J. Paul Getty Trust Report 2016 Culture at Risk

Total Page:16

File Type:pdf, Size:1020Kb

J. Paul Getty Trust Report 2016 Culture at Risk J. Paul Getty Trust Report 2016 Culture at Risk - J. Paul Getty Trust Report 2016 On Cover: Triumphal arch and great colonnade, Palmyra, Syria (no. 62), 1864, Louis Vignes. From Louis Vignes, Views and panoramas of Beirut and the ruins of Palmyra, 1864. (GRI) Table of Contents 2 Chair Message Maria Hummer-Tuttle, Chair, Board of Trustees 4 Foreword James Cuno, President and CEO, J. Paul Getty Trust 8 Culture at Risk 9 Targeting History Richard Haass, President of the Council on Foreign Relations 15 Getty Conservation Institute Timothy P. Whalen, Director 23 Getty Foundation Deborah Marrow, Director 33 J. Paul Getty Museum Timothy Potts, Director 41 Getty Research Institute Thomas W. Gaehtgens, Director 51 2016 Highlights 69 Trust Report Lists 70 Getty Conservation Institute Projects 82 Getty Foundation Grants 94 Exhibitions and Acquisitions 116 Getty Guest Scholars 120 Getty Publications 126 Getty Councils 134 Honor Roll of Donors 138 Board of Trustees, Officers, and Directors 139 Financial Information Chair Message MARIA HUMMER-TUTTLE, CHAIR, BOARD OF TRUSTEES J. Paul Getty Trust One of the Getty’s strategic priorities is to grants to date to support scholarly research and to assist achieve leadership in online access to art, archives, in funding many of the exhibitions. I want to thank and digital publications—both for professionals and the Pacific Standard Time Leadership Council, a group for the general public. The GRI is now digitizing of generous donors, for their support. Together with approximately 952 books per month from its foundation and corporate donations, they are funding collection, a 97 percent increase over the previous year. a campaign to create broad awareness of this initiative. Publications the GRI has digitized and made available Indeed, on behalf of all the Trustees, I thank through the Internet Archive have been downloaded and recognize all the individuals, foundations and more than fourteen million times to date. corporations whose membership in the Getty’s Councils In this fiscal year, the GRI launched the Getty and whose financial support and donations of works Scholars’ Workspace, a free, open source, online of art have strengthened the Getty in so many ways. research tool that supports and enables collaborative The two new councils formed in 2016, the President’s art historical and humanities research. The trust International Council and the Museum Director’s signed a Memorandum of Understanding with Council, will add to the Getty’s ability to do more to PROTECTING CULTURAL HERITAGE, the theme of Architecture initiatives. Each project is selected for the Netherlands Institute for Conservation, Arts, achieve its mission, both in Los Angeles and globally. this year’s annual report, speaks to the Getty’s extensive the potential it has to serve as a model, providing new and Science under auspices of the Rijksmuseum The Getty’s Board of Trustees, who have the work around the world preserving our collective methods and standards of conservation that can be that outlines a future of digital innovation in the primary responsibility for ensuring the long-term cultural inheritance. Essays in this report from each of applied to other important architectural structures in visual arts. The Getty also launched Art + Ideas, a success of this institution which we hold dear, said the Getty’s four programs provide examples of projects the future. podcast featuring conversations between Jim Cuno farewell this year to a valuable colleague, Jay Wintrob. done in fiscal year 2016. I’d like to thank Dr. Richard Looking back at fiscal year 2016, I should and artists and other creative thinkers. The Getty’s Jay ably served the board for twelve years, and chaired Haass, president of the Council on Foreign Relations, remark on some of the exhibitions, acquisitions, and commitment to leadership in the accelerating digital the Finance Committee from 2008 until 2016. We for providing this report’s opening essay. programming that resulted in our record attendance field was further strengthened in August 2016 through welcomed Robert W. Lovelace, vice chairman of I wish to draw particular attention to the of over two million visitors. Power and Pathos: Bronze the addition of Richard Fagen as vice president, Capital Group, as the newest member of the board. Getty Conservation Institute’s (GCI) work with Sculpture of the Hellenistic World was the first major Computing and Digital Initiatives, who has joined Rob, whose father also was a Getty Trustee, brings the American Schools of Oriental Research, and international exhibition of some fifty ancient bronzes the Getty from Caltech, where he was the university’s financial expertise and a love of the visual arts. the implementation of their Arches software for from the Mediterranean region and beyond. The chief information officer. Having completed my first year as chair of monitoring Syrian cultural heritage sites. This work works represented the finest of these