1965-01R.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Related Voices Hamada: Three Generations
Related Voices HAMADA: Three Generations PUCKER GALLERY BOSTON Tomoo Hamada Shoji Hamada Bottle Obachi (Large Bowl), 1960-69 Black and kaki glaze with akae decoration Ame glaze with poured decoration 12 x 8 ¼ x 5” 4 ½ x 20 x 20” HT132 H38** Shinsaku Hamada Vase Ji glaze with tetsue and akae decoration Shoji Hamada 9 ¾ x 5 ¼ x 5 ¼” Obachi (Large Bowl), ca. 1950s HS36 Black glaze with trailing decoration 5 ½ x 23 x 23” H40** *Box signed by Shoji Hamada **Box signed by Shinsaku Hamada All works are stoneware. Three Voices “To work with clay is to be in touch with the taproot of life.’’ —Shoji Hamada hen one considers ceramic history in its broadest sense a three-generation family of potters isn’t particularly remarkable. Throughout the world potters have traditionally handed down their skills and knowledge to their offspring thus Wmaintaining a living history that not only provided a family’s continuity and income but also kept the traditions of vernacular pottery-making alive. The long traditions of the peasant or artisan potter are well documented and can be found in almost all civilizations where the generations are to be numbered in the tens or twenties or even higher. In Africa, South America and in Asia, styles and techniques remained almost unaltered for many centuries. In Europe, for example, the earthenware tradition existed from the early Middle Ages to the very beginning of the 20th century. Often carried on by families primarily involved in farming, it blossomed into what we would now call the ‘slipware’ tradition. The Toft family was probably the best known makers of slipware in Staffordshire. -
The Leach Pottery: 100 Years on from St Ives
The Leach Pottery: 100 years on from St Ives Exhibition handlist Above: Bernard Leach, pilgrim bottle, stoneware, 1950–60s Crafts Study Centre, 2004.77, gift of Stella and Nick Redgrave Introduction The Leach Pottery was established in St Ives, Cornwall in the year 1920. Its founders were Bernard Leach and his fellow potter Shoji Hamada. They had travelled together from Japan (where Leach had been living and working with his wife Muriel and their young family). Leach was sponsored by Frances Horne who had set up the St Ives Handicraft Guild, and she loaned Leach £2,500 as capital to buy land and build a small pottery, as well as a sum of £250 for three years to help with running costs. Leach identified a small strip of land (a cow pasture) at the edge of St Ives by the side of the Stennack stream, and the pottery was constructed using local granite. A tiny room was reserved for Hamada to sleep in, and Hamada himself built a climbing kiln in the oriental style (the first in the west, it was claimed). It was a humble start to one of the great sites of studio pottery. The Leach Pottery celebrates its centenary year in 2020, although the extensive programme of events and exhibitions planned in Britain and Japan has been curtailed by the impact of Covid-19. This exhibition is the tribute of the Crafts Study Centre to the history, legacy and continuing significance of The Leach Pottery, based on the outstanding collections and archives relating firstly to Bernard Leach. -
Rahmenkonzept Bundesgartenschau Mannheim
