EVA HESSE Born in Hamburg/D, on January 11, 1936 Studied At
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The Federal State of Hesse
Helaba Research REGIONAL FOCUS 7 August 2018 Facts & Figures: The Federal State of Hesse AUTHOR The Federal Republic of Germany is a country with a federal structure that consists of 16 federal Barbara Bahadori states. Hesse, which is situated in the middle of Germany, is one of them and has an area of just phone: +49 69/91 32-24 46 over 21,100 km2 making it a medium-sized federal state. [email protected] EDITOR Hesse in the middle of Germany At 6.2 million, the population of Hesse Dr. Stefan Mitropoulos/ Population in millions, 30 June 2017 makes up 7.5 % of Germany’s total Anna Buschmann population. In addition, a large num- PUBLISHER ber of workers commute into the state. Dr. Gertrud R. Traud As a place of work, Hesse offers in- Chief Economist/ Head of Research Schleswig- teresting fields of activity for all qualifi- Holstein cation levels, for non-German inhabit- Helaba 2.9 m Mecklenburg- West Pomerania ants as well. Hence, the proportion of Landesbank Hamburg 1.6 m Hessen-Thüringen 1.8 m foreign employees, at 15 %, is signifi- MAIN TOWER Bremen Brandenburg Neue Mainzer Str. 52-58 0.7 m 2.5 m cantly higher than the German aver- 60311 Frankfurt am Main Lower Berlin Saxony- age of 11 %. phone: +49 69/91 32-20 24 Saxony 3.6 m 8.0 m Anhalt fax: +49 69/91 32-22 44 2.2 m North Rhine- Apart from its considerable appeal for Westphalia 17.9 m immigrants, Hesse is also a sought- Saxony Thuringia 4.1 m after location for foreign direct invest- Hesse 2.2 m 6.2 m ment. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs. -
OPEN LETTER in Support of CATHERINE De ZEGHER
OPEN LETTER in support of CATHERINE de ZEGHER About 7 months ago, we learned through the press that Catherine de Zegher had been temporarily suspended as Director of the Museum of Fine Arts of Ghent (MSK). It followed a 7 weeks media campaign of allegations made against the museum and its presentation within the permanent collection of the Russian avant-garde art from the Dieleghem Foundation, based in Brussels. The media allegations had risen to a crescendo, with the most extravagant claims being made, claims, which on examination appeared to have no factual basis and no discernible verifiable evidence. Malign motives were imputed to all those involved with the exhibition. In particular the personal attacks against Catherine de Zegher reached a peculiar and unprecedented intensity that resulted in a trial by media. Under pressure of the escalating and widespread attacks the city of Ghent caved in and temporarily suspended Catherine de Zegher. Today, October 9, 2018, most obviously Catherine de Zegher’s position as “temporally suspended museum director” has not been clarified, and no additional scientific research or independent material-technical expertise have been initiated by municipal, regional, or national government authorities in Belgium to settle the authenticity of the Russian avant-garde works exhibited at the MSK. As a consequence, the mendacious allegations against her are kept alive and the situation seems to be lingering without solution in sight. The scope of allegations and measures of isolation of a director and curator internationally recognized for her artistic vision, her championing of art by women and art from diverse cultures, her broad knowledge and expertise, her ceaseless curiosity, the relevance of her museum programming and the quality of her widely influential exhibitions and many books, stupefy us. -
Final Report Provenance Research
Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority. -
Escaping Liberty: Western Hegemony, Black Fugitivity Barnor Hesse Political Theory 2014 42: 288 DOI: 10.1177/0090591714526208