spectacular and The Getty honored Frank Gehry with the J. Paul the Getty’s board, my admiration has grown for addresses the needs of the cultural heritage community rare bronze sculptures. This exhibition, a collaborative Getty Medal at its third annual Getty Medal Dinner in the groundbreaking work being done across both in areas of data gathering, analysis, and monitoring— effort of the Getty Museum with colleagues in Italy the fall of 2015. Frank’s extraordinary vision, disciplined campuses by talented staff. The Getty makes art more all vital to promoting cultural security. and the National Gallery in Washington, DC, was practice, and use of new technologies has changed the accessible and available through its commitment to In addition, the GCI and the Getty Foundation, recognized with numerous awards. course of architecture. In October 2016, Ellsworth open content. In its science labs, the Getty finds new in partnership with the International Centre for the The GCI and the Getty Research Institute (GRI) Kelly received the J. Paul Getty Medal posthumously ways to conserve works of art. Significant projects that Study of the Preservation and Restoration of Cultural worked together with the Dunhuang Academy and for his prolific, long career producing strong, lyrical might otherwise be left undone are funded through Property in Rome and the International Committee Dunhuang Foundation to create an extraordinary work that changed the perception and understanding the Getty’s strategic philanthropy. Scholars use the for the Conservation of Mosaics, have trained mosaic exhibition, Cave Temples of Dunhuang: Buddhist Art of abstract art. Yo-Yo Ma was also recognized, not Getty’s rich archives to bring to light new findings conservators in countries with significant collections, on China’s Silk Road, a first of this type of exhibition only for his peerless artistic excellence, but also for his that expand our understanding of the history of art. both in situ and in museums—these countries include for the Getty. It included three full-scale replicas of the commitment to the preservation and presentation of the Through its own collections, and in collaboration with Algeria, Libya, Jordan, Syria, and Tunisia. This work most exquisite of the Mogao grottoes near Dunhuang diversity of the world’s musical heritage. museums around the world, the Getty opens eyes and exemplifies the concept put forth by Getty President in northwestern China, carved into a cliff face and We believe that the Getty can and should stimulates minds. Of our over two million visitors last Jim Cuno when he suggests that cultural heritage painted between the fourth and the fourteenth continue to serve as a catalyst in uniting organizations year, 174,000 were school children; 134,000 of these belongs to all humanity, and thus developing innovative century. Seldom-loaned art and rare objects, including toward the achievement of a common goal. The students were from Title I schools; the Getty paid for preventative measures requires collaborative solutions. the Diamond Sutra, the world’s oldest dated complete Getty-led Pacific Standard Time: LA/LA (Los Angeles/ the bus transportation for 87 percent of these children. Threats to our joint cultural heritage come not printed book, originally in the so-called Library Cave, Latin America) initiative is a significant example. We are committed to do more for children most in just from the violent destruction caused by extremists were an extraordinary part of this exhibition. Pacific Standard Time: LA/LA, which will launch in need. The Getty is an inspiring place. I am so very or from natural disasters, but also from the less Of the additions to the Getty’s collections September of 2017, will bring together more than proud and humbled to represent it. dramatic, but cumulatively serious harm from man’s in 2016, great attention was paid to the Museum seventy cultural organizations from across Southern neglect and nature’s accretion. Damage is done to the acquisition of the seventeenth-century masterpiece, California to focus on Latin American and Latino art modern as well as the ancient, and attention must be Danaë, by Gentileschi; a rare illuminated Flemish from the ancient world to the present day. The Getty paid to both. In this vein, the Foundation and the manuscript; and two important ancient Greek and Foundation has provided more than $15 million in GCI have committed resources to conserving modern Roman objects. Additionally, the GRI continued to architecture locally and internationally through expand its holdings with the archive of Los Angeles the Keeping It Modern and Conserving Modern curator Maurice Tuchman. 2 3 Foreword JAMES CUNO, PRESIDENT AND CEO J. Paul Getty Trust as instruments of state formation and national identity. constructions that have been in near-continuous This coincided with the founding of organizations external and internal conflict since their creation, with such as the League of Nations and the UN. Both non-state actors controlling much of their territory organizations based their work on the political and economic resources.
