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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. -
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. -
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. -
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. -
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. -
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. -
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 . -
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. -
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 -
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. -
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. -
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.