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Programm-Jahrestagung-Dmb-2018-Online.Pdf
DMB 18 · Bremen Jahrestagung des Deutschen Museumsbundes e.V. 6. bis 9. Mai 2018 in Bremen Sonntag, 6. Mai 2018 Exkursionen in Museen in Bremen 19.00 Empfang Der Deutsche Museumbund bedankt sich bei den gastgebenden auf Einladung der Kunsthalle Bremen Museen, den öffentlichen Förderern, den Medienpartnern sowie Am Wall 207, 28195 Bremen bei allen Unterstützern und Sponsoren für das Engagement bei der Vorbereitung und Durchführung der Tagung: Montag, 7. Mai 2018 Freie Hansestadt Bremen 10.00 Haupttagung Handelskammer Bremen – IHK für Bremen und Bremerhaven Unternehmensverbände im Land Bremen e. V. 19.00 Empfang Kulturstiftung der Länder auf Einladung der Handelskammer Bremen – Museumsverband für Niedersachsen und Bremen IHK für Bremen und Bremerhaven und gastgebende Museen der Unternehmensverbände im Land Bremen Deutsche Bahn Haus Schütting, Am Markt 13, 28195 Bremen Exponatec Image Access Dienstag, 8. Mai 2018 PROXIPEDIA cura3D 9.30 Haupttagung Kulturmanagement Network publicmarketing 15.00 Mitgliederversammlung blachreport 18.00 Empfang auf Einladung der Freien Hansestadt Bremen Obere Rathaushalle, Am Markt 21, 28195 Bremen Die Jahrestagung wurde konzipiert und umgesetzt von: 19.30 Get-together Prof. Dr. Wiebke Ahrndt, Gregor Isenbort, Jan-Christian Warnecke, Schüttinger Gasthausbrauerei Prof. Dr. Eckart Köhne, Dr. Jens Bortloff, Prof. Dr. Christina Haak, Hinter dem Schütting 12/13, 28195 Bremen Dr. Susanne Köstering, Dr. Ulrike Lorenz, Ulrike Stottrop, Dr. Gabriele Uelsberg, Dr. Hayat Wiersch, Melanie Kölling, Mittwoch, 9. Mai 2018 David Vuillaume, Gunhild Jäger, Sylvia Willkomm. Fachtagungen der Fachgruppen und Arbeitskreise Programmänderung vorbehalten Jahrestagung des Deutschen Museumsbundes e.V. 6. bis 9. Mai 2018 in Bremen Eine Frage der Haltung. Welche Werte vertreten Museen? Ein Haus stellt Objekte aus der NS-Diktatur aus und bekommt Beifall von „falscher“ Seite. -
Michael Heizer Selected Bibliography
G A G O S I A N Michael Heizer Selected Bibliography Selected Books and Catalogues: 2019 Fox, William. Michael Heizer: The Once and Future Monuments. New York: Monacelli Press. 2017 Voorhies, James. Beyond Objecthood: The Exhibition as a Critical Form since 1968. Boston: MIT Press. Celant, Germano and Chiara Costa. Virginia Dwan: Dwan Gallery. Lausanne: Skira. 2015 Fine, Ruth E., Kara Vander Weg and Michael Heizer. Michael Heizer: Altars. New York: Gagosian Gallery. 2014 Cameron, Dan. The Avant-Garde Collection. Newport Beach, CA: Orange County Museum of Art. Kaz, Leonel, ed. Inusitada Coleção De Sylvio Perlstein. São Paolo: Museu de Arte de São Paolo Assis Chateaubriand. 2013 Allen, Gwen L., Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, et al. When Attitudes Become Form: Bern 1969/Venice 2013. Milan: Fondazione Prada. 2012 Lippard, Lucy R. and Jeff Khonsary. 4,492,040 (1969–74). Vancouver: New Documents 2010 Jensen, Susanne, Susanne Lenze, and Reinhard Onnasch. “Michael Heizer: Untitled.” In Nineteen Artists. Berlin: El Sourdog Hex; Bielefeld, Germany: Kerber Verlag. 2011 Reifenscheid, Beate. Die Letzte Freiheit: Von den Pionieren der Land-Art der 1960er Jahre bis zur Natur im Cyberspace. Milan: Silvana. 2010 Goldman, Judith. Robert & Ethel Scull: Portrait of a Collection. New York: Acquavella Gallery. Marcoci, Roxana, ed. The Original Copy: Photography of Sculpture, 1839 to Today. New York: Museum Of Modern Art. 2009 Grabner, Roman, Thomas Kellein, and Felicitas von Richthofen. 1968: Die Große Unschuld. Cologne: DuMont. 2008 Semff, Michael. Künstler Zeichnen. Sammler Stiften, 250 Jahre Staatliche Graphische Sammlung München. Ostfildern, Germany: Hatje Cantz. Lara, Cathy, ed. -
A Guide for Holders of the International Association of Art Card Prepared with Contributions from the Slovak Union of Visual Arts (Slovenská Výtvarná Únia) 2017