Recommended publications
  • First U.S. Survey of Chilean Artist Juan Downey to Open at Bronx Museum of the Arts
    FIRST U.S. SURVEY OF CHILEAN ARTIST JUAN DOWNEY TO OPEN AT BRONX MUSEUM OF THE ARTS Video and Photographic Installations, Paintings, and Drawings shed light on Downey’s Career Bronx, NY , DATE – Beginning February 9, 2012 The Bronx Museum of the Arts will present Juan Downey: The Invisible Architect , the first U.S. survey of the pioneering video artist Juan Downey. On view through May 20, 2012, the exhibition brings together more than 100 works from Downey’s expansive career, from his early experimental work with art and technology to his groundbreaking video art from the 1970s through the 1990s, the exhibition will include drawings, paintings, video and photographic installations, and the artist’s notebooks, which have never before been on view. “Downey revolutionized the field of video art and pioneered an art form that has had continued relevance for contemporary artists working today,” said Bronx Museum of the Arts Director Holly Block. “As a Chilean, Downey maintained a connection with Latin American culture throughout the many decades he lived and worked in New York. These dual influences give his work a special resonance with the Bronx Museum and with our community. In addition, Downey has exhibited at the Bronx Museum before, making this exhibition a homecoming of sorts.” Formally trained as an architect, Downey began experimenting with different art forms when he moved from Paris to Washington DC in 1965. He developed a strong interest in the concept of invisible energy and shifted from object-based artistic practice to an experiential approach, seeking to combine interactive performance with sculpture and video, a transition the exhibition explores.
    [Show full text]
  • Dal Colore Al Segno O I Z
    A ARTE STUDIO INVERNIZZI DAL COLORE AL SEGNO. SULLE TRACCE DI UN’ESTETICA RELAZIONALE GIORGIO VERZOTTI S D U L A L E L T R A C C C O A E a D L r G t I O e i U o S r N g t R u i ’ o E d S V i E o T e E r I n z T A o v I e C t L t r i A n i z R z S E i E L A G Z I O N N A O L E DAL COLORE AL SEGNO SULLE TRACCE DI UN’ESTETICA RELAZIONALE a cura di Giorgio Verzotti 3 ottobre - 3 dicembre 2002 A arte Studio Invernizzi Via D. Scarlatti 12 20124 Milano Tel. Fax 02 29402855 [email protected] www.aarteinvernizzi.com www.artnet.com GIANNI ASDRUBALI ALAN CHARLTON HELMUT DORNER HELMUT FEDERLE BERNARDFRIZE PINOPINELLI GÜNTER UMBERG Dal colore al segno. Sulle tracce di un’estetica relazionale Si parla oggi di una estetica relazionale come del apparente mancanza di relazioni col mondo esterno. tratto distintivo che contrassegna i lavori artistici In realtà l’opera raramente smette di relazionarsi più significativi della nostra contemporaneità. con l’altro da sé, e lo vediamo nella storia del L’opera si pone, in questa prospettiva, al centro di monocromo che gli anni Sessanta e Settanta un insieme di relazioni di senso che concorrono hanno riattualizzato dopo le premesse nate in a determinarla, a partire dal punto di vista del- seno alle avanguardie storiche. l’osservatore per finire con le oggettive condizio- Al pari della griglia, il monocromo può essere ni di visibilità dell’opera stessa.
