DOCSLIB.ORG

Download File

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download File Eastern European Modernism: Works on Paper at the Columbia University Libraries and The Cornell University Library Compiled by Robert H. Davis Columbia University Libraries and Cornell University Library With a Foreword by Steven Mansbach University of Maryland, College Park With an Introduction by Irina Denischenko Georgetown University New York 2021 Cover Illustration: No. 266. Dvacáté století co dalo lidstvu. Výsledky práce lidstva XX. Věku. (Praha, 1931-1934). Part 5: Prokroky průmyslu. Photomontage wrappers by Vojtěch Tittelbach. To John and Katya, for their love and ever-patient indulgence of their quirky old Dad. Foreword ©Steven A. Mansbach Compiler’s Introduction ©Robert H. Davis Introduction ©Irina Denischenko Checklist ©Robert H. Davis Published in Academic Commons, January 2021 Photography credits: Avery Classics Library: p. vi (no. 900), p. xxxvi (no. 1031). Columbia University Libraries, Preservation Reformatting: Cover (No. 266), p.xiii (no. 430), p. xiv (no. 299, 711), p. xvi (no. 1020), p. xxvi (no. 1047), p. xxvii (no. 1060), p. xxix (no. 679), p. xxxiv (no. 605), p. xxxvi (no. 118), p. xxxix (nos. 600, 616). Cornell Division of Rare Books & Manuscripts: p. xv (no. 1069), p. xxvii (no. 718), p. xxxii (no. 619), p. xxxvii (nos. 803, 721), p. xl (nos. 210, 221), p. xli (no. 203). Compiler: p. vi (nos. 1009, 975), p. x, p. xiii (nos. 573, 773, 829, 985), p. xiv (nos. 103, 392, 470, 911), p. xv (nos. 1021, 1087), p. xvi (nos. 960, 964), p. xix (no. 615), p. xx (no. 733), p. xxviii (no. 108, 1060). F.A. Bernett Rare Books: p. xii (nos. 5, 28, 82), p. xxix (no. 71). ii Table of Contents Foreword. Steven A. Mansbach, University of Maryland. iv-ix. Compiler’s Introduction. Robert H. Davis, Columbia & Cornell University Libraries. x-xvii. Compiler’s Acknowledgments. xviii-xx. Introduction. Irina Denischenko, Georgetown University. xxi-xlii. Contributors. xliii-xlv. The Checklist. Pp. 1-251. I. The Baltics: Entries 1-99. A. Estonia. Pp. 1-5. Piret Noorhani, Editor B. Latvia. 5-22. Maira Bundža, Editor C. Lithuania. 22-23. Maira Bundža, Editor II. West Slavic: Entries 100-938. A. Czechoslovakia. Pp. 23-208. Meghan Forbes, Editor B. Poland. 208-216. Wojciech Siemaszkiewicz, Editor III. South Slavic: Entries 939-1021. A. Bulgaria. Pp. 216-227. Aleksandar Bošković, Editor B. Croatia. 227-228. Aleksandar Bošković, Editor C. Serbia. 228-233. Aleksandar Bošković, Editor IV. Hungary & Romania: Entries 1021-1101, A. Hungary. Pp. 233-250. Carol Rounds, Editor B. Romania. 251. Indexes A. Personal & Corporate Names. 253-276. B. Title. 277-292. C. Place of Publication. 292-293. D. Holding Institutions in the OCLC WorldCat Database. 293-298. iii Foreword Steven Mansbach Distinguished University Professor, University of Maryland at College Park This compendium of works on paper documents the rich collections of Eastern European modernism held by the Columbia and Cornell University Libraries. In depth and range it constitutes one of the great research resources for the study of modern art and culture, only rivaled perhaps by a similar compendium documenting the East Slavic titles at the New York Public Library (NYPL) and Columbia University Library. Moreover, the various entries attest to the acute bibliographical scholarship that informed the selection, analyses, and scope of these two University Libraries’ collections, each mutually reinforcing. Although the comparative strength lies within the Czech holdings, the breadth of genres, topics, and categories is striking, and communally reflects the rich engagement of modernist creators in the full array of the literary and especially in the visual arts, inclusive of architecture, theater, poetry, and advertising, and, unique in its expansiveness, in the study of sexuality. The entries presented in this volume thus constitute far more than an aggregation of individual items – whether of visual and literary, “biotic” and sexual, or industrial and instructional invention. Rather, they point to and creatively engage the most essential – and most overlooked – aspect of the modernist enterprise generally: the priority of a visual “poetics” manifested through the design of book covers, broadsides, and illustrated avant-garde booklets of decisively modern subjects