A guide for holders of the International Association of Art card Prepared with contributions from the Slovak Union of Visual Arts (Slovenská výtvarná únia) 2017 The International Association of Art (IAA/AIAP) is a non-governmental organization working in official partnership with UNESCO. Its objectives are to stimulate international cooperation among visual artists of all countries, nations or peoples, to improve the socio-economic position of artists nationally and internationally, and to defend their material and moral rights. The IAA issues identity cards to professional visual artists. This card allows free or discounted admission to many galleries and museums in countries around the world. The card is a tool for the lifelong education of artists in their professional artistic research. These institutions, large or small, recognize the benefit they gain from enabling the artists, like art critics and journalists, to visit exhibitions, art events and collections of art, to carry on research, and to gain inspiration. As a member within the IAA network, CARFAC National issues IAA cards exclusively to Canadian professional artists that are members of CARFAC upon request. Only National Committees of the IAA may issue the card. Where to use the IAA card This document includes a chart detailing selected institutions that offer free or discounted admission prices, or other perks to IAA card holders while travelling abroad. This information was obtained from surveying recent users of the card and IAA National Committees worldwide, and is updated regularly – most recently in 2017 by the Slovak Union of Visual Arts (SUVA). Users will find that different areas in Europe are more receptive to the card than others. -
Robert Longo
ROBERT LONGO Born in 1953 in Brooklyn, New York Lives in New York, New York EDUCATION 1975 BFA State University College, Buffalo, New York SELECTED ONE-PERSON EXHIBITIONS 2021 A House Divided, Guild Hall, East Hampton, New York 2020 Storm of Hope, Jeffrey Deitch, Los Angeles 2019 Amerika, Metro Pictures, New York Fugitive Images, Metro Pictures, New York When Heaven and Hell Change Places, Hall Art Foundation | Schloss Derneburg Museum, Germany 2018 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Deichtorhallen Hamburg Them and Us, Metro Pictures, New York Everything Falls Apart, Capitan Petzel, Berlin 2017 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Brooklyn Museum (cat.) Sara Hilden Art Museum, Tampere, Finland (cat.) The Destroyer Cycle, Metro Pictures, New York Let the Frame of Things Disjoint, Thaddaeus Ropac, London (cat.) 2016 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Garage Museum of Contemporary Art, Moscow (cat.) Luminous Discontent, Galerie Thaddaeus Ropac, Paris (cat.) 2015 ‘The Intervention of Zero (After Malevich),’ 1991, Galerie Hans Mayer, Düsseldorf 2014 Gang of Cosmos, Metro Pictures, New York (cat.) Strike the Sun, Petzel Gallery, New York 2013 The Capitol Project, Aldrich Contemporary Art Museum, Ridgefield, Connecticut Phantom Vessels, Galerie Thaddaeus Ropac, Salzburg, Austria 2012 Stand, Capitain Petzel, Berlin (cat.) Men in the Cities: Fifteen Photographs 1980/2012, Schirmer/Mosel Showroom, Munich 2011 God Machines, Galerie Thaddaeus Ropac, Paris (cat.) Mysterious Heart Galería -
Bremen Und Die Kunst in Der Kolonialzeit