RAHMENKONZEPT BUNDESGARTENSCHAU MANNHEIM 14.04. – 08.10.2023 RAHMENKONZEPT BUNDESGARTENSCHAU MANNHEIM Die Zukunft beginnt hier Foodfarming Stadtentwicklung Beste Aussichten Experimentierfeld Mega-Sommerfest Lebensqualität steigern Freiräume schaffen Stadtklima verbessern Stadt neu denken Wie wir leben wollen Umwelt schützen Klimawandel intelligente Bewässerung Energie gewinnen Entsiegelung klimaresiliente Pflanzen Nationale BlumenschauArtenvielfalt Aquaponik weiterwachsen Forschung hautnah visionär umwandeln Mikrolandwirtschaft weiterdenken klimaneutral 14.04. – 08.10.2023 2 Vorwort BUGA 23: DER „MANNHEIMER WEG“ IN DIE ZUKUNFT Fast ein halbes Jahr hundert nach 1975 wird Mannheim 2023 erneut eine Bundesgartenschau ausrichten. Die BUGA 23 DIE BUGA – EIN ERFOLGSMODELL und mit ihr die Erschlie ßung des ehemaligen Darüber hinaus entsteht rund um den Kli FÜR INTEGRIERTE STADT- Militärgeländes Spinelli maPark auf Spinelli hochwertiger Lebens im Rahmen des Grünzugs raum; die zukünftigen Bewohnerinnen und UND REGIONALENTWICKLUNG Nordost sind bedeuten Bewohner werden von den weitläufigen de Zukunftsprojekte der grünen Freiräumen mit einer ho hen Auf Stadt Mannheim. Mutig enthaltsqualität für Sport, Freizeit und Bundesgartenschauen werden seit den 50er geschaffene Grün. Dabei entstehen Ausstel und visionär initiieren wir Nah erholung profitieren. Jahren des 20. Jahrhunderts in Deutschland lungsbereiche, die Inspirationen bieten: vom heute jene Stadtent als her ausragende Garten kulturevents ins öffentlichen Park zum privaten Garten über -
Audio-Hanbok.Pdf
Benoît Maubrey Performances with Electroacoustic Audio Geishas Benoît Maubrey / DIE AUDIO GRUPPE Baitzer Bahnhofstr.47, 14822 Brück OT Baitz and Germany tel: +49+33841-8265 Asian Themes fax +49+33841-33121 e-mail: [email protected] http://www.audioballerinas.com http://home.snafu.de/maubrey/ KOREAN THEMES Electroacoustic Hanboks Performances with Electroacoustic Clothes. Benoît Maubrey is the director of DIE AUDIO GRUPPE a Berlin-based art group that build and perform with electronic clothes. Basically these are electro-acous- tic clothes and dresses (equipped with amplifiers and loudspeakers) that make sounds by interacting themati- cally and acoustically with their environment. Die Audio Gruppe‘s work is essentially site-specific. Often the electronics is adapted into entirely new „Audio Uniforms“ or „sonic costumes“ that reflect local customs, themes, or traditions (see AUDIO HANBOK) AUDIO HANBOK Seoul Performing Arts Festival, 2001. Electroacoustic Korean wedding dress, light-to-frequency controller, sound filter. 2/ Performances with electroacoustic Clothes: Asian Themes KOREAN THEMES Electroacoustic Hanboks AUDIO HANBOK Seoul Performing Arts Festival, 2001. Electroacoustic Korean wedding dress, light-to-frequency controller, sound filter. 3/ Performances with electroacoustic Clothes: Asian Themes CV Benoît Maubrey/ the AUDIO GRUPPE Performances and Festivals (a selection): (2008) MOSTRA DES ARTES SESC/ Sao Paolo, MUSICA EX MACHINA/ Bilbao, (2007) IM AUGE DES KLANGS/Joseph Beuys Archive Moy- land, INGENUITY/ Cleveland, Digital Arts Week/ -
Hessenschiene Nr. 108 (PDF)
HESSEN SCHIENE Nr. 108 Juli - September 2017 • Aus für Güterstrecke Altenkirchen – Selters? • Sachstand Frankfurt Rhein-MainPlus • Neue 10-Minuten-Garantie des RMV 4<BUFHMO=iaciai>:ltZKZ 04032 D: 2,80 Euro Seite 2 Karikatur: Jürgen Janson Impressum Erhältlich bei den Bahnhofsbuchhandlungen Bad Herausgeber Pro Bahn & Bus e.V. Kreuznach, Bad Nauheim, Darmstadt Hbf, Frankfurt Redaktionell Friedrich Lang (M) Hbf, Frankfurt (M) Süd, Frankfurt (M) Höchst, verantwortlich [email protected] Friedberg (Hessen), Fulda, Gießen, Göttingen, Hanau Hbf, Kassel Hbf, Kassel-Wilhelmshöhe, Limburg, Layout Jürgen Lerch Koblenz Hbf, Mainz Hbf, Marburg, Offenbach (M) Hbf, Kontakt Bahnhofstraße 102 Rüsselsheim, Wiesbaden Hbf 36341 Lauterbach Abonnement: Acht Ausgaben 18,00 Euro Tel. & Fax (06641) 6 27 27 (Deutschland); 26,00 Euro (Ausland / Luftpost). [email protected] Der Bezug ist für Mitglieder von Pro Bahn & Bus www.probahn-bus.org kostenfrei. AG Gießen VR 3732 Es gilt Anzeigenpreisliste Nr. 8 vom 1. Dez. 2010 Druck Druckhaus Gratzfeld, Butzbach Auflage 1400 Exemplare Nachdruck, auch auszugsweise, nur mit Genehmi- gung des Herausgebers. Der Herausgeber ist Mitarbeiter dieser Ausgabe: Hermann Hoffmann, berechtigt, veröffentlichte Beiträge in eigenen Friedrich Lang, Jürgen Lerch, Hans-Peter Günther, gedruckten und elektronischen Produkten zu Jürgen Schmied, Andreas Christopher, Oliver Günther verwenden und eine Nutzung Dritten zu gestatten. Redaktionsschluss nächste Ausgabe: 04.09.2017 Eine Verwertung urheberrechtlich geschützter Erscheinungsweise: -