Political Theory http://ptx.sagepub.com/ Escaping Liberty: Western Hegemony, Black Fugitivity Barnor Hesse Political Theory 2014 42: 288 DOI: 10.1177/0090591714526208 The online version of this article can be found at: http://ptx.sagepub.com/content/42/3/288 Published by: http://www.sagepublications.com Additional services and information for Political Theory can be found at: Email Alerts: http://ptx.sagepub.com/cgi/alerts Subscriptions: http://ptx.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav >> Version of Record - May 14, 2014 What is This? Downloaded from ptx.sagepub.com by guest on May 20, 2014 PTXXXX10.1177/0090591714526208Political TheoryHesse 526208research-article2014 Article Political Theory 2014, Vol. 42(3) 288 –313 Escaping Liberty: © 2014 SAGE Publications Reprints and permissions: Western Hegemony, sagepub.com/journalsPermissions.nav DOI: 10.1177/0090591714526208 Black Fugitivity ptx.sagepub.com Barnor Hesse1 Abstract This essay places Isaiah Berlin’s famous “Two Concepts of Liberty” in conversation with perspectives defined as black fugitive thought. The latter is used to refer principally to Aimé Césaire, W. E. B. Du Bois and David Walker. It argues that the trope of liberty in Western liberal political theory, exemplified in a lineage that connects Berlin, John Stuart Mill and Benjamin Constant, has maintained its universal meaning and coherence by excluding and silencing any representations of its modernity gestations, affiliations and entanglements with Atlantic slavery and European empires. This particular incarnation of theory is characterized as the Western discursive and hegemonic effects of colonial-racial foreclosure. Foreclosure describes the discursive contexts in which particular terms or references become impossible to formulate because the means by which they could be formulated have been excluded from the discursive context. -
Catherine De Zegher - the Inside Is the Outside: the Relational As the (Feminine) Space of the Radical
Catherine de Zegher - The Inside is the Outside: The Relational as the (Feminine) Space of the Radical Back to Issue 4 The Inside is the Outside: The Relational as the (Feminine) Space of the Radical by Catherine de Zegher © 2002 It may seem precursory to begin my essay with an image that has been haunting me since September 11, but in a concise way it prefigures many issues I will write about. It is an image of a work by the Chilean artist and poet, Cecilia Vicuna, who has been living in New York for many years. The work dates from 1981 and shows a word drawn in three colors of pigment (white, blue, and red—also the colors of the American flag) on the pavement of the West Side Highway with the World Trade Center on the horizon. It reads in Spanish: Parti si passion (Participation), which Vicuna unravels as “to say yes in passion, or to partake of suffering.” Revealing aspects of connectivity and compassion, the word spelled out on the road was as ephemeral as its meaning remained for the art world. Unnoticed and unacknowledged, it disappeared in dust, but becomes intelligible in the present. This precarious work tells us how certain art practices, in their continuous effort to press forward a different perception of the world, have a visionary content that is marginalized because of fixed conventional readings of art, but nevertheless is bound to be recognized. My essay will seek to uncover the latency of this kind of work in the second half of the twentieth century, which is slowly coming into being today and can be understood because of feminist practice, but also perhaps because of an abruptly changed reality. -
EXPEDITION GRIMM As the Climax to Year of the Grimms 2013, the Federal State of Hessen Will Present the Exhibition EXPEDITION GRIMM, in the Documenta Hall in Kassel
PRESS RELEASE EXPEDITION GRIMM As the climax to Year of the Grimms 2013, the Federal State of Hessen will present the exhibition EXPEDITION GRIMM, in the documenta Hall in Kassel. This extensive show will examine the exciting life and diverse work of the two brothers Jacob and Wilhelm Grimm. Jacob and Wilhelm Grimm are famous around the world, especially for their Children's and Household Tales, which have been translated into roughly 160 languages and which, alongside Luther’s Bible, are among the most commonly translated of German books. But the Brothers Grimm were more than just collectors of fairy tales. They have left behind many traces as philologists, legal historians and politicians; with their German Grammar and German Dictionary they laid the foundations for German philology. To celebrate the Grimm brothers’ huge significance for German cultural history, the Federal State of Hessen has launched this exhibition, EXPEDITION GRIMM. Hessen’s Minister