DOCSLIB.ORG

Josef Albers Change Direction, 1942 Josef Albers Kam 1920, Nach Dem

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Josef Albers Change Direction, 1942 Josef Albers Kam 1920, Nach Dem Josef Albers 1888 Bottrop, D – 1976 New Haven, Connecticut, USA Change Direction, 1942 Öl auf Spanplatte/Oil on chipboard Erworben/Acquired 1985 Daimler Art Collection Stuttgart/Berlin Josef Albers kam 1920, nach dem Studium in Berlin, Essen Having studied in Berlin, Essen and Munich, Albers, aged 32 at und München, bereits 32-jährig ans Bauhaus in Weimar und the time, moved to Weimar in 1920 to continue his studies at studierte zunächst bei Johannes Itten. Als Leiter der the Bauhaus, initially under Johannes Itten. As head of the Glaswerkstatt gab Albers Kurse in Materialkunde und glass workshop, Albers taught material science and influenced beeinflusste als Bauhaus-Meister über zehn Jahre mehrere several generations of Bauhaus students in the course of ten Generationen von Studenten. Albers erste abstrakte Bilder years. Albers’ first abstract pictures date back to the year datieren in das Jahr 1913, aber erst seine Glasfenster- 1913, but it was not before the 1930s that his glass window entwürfe der 1930er Jahre markieren prägnante Entwick- drafts reflected distinctive development steps towards a lungsschritte zu visuell wahrnehmbarer Räumlichkeit auf visually perceptible three-dimensionality on a level surface. planer Fläche. Zwischen 1941–42 entwickelt Albers die Serie Albers worked on the Graphic Tectonic series in 1941–42, to Graphic Tectonic, zu welcher auch die Arbeit Change which the work called Change Direction, 1942, belongs: Direction, 1942, gehört: Mehrere einander überlappende Several overlapping pictorial levels are folded out by means of Bildebenen in unterschiedlicher Farbigkeit werden durch ein a structure of white lines. Movements in opposite directions weißes Liniengefüge wechselseitig aufgeklappt. Gegen- meet in front of a diagonal surface in a brownish shade. In läufige Bewegungen treffen vor einer diagonal angelegten, 1949 Albers began creating his best-known picture series, bräunlichen Fläche aufeinander. 1949 beginnt Albers mit Homage to the Square, which accords a hitherto unknown seiner bekanntesten Bildserie Homage to the Square, die der degree of absoluteness to the autonomy of color. Autonomie der Farbe eine bis dahin unbekannte Absolutheit einräumt. Max Ackermann 1887 Berlin, D – 1975 Unterlegenhardt/Bad Liebenzell, D Kurven in Rot [Curves in Red], 1962 Öl auf Leinwand/Oil on canvas Erworben/Acquired 1976 Daimler Art Collection Stuttgart/Berlin Max Ackermann – Schüler von Adolf Hölzel in Stuttgart ab 1912 Max Ackermann – who studied under Adolf Hölzel in Stuttgart from und in den 1920er Jahren selbst lehrend, verfemt und in die 1912 and taught on art himself in the 1920s, and who was, from Emigration an den Bodensee vertrieben nach 1934 – gilt als einer 1934 onwards, defamed and driven into exile at Lake Constance – is der bedeutenden süddeutschen abstrakten Künstler nach 1945. considered one of the most significant South German abstract artists Charakteristisch für das Werk ist seine ›Musikalität‹, d.h. der for the post-1945 era. His artworks are typically 'musical'; he Versuch, mit Farben, Formen und Linien musikalische Strukturen endeavors to create the equivalent of musical structures by means zu reflektieren und beim Betrachter Assoziationen an Klänge, of colors, forms and lines, evoking in the viewer associations with Rhythmen und Töne wachzurufen. In dem Gemälde Kurven in Rot sounds, rhythms and tones. In his painting Curves in red, seemingly ziehen sich über den in warmer Chromatik leuchtenden Untergrund 'endless' lines – lines that continue unbroken across a wide expanse scheinbar ›unendliche‹, d.h. über weite Strecken nicht abgesetzte of canvas, 'quick drawn' by Ackermann