and interests. This was frequently communicated through the most progressive visual styles and employed a “new typography.” Indeed, it was the very centrality of “works on paper” that fundamentally determined the nature, course, and impact of modern culture generally, and of the Eastern European avant-garde in particular. It is arguable that advanced visual artists and their apologists, and especially the European avant-gardists from the Estonian northeast to the Balkan lands in the southwest, produced as many texts as paintings, as many theoretical tracts as sculptures, and even more essays and illustrated articles than architecture. In hundreds of broadsides, manifestos, novellas, and periodicals – many of them documented in this compendium – the makers and advocates of a new culture proved to be as adept with the pen as they were original with the brush, the chisel, or iv the straightedge. And this was true whether creating original works or illustrating the products of others. All were inspired to embrace the word as a visual medium. Of course, painters and sculptors and other practitioners of the visual arts had often written to explain or to justify what they sought to achieve with the customary tools of their craft. From the Italian Renaissance through the nineteenth century, visual artists had expressed themselves eloquently in words, often to explain their intentions or to persuade potential patrons of their talents. But never before the first half of the twentieth century – the focus of the present compendium – did artists seize upon the written word with such prolixity, passion, and purpose. It was as if the modernists aspired to make the word potently visible or, conversely, to empower the visual to be “read” as if a text. This convergence of communication – a type of conjunction of image and text, or at least an interdependence of one with the other – is powerfully demonstrated in a plurality of the items documented in this volume. This compendium rightly adduces the originality and variability of the works on paper produced by modern artists, poets, advertisers, and their advocates in a host of disciplines from aeronautics (No. 389) and “biotics” (No. 398) to Surrealist performances and social revolution. Although differing in their emphases and departing from one another in the methods of application, the major protagonists in the advanced cultural movements represented here sought, in Karel Teige’s memorable words, to constitute a humanistic poetics for a modern era, which is “...to pose a new problem for poetry and redefine its mission: poetry for the five senses, poetry for all the senses.” Teige, whose manifold creativity is well documented in this book’s Czech section, advocated a potent coincidence of the visual and the poetic through which to fashion a “new people, who will create the new society.” The Czech’s belief system, which was widely embraced throughout Eastern Europe just as it was frequently imitated to the West, was advanced under the rubric of “Poetism.” Poetics was both the objective and the modus operandi of many of those authors, artists, and publishers of the works contained in this volume. It served all progressive formations as an aesthetic, social and political motor force, one that was singularly versatile and could be expressed in a medley of visual languages with what was assumed to be a universal resonance. Although it was inflected differently in each of this volume’s geographic sections, and despite functioning under different names, the poetics of Eastern Europe asserted an authority that garnered support from artists across nationalities, backgrounds, and personal characteristics. For v Ljubomir Micić (No. 1009) [Figure 1, below] and his “Zenitist” confederates in Zagreb, Ljubljana, and Belgrade, “poetry is the most liberated art and where our greatest hopes lie.” Likewise, for Lajos Kassák, the great Hungarian impresario and modernist artist well represented in the entries below, an authentic modernism must give rise to a poetics as much visual as textual. Similar views were emphatically advanced in Poland, Romania, Bulgaria, Serbia, and in the Baltics – all of which have examples to be noted in the following entries. What united these disparate stylistic expressions was a universal affirmation of poetics as uniquely modern transcendence of traditional aesthetic categories and practices in a heroic endeavor “not to decorate life but to organize it” along new, more humane principles (to quote a Hungarian contemporary of Kassák, Ernő Kállai, who likely borrowed the phrase from his Russian modernist collaborators Ilya Ehrenburg and Lazar El Lissitzky). (Left) Figure 1, No. 1009. Istočni greh .