of Science and Art, Eva Kühne-Hörmann, explains the purpose of the show, which she herself proposed: “There are many fascinating connections between the life and works of the Brothers Grimm, and their home country of Hessen. We want to use our exhibition to demonstrate that fact and, above all, to make it clear there’s so much more to the Grimms than just fairy tales.” In three showcases in the documenta Hall in Kassel, EXPEDITION GRIMM displays valuable manuscripts and personal memorabilia of the brothers, and places them in the context of the volatile political circumstances of the time. Works by their artist brother, Ludwig Emil, also show how the Grimm family used to live. -
Mapping an Arm's Length
MAPPING AN ARM’S LENGTH: Body, Space and the Performativity of Drawing Roohi Shafiq Ahmed A thesis in partial fulfilment of the requirements for the degree of Master of Fine Arts College of Fine Arts, University of New South Wales. 2013 ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. 28th March 2013 Date ……………………………………………................. ! DECLARATIONS Copyright Statement I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. -
Kees Van Dongen Max Ernst Alexej Von Jawlensky Otto Mueller Emil Nolde Max Pechstein Oskar Schlemmer
MASTERPIECES VIII KEES VAN DONGEN MAX ERNST ALEXEJ VON JAWLENSKY OTTO MUELLER EMIL NOLDE MAX PECHSTEIN OSKAR SCHLEMMER GALERIE THOMAS MASTERPIECES VIII GALERIE THOMAS CONTENTS ALEXEJ VON JAWLENSKY MAX ERNST STILL LIFE WITH JUG AND APPLES 1908 6 FEMMES TRAVERSANT UNE RIVIÈRE EN CRIANT 1927 52 PORTRAIT C. 191 616 ALEXEJ VON JAWLENSKY MAX PECHSTEIN HOUSE WITH PALM TREE 191 4 60 INTERIEUR 1922 22 OSKAR SCHLEMMER EMIL NOLDE ARCHITECTURAL SCULPTURE R 191 9 68 YOUNG FAMILY 1949 30 FIGURE ON GREY GROUND 1928 69 KEES VAN DONGEN ALEXEJ VON JAWLENSKY PORTRAIT DE FEMME BLONDE AU CHAPEAU C. 191 2 38 WOMAN IN RED BLOUSE 191 1 80 EMIL NOLDE OTTO MUELLER LANDSCAPE (PETERSEN II) 1924 44 PAIR OF RUSSIAN GIRLS 191 9 88 4 5 STILL LIFE WITH JUG AND APPLES 1908 ALEXEJ VON JAWLENSKY oil on cardboard Provenance 1908 Studio of the artist 23 x 26 3/4 in. Adolf Erbslöh signed lower right, Galerie Otto Stangl, Munich signed in Cyrillic and Private collection dated lower left Galerie Thomas, Munich Private collection Jawlensky 21 9 Exhibited Recorded in the artist’s Moderne Galerie, Munich 191 0. Neue Künstlervereinigung, II. Ausstellung. No. 45. photo archive with the title Galerie Paul Cassirer, Berlin 1911 . XIII. Jahrgang, VI. Ausstellung. ‘Nature morte’ Galerie Otto Stangl, Munich 1948. Alexej Jawlensky. Image (leaflet). Musée National d’Art Moderne, Paris; Haus der Kunst Munich, 1966. Le Fauvisme français et les débuts de l’Expressionisme allemand. No. 164, ill. p.233. Ganserhaus, Wasserburg 1979. Alexej von Jawlensky – Vom Abbild zum Urbild. No. 18, ill. p.55. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
French and Hessian Impressions: Foreign Soldiers' Views of America During the Revolution
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2003 French and Hessian Impressions: Foreign Soldiers' Views of America during the Revolution Cosby Williams Hall College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Military History Commons, and the United States History Commons Recommended Citation Hall, Cosby Williams, "French and Hessian Impressions: Foreign Soldiers' Views of America during the Revolution" (2003). Dissertations, Theses, and Masters Projects. Paper 1539626414. https://dx.doi.org/doi:10.21220/s2-a7k2-6k04 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. FRENCH AND HESSIAN IMPRESSIONS: FOREIGN SOLDIERS’ VIEWS OF AMERICA DURING THE REVOLUTION A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Cosby Hall 2003 a p p r o v a l s h e e t This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts CosbyHall Approved, September 2003 _____________AicUM James Axtell i Ronald Hoffman^ •h im m > Ronald S chechter TABLE OF CONTENTS Page Acknowledgements iv Abstract V Introduction 2 Chapter 1: Hessian Impressions 4 Chapter 2: French Sentiments 41 Conclusion 113 Bibliography 116 Vita 121 iii ACKNOWLEDGEMENTS The writer wishes to express his sincere appreciation to Professor James Axtell, under whose guidance this paper was written, for his advice, editing, and wisdom during this project.