during visits to concerts, and Linien, wie sie Ackermann im ›Schnellzeichnen‹ während whilst listening in darkness – are laid across a background with warm Konzertbesuchen und beim Hören im Dunkeln übte. Die so chromatic properties. These lines, produced in such a specific way, spezifisch erzeugten Linien schreiben sich in die rote Malschicht are inscribed into the red layer of paint, thereby making visible the ein und machen damit den elementaren Kontrast von Linie, Form elementary contrast between line, form and color. und Farbe sichtbar. Karl Heinz Adler 1927 Remtengrün/Vogtland, D – 2014 Dresden, D Entwurf für Wandgestaltung [Draft for Wall Design], um 1972 [für/for VEB Herrenmode Dresden, zerstört/destroyed 1990] Gouache, Collage Erworben/Acquired 2017 Daimler Art Collection, Stuttgart/Berlin »Wir wollten mit unseren Mitteln und Möglichkeiten am ästhetischen On his many years of teaching and research activity in the field of Aufbau einer neuen Gesellschaft teilnehmen. Und was lag da näher, als im architecture and building sculpture, Karl Heinz Adler said: “We Bauwesen sich zu betätigen oder auch in der Lehre bei der Ausbildung von wanted to use our resources and opportunities to aesthetically Architekten mitzuwirken«, sagt Karl Heinz Adler über seine langjährigere construct a new society. Thus, what could be more natural than to Lehr- und Forschungstätigkeit auf dem Gebiet der Architektur und Bau- engage in building work, or to get involved with teaching work in the plastik. Seit 1955 experimentierte Adler (u. a. an der TH Dresden) mit training of architects.” In 1955, Adler began experimenting with Keramik- und Gusssteintechnologien und entwickelte zusammen mit ceramic and cast stone technologies (at the TH Dresden and Friedrich Kracht das modulare Betonformsteinsystem (ab 1968), das sich elsewhere). With Friedrich Kracht, he developed the modular auch heute noch in ostdeutschen Städten entdecken lässt. In der Tradition concrete form stone system (from 1968), which can still be seen in von Maximen des Bauhauses hat Adler in diesen Projekten die auf Funktion East German cities today. In these projects, Adler acted in zielende Baupraxis und die autonome künstlerische Gestaltung neu accordance with Bauhaus maxims by creating a new synthesis of synthetisiert. Der von der Daimler Art Collection erworbene Entwurf für function-oriented architectural praxis and autonomous artistic Wandgestaltung aus dem Jahr 1972 lässt sich auch vor dem Hintergrund design. The draft for a wall design from 1972 acquired by the Daimler der American Abstract Artists (AAA) lesen, die seit den 1930er Jahren Art Collection can also be read in the context of the American abstrakte Wandmalereien im öffentlichen Raum realisierten. Auch Adler Abstract Artists (AAA), who first created abstract murals in public konnte seinen Entwurf in der 2. Hälfte der 1970er Jahre, einer (kultur-) spaces in the 1930s. Adler was likewise able to realize his design politischen Tauwetter-Periode in der DDR, in einem staatseigenen Betrieb, during the later 1970s (which saw a cultural and political thaw take dem VEB Herrenmode in Dresden, realisieren. Ausgeführt in Latexfarbe place in the GDR), in a state-owned company, the VEB Herrenmode erstreckte sich das Wandbild auf einer Fläche von 3 x 18 Meter. Anfang (lit. people-owned company for men’s fashion) in Dresden. Executed der 1990er Jahre wurde das Werk jedoch unwiederbringlich zerstört. in latex paint, the mural extended across a surface area of 3 x 18 m. In the early 1990s, however, the art-work was irretrievably destroyed. Karl-Heinz Adler *1927 in Remtengrün, D - lebt/lives in Dresden, D Serielle Lineaturen über Kreis [Serial Lines over Circle], 1967 Collage, Velourpapier, Silberpapier, Bleistift, Karton/collage, velour paper, silver paper, pencil on cardboard Erworben/acquired 2016 Daimler Art Collection, Stuttgart/Berlin Die Arbeit Serielle Lineaturen über Kreis zählt zu den ersten Serielle Lineatur über Kreis is one of the first examples of an early Exempeln der Werkgruppe, die aus den fächerartig artwork group, which, in 1967–68, emerged from Karl-Heinz Adlers ausgebreiteten Formen der frühen Schichtungen von Karl-Heinz fan-like spread forms of ‘Layerings.’ The ‘Lineaturen’ were created in Adler hervorging. Die Lineaturen entstanden in Serien, innerhalb series, within which Adler was able to vary and shift concepts derer Adler seine a priori festgelegten Konzeptionen variieren und established a priori. In the collage in the Daimler Art Collection, verschieben konnte. In der Collage der Daimler Art Collection, created using various types of paper on drawing cardboard, a circle gefertigt aus verschiedenen Papieren auf Zeichenkarton, breaks through the severe grid of grey strips and black squares. Fine durchbricht ein Kreis das strenge Raster grauer Streifen und graphite lines are marked out on the grey strips with great precision, schwarzer Quadrate. Auf den grauen Streifen sind feine with the interstices in the area of the circle producing white, plastic Grafitlinien akribisch aufgetragen, aus deren Zwischenräumen im strips. The piece shows Adler’s desire for purity, clarity, and economy Bereich des Kreises weiße, plastische Streifen entstehen. Das of artistic technique: the lines and strips visualize his preference for Blatt zeugt von Adlers Streben nach Klarheit und Sparsamkeit der rhythm and repeating forms. Adler’s ‘Serielle Lineaturen’ appear künstlerischen Mittel, die Linien und Streifen visualisieren seine unique and visionary particularly with regard to their context in the Vorliebe für Rhythmus und sich wiederholende Formen. Solitär GDR, where any form of non-representational art was rejected. For this und visionär erscheinen Adlers ›Serielle Lineaturen‹ insbesondere reason also, Adler looked for the regularity and beauty of concrete and im Hinblick auf seinen Kontext in der DDR, die gegenstandsfreie
Load more

Recommended publications
  • Open Etoth Dissertation Corrected.Pdf
    The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity.
    [Show full text]
  • Swing Landscape
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Stuart Davis American, 1892 - 1964 Study for "Swing Landscape" 1937-1938 oil on canvas overall: 55.9 × 73 cm (22 × 28 3/4 in.) framed: 77.8 × 94.6 × 7 cm (30 5/8 × 37 1/4 × 2 3/4 in.) Corcoran Collection (Museum Purchase and exchange through a gift given in memory of Edith Gregor Halpert by the Halpert Foundation and the William A. Clark Fund) 2014.79.15 ENTRY Swing Landscape [fig. 1] was the first of two commissions that Stuart Davis received from the Mural Division of the Federal Art Project (FAP), an agency of the Works Progress Administration (WPA), to make large-scale paintings for specific sites in New York. The other was Mural for Studio B, WNYC, Municipal Broadcasting Company [fig. 2]. [1] The 1930s were a great era of mural painting in the United States, and Davis, along with such artists as Thomas Hart Benton (American, 1889 - 1975), Arshile Gorky (American, born Armenia, c. 1902 - 1948), and Philip Guston (American, born Canada, 1913 - 1980), was an important participant. In the fall of 1936, Burgoyne Diller (American, 1906 - 1965), the head of the Mural Division and a painter in his own right, convinced the New York Housing Authority to commission artists to decorate some basement social rooms in the Williamsburg Houses, a massive, new public housing project in Brooklyn. A dozen artists were chosen to submit work, and, while Davis’s painting was never installed, it turned out to be a watershed in his development.
    [Show full text]
  • "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
    "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film.