(Beograd, 1920). (Center) Figure 2, No. 900. Život: Sborník nové krásy. Cover. (Right) Figure 3, No. 975. Plamŭk. (Sofiia, 1924-25). The majority of the works on paper presented here are collective endeavors. This is due not only to the nature of “poetics”, which so frequently dictated a close collaboration between visual and literary artists. It also stems from the very character of avant-garde periodicals, also to be evidenced in the present volume. Most every example represented a heroic endeavor to replace the traditional individualism of the artist with a collective aesthetic commitment
Load more

Recommended publications
  • Emu Island: Modernism in Place
    Emu Island: Modernism in Place Visual Arts Syllabus Stages 5 - 6 CONTENTS 3 Introduction to Emu Island: Modernism in Place 4 Introduction to education resource Syllabus Links Conceptual framework: Modernism 6 Modernism in Sydney 7 Gerald and Margo Lewers: The Biography 10 Timeline 11 Mud Map Case study – Sydney Modernism Art and Architecture Focus Artists 13 Tony Tuckson 14 Carl Plate 16 Frank Hinder 18 Desiderius Orban 20 Modernist Architecture 21 Ancher House 23 Young Moderns 24 References 25 Bibliography Front Page Margel Hinder Frank Hinder Currawongs Untitled c1946 1945 shale and aluminium collage and gouache on paper 25.2 x 27 x 11 24 x 29 Gift of Tanya Crothers and Darani Penrith Regional Gallery & The Lewers, 1980 Lewers Bequest Collection Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Copyright courtesy of the Estate of Margel Hinder Emu Island: Modernism in Place Emu Island: Modernism in Place celebrates 75 years of Modernist art and living. Once the home and studio of artist Margo and Gerald Lewers, the gallery site, was, as it is today - a place of lively debate, artistic creation and exhibitions at the foot of the Blue Mountains. The gallery is located on River Road beside the banks of the Nepean River. Once called Emu Island, Emu Plains was considered to be the land’s end, but as the home of artist Margo and Gerald Lewers it became the place for new beginnings. Creating a home founded on the principles of modernism, the Lewers lived, worked and entertained like-minded contemporaries set on fostering modernism as a holistic way of living.
    [Show full text]
  • Jaroslav Tůma Tomáš Jamník Gustav Mahler and Prague
    czech music quarterly 1 | 2 0 0 7 Jaroslav Tůma Tomáš Jamník Gustav Mahler and Prague Dear Readers, As you have certainly already noticed, Czech Music Quarterly has been graphically reworked for 2007. We thought that the existing design needed freshening up, and I hope the new appearance of the magazine will give you the same pleasure that it has given us. The smaller format and more attractive paper should make for more comfortable reading. This issue of the magazine also comes with a free CD, containing pieces by six contemporary Czech composers, which means that Czech Music Quarterly is now a magazine not just to be read but to be “listened to” as well. The Chamber Music compilation is the fi rst in a series. You can read more about the whole project in the preface to the CD itself and so I here I shall just draw you attention to the article by Miroslav Pudlák, which is related to the CD and highlights some aspects of the contemporary Czech scene in composing. I would also like to remind you that you can order older numbers of Czech Music Quarterly – if we have any of the ones you want, we shall be glad to post them to you. You can fi nd a list of the contents of all preceding numbers at www.czech-music.net, and there is plenty of choice! And please feel free to contact us any time if you have a question or a comment – just write to the e-mail address [email protected].
    [Show full text]
  • Emu Island: Modernism in Place 26 August — 19 November 2017
    PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program.
    [Show full text]
  • Die Brücke Der Blaue Reiter Expressionists
    THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era.