Heavy in Lightweight
GERMANY 1 / 20 Sierra Nevada is reviving production of the Dornier 328 short-haul passenger aircraft in Germany. HEAVY IN LIGHTWEIGHT Germany is a world leader in Leichtbau, or lightweight construction. And that is generating opportunities and innovation in engineering, materials technology, design and services. page 4 Chemical Industry: Travel & Tourism: Music Tech: The German chemicals Germany’s travel sector Music technology is sector is putting is the biggest and most thriving in Germany and billions into R&D competitive in Europe looking for seed investors page 14 page 16 page 20 Photo: Illing & Vossbeck Fotografie Illing & Vossbeck Photo: FOCUS Going Heavy in »The need to trans Lightweight port people and things How lightweight technologies are changing the fabric of engineering, sustainably is perhaps manufacturing and construction the most pressing issue page 4 of our times.« TRANSPORT All Aboard Dear Reader, In Brief: Stem cell innovation and improving the Deutsche Bahn’s modernization drive is performance of ecars and websites ...... page 12 opening up Germany’s railway industry. page 18 We live in fast-moving times, and this issue of Markets Germany is all about motion. The need to transport people and things sustainably is CHEMICALS MORE ARTICLES IN THIS ISSUE: perhaps the most pressing issue of the age. Here, German lightweight engineering will play a vi- A Certain Musical Genius: Is Germany’s music tal role. Making things lighter means we expend technology sector undervalued? ........... page 20 fewer resources moving them, and German en- From Guangdong to Germany: A Chinese med gineers are working on everything from light- tech firm is opening a German plant. -
20180808 PPP IGA2027 Aktue
IGA Metropole Ruhr 2027 Informationen zum Sachstand Stand: August 2018 Wofür stehen Gartenschauen? Ø Deutsche Marke seit über 65 Jahren Ø Sechs Monate Ausstellung und Sommerfest Ø Impulsgeber für Stadt-und Regionalentwicklung Ø Nachhaltige Freiraumgestaltung Ø Bürgerparks und grüne Infrastruktur Ø Attraktives Tourismusziel Ø Kompetenzschau der Grünen Branche IGAs: In Deutschland findet alle zehn Jahre eine Internationale Gartenausstellung (IGA) statt. Sie ersetzt im jeweiligen Jahr zugleich die Bundesgartenschau (BUGA). Eine Zielsetzung von IGAs ist die Förderung internationaler Zusammenarbeit, insb. im Wirtschaftssektor. Interessierte Städte oder Regionen müssen sich nach einem bestimmten Reglement um die Austragung der IGA bei der Deutschen Bundesgartenschau GmbH (dbg) bewerben. 1953: IGA Hamburg 1963: IGA Hamburg 1973: IGA Hamburg 1983: IGA München 1993: IGA Stuttgart 2003: IGA Rostock 2013: IGS Hamburg 2017: IGA Berlin 2027: IGA Metropole Ruhr 2 09.08.2018 IGA Metropole Ruhr 2027 | Referat 11 | Regionalverband Ruhr BUGAs: Die Bundesgartenschau (BUGA) ist eine deutsche Ausstellung zum Gartenbau, in die auch Themenbereiche wie Landschaftsarchitektur einfließen. Sie findet in einem Zweijahresturnus in verschiedenen deutschen Städten statt, dabei alle zehn Jahre als Internationale Gartenbauausstellung (IGA). Parallel dazu gibt es Landesgartenschauen in den Bundesländern, die nicht von der dbgsondern über die entsprechenden Landesministerien vergeben werden. Finanziell besonders erfolgreich war die BUGA 2011 in Koblenz, die mit über 3,5 -
Srgc Bulb Log Diary