    [Show full text]
  • The Effect of War on Art: the Work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The effect of war on art: the work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Doland, Elizabeth Leigh, "The effect of war on art: the work of Mark Rothko" (2010). LSU Master's Theses. 2986. https://digitalcommons.lsu.edu/gradschool_theses/2986 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE EFFECT OF WAR ON ART: THE WORK OF MARK ROTHKO A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Elizabeth Doland B.A., Louisiana State University, 2007 May 2010 TABLE OF CONTENTS ABSTRACT…………………………………………………………………iii CHAPTER 1 INTRODUCTION……………………………………………........1 2 EARLY LIFE……………………………………………………....3 Yale Years……………………………………………………6 Beginning Life as Artist……………………………………...7 Milton Avery…………………………………………………9 3 GREAT DEPRESSION EFFECTS………………………………...13 Artists’ Union………………………………………………...15 The Ten……………………………………………………….17 WPA………………………………………………………….19
    [Show full text]
  • American Modernists in Wyoming: George Mcneil, Ilya Bolotowsky, and Leon Kelly
    UNIVERSITY OF WYOMING ART MUSEUM 2009 American Modernists in Wyoming: George McNeil, Ilya Bolotowsky, and Leon Kelly PURPOSE OF THIS PACKET: EXploRE: To provide K-12 teachers with background Students will explore the background of the artists and information on the exhibition and suggested age how that contributes to their art work. They will be appropriate applications for exploring the concepts, encouraged to research vocabulary words and related meaning, and artistic intent of the work exhibited, aspects of the exhibit. before, during, and after the museum visit. CREATE: CURRICULAR UNIT Topic: Students will be given time to practice sketching and drawing, and may create their own paintings in the This unit examines the ideas, styles and techniques of style of one of the three artists. three American Modernists whose paths crossed in Wyoming in 1948. The focus of this educational packet and curricular unit is to observe, question, explore, REFLECT: create and reflect. Students will evaluate their final art products with other students from their classes and with teachers and museum educators. They will be given feedback on the OBSERVE: art work and the concepts behind the making of the Students will observe the art work of George McNeil, art work. After this process, each person may write an Ilya Bolotowksy and Leon Kelly. They will notice the essay about their process of making art. similarities and differences in their work: the colors used; the shapes of the paintings; subject matter; style and techniques. QUESTION: Students will have an opportunity to read, write, sketch, listen to teachers and museum educators, and then, to come up with questions about the work they see, and the concepts behind the art work and George McNeil (American, the artists who created it.
    [Show full text]
  • Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 Electronic List
    ARS LIBRI ELECTRONIC LIST #59 MODERN ART : NEW ACQUISITIONS Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 [email protected] / www.arslibri.com / tel 617.357.5212 / fax 617.338.5763 Electronic List 59: Modern Art: New Acquisitions 1 BUCHHOLZ, ERICH. Design for a portfolio. Original composition in red gouache, black ink and gold metallic paint, on textured ochre leatherette, mounted on a red buckram slipcase, with inserted red buckram chemise and inner sleeve of white Bütten paper, reinforced with loose panels of cardboard. Painted panel: 368 x 275 mm. (ca. 14 1/2 x 10 3/4 inches). Slipcase: 423 x 325 mm. (ca. 16 5/8 x 12 3/4 inches). This large and majestically impressive handmade portfolio represents a variation of Buchholz’s painted wooden relief, “Roter Kreis im Goldkreis,” of 1922, of which Ingrid Weisenmayer has commented “Der Dreiklang der Farben Schwarz, Gold und Rot steigert die Wirkung der einzelnen Farben noch zusätzlich. Es ist charakteristisch, dass Buchholz, der sich so vehement von jeglicher Kunsttradition distanzieren wollte, auf mittelalterliche Traditionen zurückgreift, und diese in einen modernen Kontext stellt” (Weisenmayer, in Gassen/Mengden). Comparison might equally be made with another painted panel of 1923, Buchholz’s “Neue Tafel Nr. 70.” These and similar motifs were reprised by the artist many times, through late in his career. Slight rippling of the panel at foot; a little light rubbing, otherwise in fine, bright condition. [Berlin, n.d.]. $4,500.00 Gassen, Richard W. & Mengden, Lida von (hrsg.): Erich Buchholz. Graphik, Malerei, Relief, Architektur, Typographie (Köln, 1998), c.f.
    [Show full text]
  • Abstract Addictions
    VALLARINO FINE ART 222 EAST 49TH STREET NEW YORK, NY 10017 FINE ART VALLARINO VALLARINOFINEART.COM ABSTRACT ADDICTIONS: .. .WHAT’S NEXT ....WHO KNOWS?.... .WHAT’S MODERN/POST-WAR ABSTRACT ADDICTIONS: 2020 WHAT’S NEXT.... WHO KNOWS?.... 2020 MODERN/POST-WAR 222 EAST 49TH STREET, NEW YORK, NY 10017 212.628.0722 66 ROUTE 343, MILLBROOK, NEW YORK 12545 [email protected] VALLARINOFINEART.COM ABSTRACT ADDICTIONS: WHAT’S NEXT....WHO KNOWS?.... What’s Next…..Who Knows?? Is a very fitting subtitle for our annual catalogue. What has happened in the past four-five months seems unimaginable, then again, it could be a blessing in disguise, a kind of wake-up call for all of us. Our global treatment of humanity, our planet’s environment, economic collapse, civil rights and politics have caused a boiling point in our society and then add the Covid-19 Pandemic to top things off and there you have “What’s Next…..Who Knows? One thing I know is art and the art market has literally been around forever and has weathered centuries of wars, economic crashes and many other global disasters and will continue to prevail perhaps in new ways to which it will need to reinvent itself. I believe a correction is taking place as has happened in every market throughout history when strained by historic events. The brick & mortar gallery model is becoming a thing of the past and the existence of art fairs in the near future is questionable regarding the current health situations for the dealers and the collectors who attend. I believe that a large group of galleries are going to close as their business models aren’t strong enough to survive these extreme times.
