweiterung und extravagantem Lifestyle Stiftung Lilly Christiansen-Agoston im LENTOS Kunstmuseum Linz 95 Vanessa-Maria Voigt 105, 111 Lilly Christiansen und Wolfgang Gurlitt Aus Gurlitts Mappen / Der Verleger Wolfgang Gurlitt 119 Bernd Ernsting 127 Über Stock und Stein Wolfgang Gurlitts Editions-Galopp um 1920 Künstlerinnen der Galerie Gurlitt in Berlin 145 Katrin Schmidt 153 „Ausstellen - eine Kunst für sich" Die Galerie Fritz Gurlitt in Berlin (1880-1943) Charlotte Berend - Anita Berber 161 Abbey Rees-Hales 165 „Mit einer ziemlich weitgehenden weiblichen Indiskretion" Ein Mappenwerk Charlotte Berends über Anita Berber im Gurlitt-Verlag 5 Netzwerke mit Künstlern und Künstlerinnen 169 Max Pechstein Aya Soika 177, 181 Ein Exklusivvertrag mit Folgen Max Pechstein und Wolfgang Gurlitt Jeanne Mammen 187 Camilla Smith 199 Sex sells! Wolfgang Gurlitt gibt bei Jeanne Mammen eine Serie erotischer Lithografien in Auftrag Eric Isenburger 209 Gregory Hahn 217, 221 Zeuge, Sachverständiger, Freund Wolfgang Gurlitt und der Exilmaler Eric Isenburger Oskar Kokoschka 229 Elisabeth Nowak-Thaller 237 Wolfgang Gurlitt und der „beste deutsche Maler" Oskar Kokoschka Alfred Kubin 249 Brigitte Beutner 261 Die Kubin-Sammlung
    [Show full text]
  • The Silverman Collection
    Richard Nagy Ltd. Richard Nagy Ltd. The Silverman Collection Preface by Richard Nagy Interview by Roger Bevan Essays by Robert Brown and Christian Witt-Dörring with Yves Macaux Richard Nagy Ltd Old Bond Street London Preface From our first meeting in New York it was clear; Benedict Silverman and I had a rapport. We preferred the same artists and we shared a lust for art and life in a remar kable meeting of minds. We were more in sync than we both knew at the time. I met Benedict in , at his then apartment on East th Street, the year most markets were stagnant if not contracting – stock, real estate and art, all were moribund – and just after he and his wife Jayne had bought the former William Randolph Hearst apartment on Riverside Drive. Benedict was negotiating for the air rights and selling art to fund the cash shortfall. A mutual friend introduced us to each other, hoping I would assist in the sale of a couple of Benedict’s Egon Schiele watercolours. The first, a quirky and difficult subject of , was sold promptly and very successfully – I think even to Benedict’s surprise. A second followed, a watercolour of a reclining woman naked – barring her green slippers – with splayed Richard Nagy Ltd. Richardlegs. It was also placed Nagy with alacrity in a celebrated Ltd. Hollywood collection. While both works were of high quality, I understood why Benedict could part with them. They were not the work of an artist that shouted: ‘This is me – this is what I can do.’ And I understood in the brief time we had spent together that Benedict wanted only art that had that special quality.
    [Show full text]
  • The Text and the Coming of Age of the Avant-Garde in Germany
    The Text and the Coming of Age of the Avant-Garde in Germany Timothy 0. Benson Visible Language XXI 3/4 365-411 The radical change in the appearance of the text which oc­ © 1988 Visible Language curred in German artists' publications during the teens c/o Rhode Island School of Design demonstrates a coming of age of the avant-garde, a transfor­ Providence, RI 02903 mation in the way the avant-garde viewed itself and its role Timothy 0. Benson within the broader culture. Traditionally, the instrumental Robert Gore Riskind Center for purpose of the text had been to interpret an "aesthetic" ac­ German Expressionist Studies tivity and convey the historical intentions and meaning as­ Los Angeles County Museum ofArt sociated with that activity. The prerogative of artists as 5905 Wilshire Boulevard well as critics, apologists and historians, the text attempted Los Angeles, CA 90036 to reach an observer believed to be "situated" in a shared web of events, thus enacting the historicist myth based on the rationalist notion of causality which underlies the avant­ garde. By the onset of the twentieth century, however, both the rationalist basis and the utopian telos generally as­ sumed in the historicist myth were being increasingly chal­ lenged in the metaphors of a declining civilization, a dis­ solving self, and a disintegrating cosmos so much a part of the cultural pessimism of the symbolist era of "deca­ dence."1 By the mid-teens, many of the Expressionists had gone beyond the theme of an apocalypse to posit a catastro­ phe so deep as to void the whole notion of progressive so­ cial change.2 The aesthetic realm, as an arena of pure form and structure rather than material and temporal causality, became more than a natural haven for those artists and writers who persisted in yearning for such ideals as Total­ itiit; that sense of wholeness for the individual and human- 365 VISIBLE LANGUAGE XXI NUMBER 3/4 1987 *65.
    [Show full text]
  • The Ronald S. Lauder Collection Selections from the 3Rd Century Bc to the 20Th Century Germany, Austria, and France
    000-000-NGRLC-JACKET_EINZEL 01.09.11 10:20 Seite 1 THE RONALD S. LAUDER COLLECTION SELECTIONS FROM THE 3RD CENTURY BC TO THE 20TH CENTURY GERMANY, AUSTRIA, AND FRANCE PRESTEL 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 1 THE RONALD S. LAUDER COLLECTION 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 2 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 3 THE RONALD S. LAUDER COLLECTION SELECTIONS FROM THE 3RD CENTURY BC TO THE 20TH CENTURY GERMANY, AUSTRIA, AND FRANCE With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Alessandra Comini, Stuart Pyhrr, Elizabeth Szancer Kujawski, Ann Temkin, Eugene Thaw, Christian Witt-Dörring, and William D. Wixom PRESTEL MUNICH • LONDON • NEW YORK 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 4 This catalogue has been published in conjunction with the exhibition The Ronald S. Lauder Collection: Selections from the 3rd Century BC to the 20th Century. Germany, Austria, and France Neue Galerie New York, October 27, 2011 – April 2, 2012 Director of publications: Scott Gutterman Managing editor: Janis Staggs Editorial assistance: Liesbet van Leemput Curator, Ronald S . Lauder Collection: Elizabeth Szancer K ujawski Exhibition designer: Peter de Kimpe Installation: Tom Zoufaly Book design: Richard Pandiscio, William Loccisano / Pandiscio Co. Translation: Steven Lindberg Project coordination: Anja Besserer Production: Andrea Cobré Origination: royalmedia, Munich Printing and Binding: APPL aprinta, W emding for the text © Neue Galerie, New Y ork, 2011 © Prestel Verlag, Munich · London · New Y ork 2011 Prestel, a member of V erlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich +49 (0)89 4136-0 Tel.
    [Show full text]