DER BLINDE FLECK BREMEN UND DIE KUNST IN DER KOLONIALZEIT THE BLIND SPOT BREMEN, COLONIALISM AND ART EDITED BY JULIA BINTER ©2017byKunsthalle Bremen –Der Kunstverein in Bremen www.kunsthalle-bremen.de ©2017byDietrich Reimer Verlag GmbH, Berlin www.reimer-mann-verlag.de Funded by the International MuseumFellowship program of the German Federal Cultural Foundaition In cooperation with Afrika-Netzwerk Bremen e.V. Bibliographic Information of the German National Library Deutsche Nationalbibliothek holds arecordofthis publication in the Deutsche Nationalbibliografie; detailed bibliographical data can be found under: http://dnb.d-nb.de. All rightsreserved. No partofthis book maybereprintedorrepro- ducedorutilised in any form or by any electronic, mechanical or other means, nowknown or hereafter invented, including photocopying and recording, or in any information storage or retrievalsystem, without permission in writing from the publishers. ISBN 978-3-496-01592-5 With contributions by Julia Binter Anna Brus Anujah Fernando Anna Greve HewLocke YvetteMutumba Ngozi Schommers Vivan Sundaram Translations from German and English by Daniel Stevens Lenders Nolde-Stiftung Seebüll Sammlung Vivanund Navina Sundaram Sammlung Karl H. Knauf,Berlin Übersee-Museum Bremen Deutsches Schifffahrtsmuseum Bremerhaven Museum für Völkerkunde Hamburg Focke-Museum Landesmuseum für Kunst und Kulturgeschichte Schulmuseum Bremen Landesfilmarchiv Bremen Intro Ⅰ Kawanabe Kyōsai, The Lazy one in the Middle, n. d., monochrome woodcut, Outro Ⅰ Kunsthalle Bremen – Artist unknown, -
Hew Locke Cv
HEW LOCKE CV Born 1959, Edinburgh Lives and works in London Education 1994 MA Sculpture, Royal College of Art, London, UK 1988 Falmouth University, UK, BA (Hons) Fine Art Selected Solo Exhibitions 2017-18 Reversal of Fortune, Fringe Projects Miami, The Alfred I. duPont Building, Miami, FL, USA For Those in Peril on the Sea, Perez Art Museum Miami, Miami, FL, USA Cui Bono, installation in Bremen Rathouse, originally comissioned in conjunction with Der Blinde Fleck by Kunsthalle Bremen, Bremen, Germany 2016 The Wine Dark Sea, Edward Tyler Nahem Fine Art, New York, USA 2015 IWM Contemporary: Hew Locke, IWM London, UK The Tourists, HMS Belfast, London, UK Magna Carta Commission, Runnymede Surrey, UK 2014 Beyond the Sea Wall, Hales Gallery, London, UK Give and Take, performance in the Turbine Hall, Tate Modern, London. Part of Up Hill Down Hall 2013 For Those in Peril on the Sea, installation at launch of Pérez Art Museum Miami, USA Adrift, All Hallows by the Tower Church, Thames Festival, London, UK 2012 Day of the Dead Festival, a new installation titled ‘Adrift’ created for the Old Vic Tunnels, London, UK 2011 For Those in Peril on the Sea, St. Mary & St. Eanswythe Church, Folkestone Triennial, UK The Nameless, KAdE Kunsthal, Amersfoort, the Netherlands Are We There Yet?, The Gallery, the Arts University College at Bournemouth, UK Starchitect, ArtSway, Hampshire & as part of The New Forest Pavillion, Venice Biennale, Venice, Italy 2010 The Nameless, Hales Gallery, London, UK 2008 The Kingdom of the Blind, Rivington Palace, London, UK How do you want me?, Hales Gallery, London, UK London, 7 Bethnal Green Road, E1 6LA. -
New Collector Trends in Art & Finance
New Collector Trends in Art & Finance Art & Finance Conference 2019 12 th edition - Monaco Deloitte - New Collector Trends in Art & Finance | Content Content Agenda .................................................. 05 Speakers ............................................... 09 Sponsors & Media Promoters ......... 45 4 Noospheres © Lina Sinisterra (2019) New Collector Trends in Art & Finance | Speakers DELOITTE ART & FINANCE CONFERENCE 2019 - 12TH EDITION Agenda NEW COLLECTOR TRENDS IN ART & FINANCE 5 Deloitte - New Collector Trends in Art & Finance | Agenda TIME FRAME SUBJECT SPEAKERS 08:30 | 09:00 Registration and welcome coffee 09:00 | 09:15 Welcome speech Vincent Gouverneur - Partner, EMEA Investment Management Leader, and introduction Art & Finance Leader, Deloitte Luxembourg Peter Brigham - CEO, Rosemont Monaco SAM Jean Castellini - Minister of Finance and Economy, Principality of Monaco 09:15 | 10:15 Moderator: Pascal Noel - Director of Operations, Deloitte Monaco Panel 1 Estate Planning: structuring Panelists: Peter Brigham - CEO, Rosemont Monaco SAM art collection in an era of greater Melanie Damani - Managing Director, Hottinger Art Limited transparency Emmanuelle Ragot - Partner, Head of Data/IP/TMT/Employment, Wildgen Pietro Ripa - Private Banker, Fideuram Bank Freya Stewart - CEO, Art Lending and Group General Counsel, The Fine Art Group 10:15 | 10:45 Break 10:45 | 11:45 Panel 2 Moderator: Janet Xanthopoulos - Head of Yacht Ownership & Administration, Rosemont Yacht Services Art on Yachts: Monaco’s unique vision Panelists: -