    [Show full text]
  • The Social and Environmental Turn in Late 20Th Century Art
    THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
    [Show full text]
  • The Book House
    PETER BLUM GALLERY HELMUT FEDERLE Born 1944, in Solothurn, Switzerland Lives and works in Vienna, Austria and Camaiore, Italy SELECTED ONE PERSON EXHIBITIONS 2021 Basics on Composition, Peter Blum Gallery, New York, NY 2020 Basics on Composition / Informal Multitudes, Parra & Romero, Madrid, Spain 2019 Basics on Composition 1992 & 2019 Horizont der sieben Seen, Galerie nächst St. Stephan, Vienna, Austria 19 E. 21 ST., 6 Large Paintings, Kunstmuseum Basel, Basel, Switzerland 2017 2017 Abstract Matter [Paintings and Ceramics], Calouste Gulbenkian Museum, Lisbon, Portugal, catalogue, texts by Edmund de Waal and Elisabeth von Samsonow 2016 Dark Night Three, M-ARCO, Marseille, France 2013 The Ferner Paintings, Peter Blum Gallery, New York 2012 American Songline, Kunstmuseum Luzern, Switzerland. Hatje Cantz, Ostifildern, Germany, texts by Robert Storr, Fanni Fetzer, Joseph Masheck, and John Yau (cat.) Esencial, Fundación Bancaja, Valencia, Spain (cat.) 2010 Helmut Federle, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria. Curated by Roman Kurzmeyer (cat.) 2009 Scratching Away at the Surface, Peter Blum, New York Échafaudages, FRAC Picardie, Collège Marcelin Berthelot, Nogent-sur-Oise, France, (with Paul Pagk) 2005 Zeichnungen 1975 bis 1997 aus Schweizer Museumsbesitz, Rudolf Steiner Archiv /Haus Duldeck, Dornach, Switzerland (cat.) 2004 Edelweiß (performance), Colloquiums Friedrich Nietzsche – Rechtfertigung der Welt durch die Kunst, Nietzsche haus, Sils-Maria, Switzerland (cat.), through 2005 Helmut Federle – A Nordic View
    [Show full text]
  • Juan Downey | a Communications Utopia Detail of Life Cycle
    juan downey | a communications utopia Detail of Life Cycle. Soil + Water + Air+ Light = Flowers + Bees = Honey, All Watched Over By Machines of Loving Grace Electric Gallery, Toronto, Canada, 1971. Photo: Courtesy Marilys Belt de Downey, N.Y. I like to think (and the sooner the better!) of a cybernetic meadow where mammals and computers live together in mutually programming harmony like pure water touching clear sky. I like to think (right now, please!) of a cybernetic forest filled with pines and electronics where deer stroll peacefully past computers as if they were flowers with spinning blossoms. I like to think (it has to be!) of a cybernetic ecology where we are free of our labors and joined back to nature, returned to our mammal brothers and sisters, and all watched over by machines of loving grace. Richard Brautigan, 1967 juan downey | a communications utopia Trained as an architect, the topological experience of video feedback led Downey to conceive of dematerialized and ecological architectures through drawings of projects for buildings and cities that promoted the flow of energy between nature and the built environment. One of Downey’s landmark works is the video-feedback-based installation Video Trans Americas. In 1973 he embarked on a journey that would take him from New York to Mexico, Guatemala, Peru, The work of Juan Downey (Santiago de Chile, 1940 – New York, Bolivia, and Chile, where he recorded the autochthonous cultures of 1993) covers a wide range of practices and mediums: drawing, each place and then showing them to the inhabitants of these places installation, video, and painting.