    [Show full text]
  • The Federal Art Project in Provincetown, Massachusetts: the Impact of a Relief Program on an Established Art Colony
    University of New Hampshire University of New Hampshire Scholars' Repository Master's Theses and Capstones Student Scholarship Spring 2009 The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony Whitney E. Smith University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/thesis Recommended Citation Smith, Whitney E., "The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony" (2009). Master's Theses and Capstones. 113. https://scholars.unh.edu/thesis/113 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Master's Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. THE FEDERAL ART PROJECT IN PROVINCETOWN, MASSACHUSETTS THE IMPACT OF A RELIEF PROGRAM ON AN ESTABLISHED ART COLONY BY WHITNEY E. SMITH BA, University of New Hampshire, 2007 THESIS Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Masters of Liberal Studies in History May 6, 2009 UMI Number: 1466954 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Alexander Archipenko at the Edge of the Lake 1927 Oil on Canvas 33 1/8 X 27 1/4 Inches (84.1 X 69.2 Cm) - Including Frame Signed on Recto (ARCH 2)
    Alexander Archipenko At the Edge of the Lake 1927 Oil on canvas 33 1/8 x 27 1/4 inches (84.1 x 69.2 cm) - including frame Signed on recto (ARCH 2) PROVENANCE Estate of Alexander Archipenko Frances Archipenko Gray, New York (by bequest) Private collection, New York EXHIBITED 1928, Anderson Galleries, New York City, Archipenko, cat. no. 86 1929, Arts Club of Chicago, Chicago, Illinois, An Exhibition of Sculpture and Paintings by Alexander Archipenko, cat. no. 35 1929, Braxton Galleries, Hollywood, California, The Archipenko Exhibition, cat. no. 52 1929, J.B. Speed Memorial Museum, Louisville, Kentucky, Exhibition of Sculpture and Paintings by Alexander Archipenko, cat. no. 24 1931, Renaissance Gallery, Montecito, California, Archipenko, checklist no. 31 1932, John Levy Galleries, New York City, A. Archipenko Exhibition of New Works, cat. no. 50 1933, Mills College Art Museum, Oakland, California, Exhibition of Sculpture and Painting by Alexander Archipenko, cat. no. 32 2009, Galerie Thomas, Munich, Germany, Alexander Archipenko: Skulpturen, Sculptures, cat. ill. pp. 42, 43 LITERATURE See "Exhibitions" Janusz Maria Brzeski Prawo w obrazach ["Law in Pictures"]1934 Collage of vintage gelatin silver print & halftone cut-outs with gouache on buff stock 5 1/8 x 14 1/4 inches (13 x 36.2 cm) Initialed & dated on recto (BRZE 10) PROVENANCE Estate of Janusz Maria Brzeski, Kraków EXHIBITED New York, Ubu Gallery, Polish Avant-Garde, 1920-1945, April 9-May 16, 1998 New York, Ubu Gallery, Selections from Gallery Inventory, July 25-November 12, 2013 Janusz
    [Show full text]
  • MAIL ART, L'eternal Network Dell'arte Postale
    Corso di Laurea Magistrale in Storia delle Arti e Conservazione dei Beni Artistici Indirizzo Contemporaneo Mail Art: L’eternal network dell’arte postale Relatrice: Prof.ssa Silvia Burini Correlatrice: Dott.ssa Alessia Cavallaro Laureanda: Asia Rota Matricola 866299 Anno Accademico 2017-2018 Alla mia famiglia ed ai miei amici, soprattutto a quelli lontani, A tutti i mailartisti che ogni giorno stabiliscono legami, A tutti i postini che svolgono con dedizione il loro lavoro mantenendo in vita i legami del network e del mondo intero. Indice Introduzione p. 1 1. Oltre l’arte contemporanea p. 6 1.1 Primi passi verso un’arte postale p. 6 1.2 Le lettere di Van Gogh p. 11 1.3 Cartoline Futuriste p. 13 1.4 Dada e Fluxus p. 15 1.5 La New York Correspondance School p. 30 1.6 Pop e Concettuale p. 35 1.7 La Mail Art dopo Ray Johnson p. 39 1.8 Il Network p. 49 1.9 Il Postino p. 52 1.10 L’artista postale p. 57 1.10.1 L’artista di buste e francobolli p. 59 1.10.2 L’artista di timbri e adesivi p. 63 1.10.3 L’artista di sculture postabili p. 65 1.10.4 Il mailartista scrittore p. 71 1.11 Il “Meraviglioso” caso postale p. 73 2. Mail Art = Eternal Network p. 81 2.1 Caratteristiche p. 81 2.2 Come funziona un circuito p. 86 2.3 Cosa comporta un progetto p. 90 2.4 Inviti p. 95 2.5 Contributi p. 97 2.6 Documentazione p.