SRGC ----- Bulb Log Diary ----- ISSN 2514-6114 Pictures and text © Ian Young BULB LOG 40................................4th October 2017 Rhododendron leaves Nothing is more characteristic of autumn than the leaves as they turn yellow, red and bright orange often with splashes of green still visible when you view them against the light as captured in the cover image of Hamamelis leaves. Photographed into the sun, exposed to retain the deep blue skies and using a small aperture which achieves the star effect of the sun. Shafts of light from the low sun passing through the trees and shrubs greatly adds to the drama of the season by picking out and highlighting colours creating striking effects of light and shade. Rhododendron leaves(above) also take on autumn colours as they come towards the end of their life then fall off – it is just that instead of lasting for a single growing season each Rhododendron leaf can last one or two years before it is shed so the shrub is never without leaves. There are some Rhododendrons that are deciduous, losing all their leaves every year, most of these are what we used to know as Azalea before they were sunk into Rhododendron. Crocus have a habit of getting everywhere in our garden as you may notice in this picture where a lone Crocus nudiflorus has made its way into the bonsai pot. The spotlight effect of a shaft of sunlight picks out Colchicum agrippinum and Crocus speciosus flowers growing through the fine foliage of Geranium robertianum with further colourful highlights provided by the leaves fallen from the Hamamelis, seen above and on the cover. -
DNA Barcoding Wind Turbines on Bats
Mar 2016 Vol.7, Issue 1 DNA Barcoding Uncovers the True Toll of Wind Turbines on Bats Policy Research Access and Colour Benefit-sharing Patterns Considerations in Arctic for Barcoders Bumblebees Image credit: Amanda Hale ApplicationsBarcode DNA Mini-barcodes for Saffron Identification Written by: Caterina Villa, Joana Costa, Liliana Meira, M. Beatriz P.P. Oliveira, and Isabel Mafra (REQUIMTE-LAQV, University of Porto, Portugal) Crocus sativus L. is the most important crop time-consuming, requires experienced personnel, plant of the Iridaceae family. Saffron, the most and is susceptible to subjective interpretation. expensive spice in the world, consists of the dried stigmas of C. sativus, and they are greatly Among DNA markers, the use of barcodes appreciated in many dishes for their unique has recently been proposed as a powerful color, taste, and aroma. Owing to its high market pharmacognostic tool for the identification of value, saffron has been associated with an medicinal plants and their adulterants at the unrivaled degree of adulteration. species level. However, DNA barcoding entails the amplification and sequencing of relatively Adulterations of both ground and whole stigma large DNA fragments (400-800 bp), which samples have made use of diverse materials represents a major drawback for the analysis of and strategies including colorants, mineral processed/complex matrices. compounds, spices, and parts of other plants, such as flowers of “...saffron has been When analyzing samples with Carthamus tinctorius or stigmas of degraded DNA, such as processed other Crocus spp., with the aim of associated with an plants, poorly preserved plants, and/ increasing the volume and weight of unrivaled degree of or those stored for a long period of commercial lots. -
Of Gallery Marianne Heller
GALLERY 1978 – 2013 35th ANNIVERSARY OF GALLERY MARIANNE HELLER t is always enthusiastic individuals who make a difference. Walter H. Lokau Marianne Heller is just such an enthusiastic individual who Isets things in motion. As a gallery owner, she has dedicated herself to publicising contemporary international ceramics, and she The tale of someone who has been doing this for 35 years. One thing has remained in all this time: her untiring enthusiasm for contemporary ceramics and her set out to bring the world uncompromising desire to make quality ceramics accessible to the public that are otherwise rare in this part of the world. That is what of ceramics to Germany … has remained, but quite a lot of other