    [Show full text]
  • Robert Mangold B
    Robert Mangold b. 1937, North Tonawanda, NY Education 1956-59 Cleveland Institute of Art 1959 Yale University Summer Art Fellowship 1960-62 Yale University Art School 1961 Yale University, BFA 1963 Yale University, MFA Selected Solo Exhibitions 1964 Thibaut Gallery, New York 1965 "Walls and Areas", Fischbach Gallery, New York 1967 "Recent Paintings", Fischbach Gallery, New York 1968 Galerie Müller, Stuttgart 1969 Fischbach Gallery, New York 1970 "X Series Drawings", Fischbach Gallery, New York "Robert Mangold: Recent Work", Fischbach Gallery, New York 1971 "Paintings" Fischbach Gallery, New York "Robert Mangold", Solomon R. Guggenheim Museum, New York (exh cat) 1973 Fischbach Gallery, New York Galerie Yvon Lambert, Paris Galleria Toselli, Milan Lisson Gallery, London Galerie Annemarie Verna, Zürich "27 Disegni", Galleria Marilena Bonomo, Bari, Italy Max Protetch Gallery, Washington, DC Daniel Weinberg Gallery, San Francisco 1974 "Robert Mangold: New Paintings", John Weber Gallery, New York La Jolla Museum of Contemporary Art, La Jolla, California (exh cat) Galerie Konrad Fischer, Düsseldorf John Weber Gallery, New York 1975 "Recent Paintings", Cusack Gallery, Houston Max Protetch Gallery, Washington Ace Gallery, Los Angeles 1975 Lisson Gallery, London Galerie Charles Kriwin, Brussels 1976 Daniel Weinberg Gallery, San Francisco Galerie Yvon Lambert, Paris Galerie Swart, Amsterdam D'Allesandro Ferranti, Rome Galerie Konrad Fischer, Düsseldorf John Weber Gallery, New York 1977 "Four Large Works", Museum Haus Lange, Krefeld (exh cat) Portland
    [Show full text]
  • The Book House
    Helmut Federle Basics on Composition January 16 – March 13, 2021 PETER BLUM G A LL ER Y Peter Blum Gallery is pleased to present an exhibition by Helmut Federle entitled, Basics on Composition at 176 Grand Street, New York. This is the artist’s fifth solo exhibition with the gallery. There will be an opening reception on Saturday, January 16, from 10am - 6pm. Helmut Federle has developed a body of work over four decades that is characterized by both painterly and geometric imagery rooted in spirituality, symbolism, and a closeness to nature. He engages in the tradition of geometric abstraction, renewing and expanding it, exploring the relationship between figure and ground, between order and disorder, between movement and stillness. Federle began exploring the “reclining H” in 1979 while living in New York, using the first letter of his first name as its basic, now iconic, form. Subsequently he created the series primarily in 1992 and 1993 entitled, Basics on Composition. He has resumed the series since 2019. Each of the variations in the series measure 15 ¾ x 19 ¾ inches (40 x 50 cm) and emit their own unique, emotional presences. The bars of the “reclining H” and the two squares that result from it as open ends on the left and right become individualized, equivalent geometric surfaces that repeatedly reverse the traditional figure-ground relationship and deny balance and cohesion. Gestural entries, both in the dark bars and in the typically yellow, green, or yellow-green squares, formulate among the defined edges, sometimes lyrically and sometimes defiantly. Many of the paintings have subtitles that do not reference their content, rather they are associations and stimuli in Federle’s life which accompanies and determines his work.
    [Show full text]
  • Helmut Federle
    HELMUT FEDERLE Born 1944 in Solothurn Lives and works in Camaiore, Italy and Vienna, Austria 1999 – 2007 Professor, Staatliche Kunstakademie, Düsseldorf, Germany 2008 Prix Aurélie Nemours 2016 Ricola Collection Prize SOLO EXHIBITIONS (selection) 2019 19 E. 21 ST., 6 Large Paintings, Kunstmuseum Basel/Neubau, Basel, Switzerland 2017 Abstract Matter [Paintings and Ceramics], Calouste Gulbenkian Museum, Lisbon, Portugal, catalogue 2016 Dark Night Three, Le Box, M–Arco, Marseille, France, catalogue 2013 The Ferner Paintings, Peter Blum, New York City, New York, catalogue 2012 American Songline, Kunstmuseum Luzern, Luzern, Switzerland, catalogue Esencial, Fundación Bancaja, Valencia, Spain, catalogue 2010 Helmut Federle, curated by Roman Kurzmeyer, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria, catalogue 2009 Scratching Away at the Surface, Peter Blum, New York City, New York 2005 Zeichnungen 1975 bis 1997 aus Schweizer Museumsbesitz, Rudolf Steiner Archiv / Haus Duldeck, Dornach, Switzerland, catalogue 2004 Helmut Federle – A Nordic View by Erik Steffensen, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria, catalogue Edelweiss (Ausführung), Nietzsche-Haus, Sils-Maria, Switzerland, catalogue 2002 Musée des Beaux-Arts de Nantes, Nantes, France, catalogue 1999 Kunsthaus Bregenz, Bregenz, Austria, catalogue 1998 IVAM Centre Julio González, Valencia, Spain, catalogue 1997 Venice Biennale, Swiss Pavillion, Venice, Italy, catalogue 1995 Galerie nationale du Jeu de Paume, Paris, France, catalogue Kunstmuseum Bonn, Bonn, Germany, catalogue 1992 Kunsthalle Zürich, Zürich, Switzerland; Moderna Museet Stockholm, Stockholm, Sweden; Museum Fridericianum, Kassel, Germany (1993), catalogue 1991 Wiener Secession, Vienna, Austria, catalogue 1989 Helmut Federle. Bilder und Zeichnungen 1975–1988, Museum Haus Lange, Krefeld, Germany; Kunsthalle Bielefeld, Bielefeld, Germany; Kunstverein Hamburg, Hamburg, Germany, catalogue 27.02.2019 Musée de Grenoble, Grenoble, France, catalogue 1985 Helmut Federle.