    [Show full text]
  • 1 Lenki I Relji, Mojim Unucima
    Lenki i Relji, mojim unucima 1 2 Feliks Pašić MUCI Ljubomir Draškić ili živeti u pozorištu 3 4 Ulaz u vilu »Nada« u Omišlju na ostrvu Krku 5 6 Mladom Svetozaru Cvetkoviću, tek pristiglom u Atelje 212, činio se kao ka- kav veliki lutan, očiju dubokih i crnih, sa podočnjacima koji su s godinama posta- jali sve tamniji i dublji. Mira Stupica pamti jedno štrkljasto i visoko dete, krakato, okato, nosato i pomalo dremljivo, koje je kapke imalo uvek napola spuštene, kao roletne. I u sećanju Aleksandra–Luja Todorovića javlja se u istoj slici: visok, štrkljast, šiljat, neopisivo mršav. Vojislavu Kostiću je, tako visok i mršav, sa šišanom bradom, ličio na Don Kihota. Ivana Dimić je imala dvanaest godina kad ga je prvi put videla, na slavi na koju je došla s roditeljima. Među gostima se izdvajao visok, mršav, duhovit čovek koji je psovao. Ogroman, tamnog lica i brade, izgledao joj je kao neki Azijat. Aleksandar–Saša Gruden seća ga se kao klinca koji je s majkom došao kod očeve rodbine u Užice. Prilog opštem utisku: štkljast, nosat, s ogromnim kolenima. Kad su ga upitali kako je, odgovorio je: »Zaštopal mi se nosek.« Posle je objašnjavao da je imao jezički problem: »Govorio sam hrvatski.« Dolasku u Užice 1941. godine prethodi prva velika životna avantura. Od ranih dana naučio je da svet i ljude vidi u slikama. U slikama Zadra, u koji se porodica 1939. seli iz Zagreba, kada je otac Sreten postavljen za vicekonzula Kraljevskog konzulata, prelamaju se, između ostalih, prizori ogromnog stana u kome, po jednom dugačkom hodniku, vozi bicikl.
    [Show full text]
  • Inheriting the Yugoslav Century: Art, History, and Generation
    Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 ABSTRACT Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 Copyright by Ivana Bago 2018 Abstract The dissertation examines the work contemporary artists, curators, and scholars who have, in the last two decades, addressed urgent political and economic questions by revisiting the legacies of the Yugoslav twentieth century: multinationalism, socialist self-management, non- alignment, and
    [Show full text]
  • Wiiralti Kataloog 0.Pdf
    Eduard Wiiralti galerii Eesti Rahvusraamatukogus The Eduard Wiiralt Gallery in the National Library of Estonia Tallinn 2015 Koostaja / Compile by Mai Levin Teksti autor / Text by Mai Levin Kujundaja / Designed by Tuuli Aule Toimetaja / Edited by Inna Saaret Tõlkija / Translated by Refiner Translations OÜ Endel Kõks. Eduard Wiiralti portree. Foto / Photograph: Teet Malsroos Esikaanel / On the front cover Tagakaanel / On the back cover Kataloogis esitatud teosed on digiteeritud Eesti Rahvusraamatukogu digiteerimiskeskuses. Works published in the Catalogue have been digitized by the National Library of Estonia. ISBN Autoriõigus / Copyright: Eesti Rahvusraamatukogu, 2015 National Library of Estonia, 2015 Eesti Autoriteühing, 2015 Estonian Authors’ Society, 2015 Trükkinud / Printed by Saateks FOREWORd Kristus pidulaua ääres, palvetava naise even started discussing this work as a pre- Mai Levin Mai Levin vari jt.), ent eelkõige haarab stseeni monition of war. Cabaret (initially titled dünaamilisus, ennastunustava naudingu The Dance of Life) was completed in 1931 1996. a. septembris avati Eesti Rahvus- In September 1996, the National Library ja iharuse atmosfäär. in Strasbourg, executed in the same tech- raamatukogus Eduard Wiiralti galerii – of Estonia opened the Eduard Wiiralt Eduard Wiiralt (1898–1954) sündis nique as its twin Inferno. The leading motif suure eesti graafiku teoste alaline ekspo- Gallery in the building – an extensive dis- Peterburi kubermangus Tsarskoje Seloo of Cabaret is sensuousness, triumphing sitsioon. See sai võimalikuks tänu Harry play of the great Estonian graphic artist. kreisis Gubanitsa vallas Robidetsi mõisas over everything intellectual. Here we can Männili ja Henry Radevalli Tallinna linnale This was made possible thanks to dona- mõisateenijate pojana. 1909. a. naases also notice symbolic details (the sleeping tehtud kingitusele, mis sisaldas 62 tions by Harry Männil and Henry Radevall perekond Eestisse, kus kunstniku isa sai Christ at the table, the shadow of a pray- E.