things have changed in three and a half decades… chael Casson, David Frith, John Maltby, Svend Bayer and oth- The 1970s – the time of self-fulfilment. A passion for peasant ers debuted here with their pots – the whole business grew in pottery had taken hold of Marianne Heller. Were there no contem- no time. Once a year from 1982, the Festhalle in Sandhausen porary ceramics? She looked around. Inevitably a pottery course became the venue for the English Potters' Seminar: a public followed. But she soon left making ceramics herself well alone. By workshop after the English model, and previously unknown in chance, she got her hands on Bernard Leach's A Potter's Book. It was this kind in Germany, intending to teach techniques and at the a revelation! Leach's doctrine of the wheel-thrown vessel, which was same time to develop taste and judgement. -
The Ceramics of KK Broni, a Ghanaian Protégé of Michael
Review of Arts and Humanities June 2020, Vol. 9, No. 1, pp. 13-24 ISSN: 2334-2927 (Print), 2334-2935 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/rah.v9n1a3 URL: https://doi.org/10.15640/rah.v9n1a3 Bridging Worlds in Clay: The Ceramics of K. K. Broni, A Ghanaian protégé of Michael Cardew And Peter Voulkos Kofi Adjei1 Keaton Wynn2 kąrî'kạchä seid’ou1 Abstract Kingsley Kofi Broni was a renowned ceramist with extensive exposure and experience in studio art practice. He was one of the most experienced and influential figures in ceramic studio art in Africa. Broni was trained by the famous Michael Cardew at Abuja, Nigeria, Peter Voulkos in the United States, and David Leach, the son of Bernard Leach, in England. Broni had the experience of meeting Bernard Leach while in England and attended exhibitions of Modern ceramists such as Hans Coper. His extensive education, talent, and hard work, coupled with his diverse cultural exposure, make him one of Africa‘s most accomplished ceramists of the postcolonial era. He is credited with numerous national and international awards. He taught for 28 years in the premiere College of Art in Ghana, at the Kwame Nkrumah University of Science and Technology (KNUST), Kumasi. Broni has had an extensive exhibition record and has a large body of work in his private collection. This study seeks to unearth and document the contribution of the artist Kingsley Kofi Broni and position him within the broader development of ceramic studio art in Ghana, revealing the significance of his work within the history of Modern ceramics internationally. -
JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A
Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF ARCHVES MASTER OF SCIENCE IN ARCHITECTURE STUDIES MASSACHUSETTS INSTTE AT THE OF TECHNOLOGY MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A. Viller6. All rights reserved. The author hereby grants MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: Department of Architecture May 23,2013 Certified by: Mark Jarzombek, Professor of the Histo4y 7eory and Criticism of Architecture Accepted by: Takehiko Nagakura, Chair of the Department Committee on Graduate Students 1 Committee Mark Jarzombek,'Ihesis Supervisor Professor of the History, Theory and Criticism of Architecture Caroline Jones, Reader Professor of the History of Art 2 Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 Submitted to the Department of Architecture on May 23,2013 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract A transnational index of contemporary art, documenta in its current form is known in the art world for its scale, site-specificity and rotating Artistic Directors, each with their own theme and agenda. On a unique schedule, the expansive show is displayed in Kassel, Germany from June to September every five years. The origins of the exhibition-event are embedded in the postwar reconstruction of West Germany and a regenerative national Garden Show.