    [Show full text]
  • Embodied Absence Chilean Ar
    Embodied Absence Chilean Art of the 1970s Now Carpenter Center Embodied Absence for the Visual Arts Chilean Art of the 1970s Now Oct 27, 2016–Jan 8, 2017 Works by Elías Adasme, Carmen This exhibition is co-organized Beuchat with Felipe Mujica and with DRCLAS as part of its research Johanna Unzueta, CADA (Colectivo project Conceptual Stumblings. Acciones de Arte), Francisco Copello, Exhibition and program support Luz Donoso, Juan Downey, Carlos is also provided by Harvard Leppe, Catalina Parra, Lotty University Committee on the Rosenfeld, UNAC (Unión por la Arts. The first iteration, Embodied Cultura), Cecilia Vicuña, and Raúl Absence: Ephemerality and Zurita with Cristóbal Lehyt Collectivity in Chilean Art of the 1970s (September 2015–January Guest curated by Liz Munsell, 2016), was organized by Museo Assistant Curator of Contemporary de la Solidaridad Salvador Art & Special Initiatives, Museum of Fine Allende, Santiago, Chile, with its Arts, Boston, and visiting curator, David substantial support in research Rockefeller Center for Latin American and production of works, in Studies (DRCLAS), Harvard University collaboration with DRCLAS. Embodied Absence Liz Munsell Following the U.S.-backed coup d’état in 1973,1 Chilean artists residing in Santiago and abroad created artworks that spoke to their experience of political, social, and geographic marginalization. Inside the country, they adopted the highly coded languages of conceptual art to evade censorship, exhibited work in public space in lieu of institutional support, and formed independently run galleries and artist collectives to protect their individual identities. Artists abroad staged public events and made artwork in solidarity with those at home. Their exhibitions, performances, interventions, and workshops spread awareness among international audiences and broke down isolating conditions within Chile.
    [Show full text]
  • Helmut Federle
    HELMUT FEDERLE Born 1944 in Solothurn/Switzerland, lives and works in Vienna/Austria and Camaiore/Italy 1999 – 2007 Professor, Staatliche Kunstakademie, Düsseldorf, Germany 2008 Prix Aurélie Nemours 2016 Ricola Collection Prize SOLO EXHIBITIONS (selection) 2017 Abstract Matter [Paintings and Ceramics], Calouste Gulbenkian Museum, Lisbon, Portugal, catalogue, texts by Edmund de Waal and Elisabeth von Samsonow 2016 Dark Night Three, Le Box, M–Arco, Marseille, France, catalogue, éditions p, Marseille, text by Robert Fleck 2013 The Ferner Paintings, Peter Blum, New York, New York, catalogue, text by Erich Franz 2012 American Songline, Kunstmuseum Luzern, Lucerne, Switzerland, catalogue, Hatje Cantz, Ostfildern, Gemany, texts by Robert Storr, Fanni Fetzer, Joseph Masheck, and John Yau Esencial, Fundación Bancaja, Valencia, Spain, catalogue, text by Juan Manuel Bonet 2010 Helmut Federle, curated by Roman Kurzmeyer, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria, catalogue, text by Roman Kurzmeyer (taken up again in: fair, Zeitung für Kunst und Ästhetik, Vienna, Nr. 8/I-2010, S. 17-19 2009 Scratching Away at the Surface, Peter Blum, New York, New York Échafaudages, FRAC Picardie, Collège Marcelin Berthelot, Nogent-sur-Oise, France, (mit Paul Pagk) 2005 Drawings by 1975 till 1997 out of the Schweizer Museumsbesitz, Rudolf Steiner Archiv / Haus Duldeck, Dornach, Switzerland, catalogue, Schwabe Verlag, Basel, text by Simon Baur and Angeli Janhsen 2004 Edelweiß (Ausführung), exhibition on the occasion of the Colloquium Friedrich Nietzsche – Rechtfertigung der Welt durch die Kunst, Nietzschehaus, Sils-Maria, Switzerland, catalogue, Schwabe Verlag, Basel, Switzerland, text by Peter André Bloch and Jan Thorn-Prikker 2004 Helmut Federle – A Nordic View by Erik Steffensen, Galerie nächst St.