    [Show full text]
  • Jan Feb Mar 2018
    JAN FEB MAR 2018 FROM THE DIRECTOR A collaborative effort between Findley Elementary School students, their teacher Lisa Hesse, and artist Dave Eppley, whose major site-specific installation is included in the In late September, The Links, Drawing in Space exhibition, resulted in Mile-a-Minute Rainbow Incorporated, a not-for-profit corporation Ivy, 2017, being installed on the Richard Meier building during of African-American women leaders, held the month of November. their 60th anniversary celebration at the Art Center. The evening also showcased the many works by African-American artists in our permanent collections. It was an especially rewarding collaboration for everyone involved. The Links is now continuing this special partnership with a gift of $1,000 to support an education- based internship at the Art Center in 2018 for African-American students. The Art Center, like many museums across the country, is striving to introduce young persons of color to employment in the field in an attempt to increase their numbers in the museum career pipeline. This project will help do so. Another exciting partnership occurred in October with the Iowa Civil Rights Commission. The group held a board meeting at the Art Center where the members toured our recent exhibition, I, too, am America, with Assistant Curator Jared Ledesma. Later in October, the Iowa Civil Rights Commission organized a public symposium, which featured a break-out session entitled, I, too, am America, inspired by the show. This is a wonderful example of the power of art to inspire, illuminate understanding, and engage broad audiences. In early November, the Art Center celebrated the creation of a temporary, large-scale mural on the exterior of the Richard Meier building with a public reception.
    [Show full text]
  • Networking Surrealism in the USA. Agents, Artists and the Market
    151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh.
    [Show full text]
  • Anarcho-Surrealism in Chicago
    44 1 ANARCHO-SURREALISM IN CHICAGO SELECTED TEXTS DREAMS OF ARSON & THE ARSON OF DREAMS: 3 SURREALISM IN ‘68 Don LaCross THE PSYCHOPATHOLOGY OF WORK 19 Penelope Rosemont DISOBEDIENCE: THE ANTIDOTE FOR MISERABLISM 22 Penelope Rosemont MUTUAL ACQUIESCENCE OR MUTUAL AID? 26 Ron Sakolsky ILL WILL EDITIONS • ill-will-editions.tumblr.com 2 43 AK Press, 2010, p. 193. [22] Laurance Labadie, “On Competition” in Enemies of Society: An Anthology of Individualist and Egoist Thought (Ardent Press, San Francisco, 2011) p. 249. The underpinnings of Labadie’s point of view, which are similar to those of many other authors featured in this seminal volume, are based on the assumption that communitarian forms of mutual aid do not necessarily lead to individual emancipation. Rather, from this perspective, their actual practice involves the inherent danger of creating an even more insidious form of servitude based upon a herd mentality that crushes individuality in the name of mutuality, even when their practitioners intend or claim to respect individual freedom as an anarchist principle. [23] The Invisible Committee. The Coming Insurrection. Los Angeles: Semiotext(e), 2009. [24] Anonymous. “Taking Communion at the End of History” in Politics is not a Banana: The Journal of Vulgar Discourse. Institute for Experimental Freedom, 2009, p. 70. [25] Anonymous. Desert. St. Kilda: Stac an Armin Press, 2011, p 7. [26] Ibid, p 68. [27] James C. Scott. The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia. New Haven: Yale University Press, 2009. [28] PM. Bolo Bolo. Brooklyn, NY: Autonomedia, 1995, pp 58–60. [29] Richard Day.