    [Show full text]
  • Marcel Janco in Zurich and Bucharest, 1916-1939 a Thesis Submi
    UNIVERSITY OF CALIFORNIA RIVERSIDE Between Dada and Architecture: Marcel Janco in Zurich and Bucharest, 1916-1939 A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Adele Robin Avivi June 2012 Thesis Committee: Dr. Susan Laxton, Chairperson Dr. Patricia Morton Dr. Éva Forgács Copyright by Adele Robin Avivi 2012 The Thesis of Adele Robin Avivi is approved: ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgements Special thanks must first go to my thesis advisor Dr. Susan Laxton for inspiring and guiding my first exploration into Dada. This thesis would not have been possible without her enthusiastic support, thoughtful advice, and careful reading of its many drafts. Thanks are also due to Dr. Patricia Morton for her insightful comments that helped shape the sections on architecture, Dr. Éva Forgács for generously sharing her knowledge with me, and Dr. Françoise Forster-Hahn for her invaluable advice over the past two years. I appreciate the ongoing support and helpful comments I received from my peers, especially everyone in the thesis workshop. And thank you to Danielle Peltakian, Erin Machado, Harmony Wolfe, and Sarah Williams for the memorable laughs outside of class. I am so grateful to my mom for always nourishing my interests and providing me with everything I need to pursue them, and to my sisters Yael and Liat who cheer me on. Finally, Todd Green deserves very special thanks for his daily doses of encouragement and support. His dedication to his own craft was my inspiration to keep working.
    [Show full text]
  • Michigan IT Lawyer a Publication of the State Bar of Michigan Information Technology Law Section
    State Bar of Michigan Michigan IT Lawyer A Publication of the State Bar of Michigan Information Technology Law Section http://www.michbar.org/it Table of Contents September 2012 . Vol. 29, Issue 6 Bits and Bytes from the Chair Contents . Bits and Bytes from the Chair ................1 By Charlie Bieneman, Rader, Fishman & Grauer PLLC . Appropriate Testing and Resolution: How to Determine Whether Appropriation Art is Transformative Greetings, everyone, “Fair Use” or Merely an Unauthorized Derivative?..............................................2 I will make my last “Bits and Bytes” a short one. I have had a . Publicly Available Websites for IT great year as Section Chair, and I am looking forward to work- Lawyers ................................................24 ing with all of you in the Section for the years to come. Thanks to everyone who has contributed and participated in the past year. We . Mission Statement Information Technology Law Section, State Bar of have a great group. Michigan ...............................................24 I hope to see everyone at our Annual Meeting and Fifth Annual . The State of Information Technology Law IT Law Seminar next week, Thursday, September 27, 2012, at the – 2011 ..................................................... 25 St. John’s Inn in Plymouth. We have a great lineup of speakers and topics, plus excellent networking opportunities at our seminar lun- . 2013 Edward F. Langs Writing Award ..37 cheon and post-seminar cocktail hour. If you haven’t yet registered, you can do so by going to the ICLE website, www.icle.org. To sign up for the center, select the “Store” tab, choose “Seminars” from the “Search” drop-down box, and then enter “information technolo- Michigan IT Lawyer is published every other gy” for your search.
    [Show full text]