    [Show full text]
  • Juan Downey's Communications Utopia
    JUAN DOWNEY’S COMMUNICATIONS UTOPIA Julieta González “The power of the arts to anticipate future social and technological developments by a generation and more has long been recognized. In this century Ezra Pound called the artist «the antennae of the race». Art as radar acts as «an early alarm system», as it were, enabling us to discover social and psychic targets in lots of time in order to prepare to cope with them. This concept of the arts as prophetic contrasts with the popular idea of them as merely a form of self-expression. If art is an «early warning system» to use the phrase from World War II, when radar was new, art has the utmost relevance not only to the study of media but to the development of media controls.” Marshall McLuhan, Understanding Media, 1964 McLuhan’s statement reflects a shared sentiment within the artistic community in the 60s; that artists could pick up the signals emitted by scientific progress and put their particular sensibilities and discursive strategies at the service of society at large. Juan Downey was one such artist, who foresaw the future of technology as a social driving force, and in correspondence with this vision manifested a constant concern for the relations between humankind and technology throughout his prolific career. Downey's practice developed against the backdrop of cybernetics' systemic view of the world; one recast in computational terms as a series of homeostatic systems regulated by feedback dynamics. This essay thus attempts to map the influence of cybernetic thought on Juan Downey’s entire oeuvre, identifying it as the connecting thread that runs through his diverse and heterogeneous bodies of work; from his early electronic sculptures to the deconstruction of the ethnographic canon in the works he produced as the result of his stay with the Yanomami in the mid-seventies.
    [Show full text]
  • Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17
    Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17. November 2018 – 03. Februar 2019 Ausstellungsinformation Raumplan Wand 3 Wand 7 Wand 2 Wand 6 Wand 5 Wand 4 Wand 2 Wand 1 ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Komposition René Pulfer Der Basler Künstler René Pulfer, einer der Pioniere der Schweizer Videokunst und Hochschulprofessor an der HGK Basel /FHNW bis 2015, hat sich seit den späten 1970 Jahren auch intensiv mit Sound Art, Kunst im Kontext von Musik (Covers, Booklets, Artist Editions in Mu- sic) interessiert und exemplarische Arbeiten von Künstlerinnen und Künstlern gesammelt. Die Ausstellung konzentriert sich auf Covers und Objekte, bei denen das künstlerische Bild in Form von Zeichnung, Malerei oder Fotografie im Vordergrund steht. Durch die eigenständige Präsenz der Bildwerke treten die üblichen Angaben zur musikalischen und künstlerischen Autorschaft in den Hintergrund. Die Sammlung umfasst historische und aktuelle Beispiele aus einem Zeitraum von über 50 Jahren mit geschichtlich unterschiedlich gewachsenen Kooperationsformen zwischen Kunst und Musik bis zu aktuellen Formen der Multimedialität mit fliessenden Grenzen, so wie bei Rodney Graham mit der offenen Fragestellung: „Am I a musician trapped in an artist's mind or an artist trapped in a musician's body?" ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Composition René Pulfer The Basel-based artist René Pulfer, one of the pioneers of Swiss video- art and a university professor at the HGK Basel / FHNW until 2015, has been intensively involved with sound art in the context of music since the late 1970s (covers, booklets, artist editions in music ) and coll- ected exemplary works by artists.
    [Show full text]