    [Show full text]
  • Vogelsang (Hermann Ludolf) Karl Emil
    Wacek 380 Wach das Rgt.jubiläum 1896 (200 Jahre „Hoch- ed. F. Anzenberger, 2016, passim (m. B.); KA, WStLA, und Deutschmeister“) schrieb W. die beide Wien; Pfarre Soběslav, CZ. „Deutschmeister-Lieder“, eine musikal. Rgt.- (F. Anzenberger) geschichte; zur Einweihung des Deutsch- meister-Denkmals 1906 in Wien auf dem Wach Aloys, eigentl. Wachlmayr Alois Deutschmeister-Platz entstand sein „Deutsch- Ludwig, Maler, Graphiker und Schriftstel- meister-Denkmal-Marsch“. 1910 unternahm ler. Geb. Lambach (OÖ), 30. 4. 1892; gest. die Kapelle auf Einladung des Großindus- Braunau am Inn (OÖ), 18. 4. 1940; röm.- triellen →Arthur Krupp eine ausgedehnte kath. – Sohn des Gastwirts Anton Wachl- Südamerika-Tournee, woraufhin W. dem mayr und dessen Frau Anna Wachlmayr, Mäzen dieser Reise den „Krupp-Marsch“ geb. Grundner; ab 1917 verheiratet mit widmete. Neben den militär. Verpflichtun- Käthe Käser. – Nach der Bürgerschule ab- gen absolv. die Militärmusik jährl. mehrere solv. W. auf Drängen seiner Familie zu- hundert Auftritte (Unterhaltungskonzerte, nächst eine Lehre als Kaufmann und Tanzveranstaltungen) bei privaten Auftrag- arbeitete ab 1909 kurzfristig in diesem gebern in Wien, teils bis zu vier Termine Beruf. Daneben bemühte er sich jedoch gleichzeitig in geteilten Besetzungen, was konsequent um eine Kunstausbildung. Nach Kapellmeister W., der an den Auftrittsga- mehreren erfolglosen Versuchen in Wien gen beteiligt war, ein beträchtl. Zusatzein- und München ging er 1912 nach Berlin, wo kommen ermöglichte. Während des 1. Welt- er als Schüler von Richard Janthur in das kriegs diente die reguläre Musikkapelle im Umfeld der beginnenden expressionist. Be- Feld. W. blieb jedoch mit den Musikern des wegung kam. 1913 reiste er nach Paris, um „Ersatzbataillons“ die meiste Zeit in Wien künstler.
    [Show full text]
  • Documents (Pdf)
    Documents_ 18.7 7/18/01 11:40 AM Page 212 Documents 1915 1918 Exhibition of Paintings by Cézanne, Van Gogh, Picasso, Tristan Tzara, 25 poèmes; H Arp, 10 gravures sur bois, Picabia, Braque, Desseignes, Rivera, New York, Zurich, 1918 ca. 1915/16 Flyer advertising an edition of 25 poems by Tristan Tzara Flyer with exhibition catalogue list with 10 wood engravings by Jean (Hans) Arp 1 p. (folded), 15.3x12 Illustrated, 1 p., 24x16 1916 Tristan Tzara lira de ses oeuvres et le Manifeste Dada, Autoren-Abend, Zurich, 14 July 1916 Zurich, 23 July 1918 Program for a Dada event in the Zunfthaus zur Waag Flyer announcing a soirée at Kouni & Co. Includes the 1 p., 23x29 above advertisement Illustrated, 2 pp., 24x16 Cangiullo futurista; Cafeconcerto; Alfabeto a sorpresa, Milan, August 1916 Program published by Edizioni futuriste di “Poesia,” Milan, for an event at Grand Eden – Teatro di Varietà in Naples Illustrated, 48 pp., 25.2x17.5 Pantomime futuriste di Francesco Cangiullo, Rome, 1916 Flyer advertising an event at the Club al Cantastorie 1 p., 35x50 Galerie Dada envelope, Zurich, 1916 1 p., 12x15 Stationary headed ”Mouvement Dada, Zurich,“ Zurich, ca. 1916 1 p., 14x22 Stationary headed ”Mouvement Dada, Zeltweg 83,“ Zurich, ca. 1916 Club Dada, Prospekt des Verlags Freie Strasse, Berlin, 1918 1 p., 12x15 Booklet with texts by Richard Huelsenbeck, Franz Jung, and Raoul Hausmann Mouvement Dada – Abonnement Liste, Zurich, ca. 1916 Illustrated, 16 pp., 27.1x20 Subscription form for Dada publications 1 p., 28x20.5 Centralamt der Dadaistischen Bewegung, Berlin, ca. 1918–19 1917 Stationary of Richard Huelsenbeck with heading of the Sturm Ausstellung, II Serie, Zurich, 14 April 1917 Dada Movement Central Office Catalogue of an exhibition at the Galerie Dada.
    [Show full text]