Douglas Gordon Biography
G A G O S I A N Douglas Gordon Biography Born in 1966, Glasgow, Scotland. Lives and works in Berlin, Germany; Glasgow, Scotland; and New York, NY. Education: 1988–90 Slade School of Fine Art, London, England. 1984–88 Glasgow School of Art, Glasgow, Scotland. Solo and Two-Person Exhibitions: 2020 Zidane: A 21st Century Portrait. Douglas Gordon and Philippe Parreno. Louisiana Museum of Modern Art, Humlebaek, Denmark. 2019 Douglas Gordon: In My Shadow. ARoS Aarhus Art Museum, Aarhus, Denmark. 2018 Zidane: A 21st Century Portrait. Douglas Gordon and Philippe Parreno. Dunedin Public Art Gallery, Dunedin, New Zealand. Douglas Gordon: k.364. K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Douglas Gordon: Îles flottantes (If Monet Met Cézanne, in Montfavet). Instituto Moreira Salles, São Paulo, Brazil. ARTIST ROOMS: Douglas Gordon. Berwick Visual Arts, Berwick-upon-Tweed, England. 2017 Douglas Gordon: back and forth and forth and back. Gagosian, West 21st Street, New York, NY. Portrait of Janus. Art Sonje Center, Seoul, South Korea. Douglas Gordon: I had nowhere to go: Portrait of a displaced person. Gagosian, Britannia Street, London, England. 24 Hour Psycho. Lewis Center for the Arts, Princeton University, Princeton, NJ. Douglas Gordon: Black Burns. Scottish National Portrait Gallery, Edinburgh, Scotland. Douglas Gordon - Selected works from the 1990‘s. André Viana Gallery, New York, NY. Gente di Palermo. Prisons of the Palazzo Ducale, Venice, Italy. 2016 Douglas Gordon: Searching for Genius. Peninsula Art Gallery, Plymouth, England. Douglas Gordon: Play Dead; Real Time. Dunedin Public Art Gallery, New Zealand. Douglas Gordon. Gagosian Gallery, Geneva, Switzerland. Douglas Gordon @ Paris Photo Prisme. Grand Palais, Paris, France. -
Guidelines on Dealing with Collections from Colonial Contexts
Guidelines on Dealing with Collections from Colonial Contexts Guidelines on Dealing with Collections from Colonial Contexts Imprint Guidelines on Dealing with Collections from Colonial Contexts Publisher: German Museums Association Contributing editors and authors: Working Group on behalf of the Board of the German Museums Association: Wiebke Ahrndt (Chair), Hans-Jörg Czech, Jonathan Fine, Larissa Förster, Michael Geißdorf, Matthias Glaubrecht, Katarina Horst, Melanie Kölling, Silke Reuther, Anja Schaluschke, Carola Thielecke, Hilke Thode-Arora, Anne Wesche, Jürgen Zimmerer External authors: Veit Didczuneit, Christoph Grunenberg Cover page: Two ancestor figures, Admiralty Islands, Papua New Guinea, about 1900, © Übersee-Museum Bremen, photo: Volker Beinhorn Editing (German Edition): Sabine Lang Editing (English Edition*): TechniText Translations Translation: Translation service of the German Federal Foreign Office Design: blum design und kommunikation GmbH, Hamburg Printing: primeline print berlin GmbH, Berlin Funded by * parts edited: Foreword, Chapter 1, Chapter 2, Chapter 3, Background Information 4.4, Recommendations 5.2. Category 1 Returning museum objects © German Museums Association, Berlin, July 2018 ISBN 978-3-9819866-0-0 Content 4 Foreword – A preliminary contribution to an essential discussion 6 1. Introduction – An interdisciplinary guide to active engagement with collections from colonial contexts 9 2. Addressees and terminology 9 2.1 For whom are these guidelines intended? 9 2.2 What are historically and culturally sensitive objects? 11 2.3 What is the temporal and geographic scope of these guidelines? 11 2.4 What is meant by “colonial contexts”? 16 3. Categories of colonial contexts 16 Category 1: Objects from formal colonial rule contexts 18 Category 2: Objects from colonial contexts outside formal colonial rule 21 Category 3: Objects that reflect colonialism 23 3.1 Conclusion 23 3.2 Prioritisation when examining collections 24 4. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Annual Report
July 1, 2007–June 30, 2008 AnnuAl RepoRt 1 Contents 3 Board of Trustees 4 Trustee Committees 7 Message from the Director 12 Message from the Co-Chairmen 14 Message from the President 16 Renovation and Expansion 24 Collections 55 Exhibitions 60 Performing Arts, Music, and Film 65 Community Support 116 Education and Public Programs Cover: Banners get right to the point. After more than 131 Staff List three years, visitors can 137 Financial Report once again enjoy part of the permanent collection. 138 Treasurer Right: Tibetan Man’s Robe, Chuba; 17th century; China, Qing dynasty; satin weave T with supplementary weft Prober patterning; silk, gilt-metal . J en thread, and peacock- V E feathered thread; 184 x : ST O T 129 cm; Norman O. Stone O PH and Ella A. Stone Memorial er V O Fund 2007.216. C 2 Board of Trustees Officers Standing Trustees Stephen E. Myers Trustees Emeriti Honorary Trustees Alfred M. Rankin Jr. Virginia N. Barbato Frederick R. Nance Peter B. Lewis Joyce G. Ames President James T. Bartlett Anne Hollis Perkins William R. Robertson Mrs. Noah L. Butkin+ James T. Bartlett James S. Berkman Alfred M. Rankin Jr. Elliott L. Schlang Mrs. Ellen Wade Chinn+ Chair Charles P. Bolton James A. Ratner Michael Sherwin Helen Collis Michael J. Horvitz Chair Sarah S. Cutler Donna S. Reid Eugene Stevens Mrs. John Flower Richard Fearon Dr. Eugene T. W. Sanders Mrs. Robert I. Gale Jr. Sarah S. Cutler Life Trustees Vice President Helen Forbes-Fields David M. Schneider Robert D. Gries Elisabeth H. Alexander Ellen Stirn Mavec Robert W. -
Marianne Stockebrand Respect Nature Was of the Highest Order
This talk was first given in the German original in Septem- ber 2011 at the Pinakothek der Moderne, Munich, then in its English translation in Marfa on May 12, 2012, and is here pub- lished in a slightly edited version. To speak of “The Whole Judd” is of course an incredible decla- ration and one that can only be justified as a headline. Never- theless, I intend to move beyond the stereotype of the “artist of boxes” in order to outline a more complex figure. Donald Judd was highly productive, and in many diferent areas. He started out as a painter, moved on to three-dimen- sional objects, made prints throughout his life, drew prolifi- cally, wrote exhibition reviews and essays, practiced architec- ture (although he didn’t call himself an architect because he didn’t have a license) and renovated first his own building in New York and subsequently his residence in Marfa, Texas, and finally founded a museum—the Chinati Foundation—also in Marfa. In addition to the completed architectural projects there are a large number of unrealized ones that exist only in the form of sketches and plans. He designed furniture, which he considered part of his architecture. The first pieces were made purely for personal use because nothing suitable was available for purchase in West Texas; later the range of designs was expanded to include tableware, textiles, jewelry, and so on. Finally, Judd also ranched, and in this capacity served as a guardian of the landscape. He purchased large parcels of land not far from Marfa and kept only a small number of cattle because the land had been overgrazed and needed to rest.