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National Ski Associations - Members of the FIS Council - Committee Chairmen
To the - National Ski Associations - Members of the FIS Council - Committee Chairmen Oberhofen, 18th November, 1999 SL/er Re.: FIS Council Meeting 8th November, 1999 in Venice (ITA) Dear Mr. President, Dear Ski friends, In accordance with art. 32.2 of the FIS Statutes we take pleasure in sending you today A SHORT SUMMARY of the most important decisions of the FIS Council Meeting in Venice (ITA). We would also like to take this opportunity of informing you that this ‘Short Summary’ is available on the Member Services section of the FIS website to accredited users of the National Ski Association forum. 1. Members present The following Council Members were present at the Meeting in Venice, November 8th, 1999: President Gian-Franco Kasper, Vice-Presidents Anatolij Akentiev, Yoshiro Ito and Hank Tauber, Members Peter Andrews, Geoff Henke, Milan Jirasek, Janez Kocijancic, Arnold Koller, Pablo Rosenkjer, Odd Seim-Haugen, Carl Eric Stålberg, Carlo Valentino, Fritz Wagnerberger and Director Sarah Lewis. Excused: Esko Aho (replaced by Paavo Petäjä), Bernard Chevallier 2 2. Minutes from the Council Meeting in Portoroz The minutes from the Council Meeting in Portoroz (SLO) 12th May, 1999 were approved with a minor amendment. 3. The FIS World Ski Championships The Council acknowledged the reports on the preparations for the future FIS World Championships: · Ski Flying: 2000 Vikersund (NOR), 2002 Harrachov (CZE) · Nordic events: 2001 Lahti (FIN), 2003 Val di Fiemme (ITA) · Alpine events: 2001 St. Anton (AUT), 2003 St. Moritz (SUI) · Snowboard: 2001 Madonna di Campiglio (ITA) The Council appointed Milan Jirasek as its official delegate to the first FIS Rollerskiing World Championships in Rotterdam, 31st August – 3rd September 2000. -
Olympic Programme Commission Report
OLYMPIC PROGRAMME COMMISSION REPORT 119 th IOC SESSION – JULY 2007 Published by the International Olympic Committee June 2007 Printing by Id-Média S.à r.l., Belmont-sur-Lausanne, Switzerland Printed in Switzerland INTRODUCTION BACKGROUND In November 2002, the IOC Session in Mexico City approved the principle of a systematic review of the Olympic Programme and mandated the Olympic Programme Commission to lead the process after each edition of the Olympic Games. EVALUATION CRITERIA In order to fulfil this mission, the Olympic Programme Commission developed a set of criteria to be used in assessing the strengths and weaknesses of each sport and the value that each sport adds to the Olympic Programme. Following consultation with the International Federations (IFs) and other key stakeholders, the final list of 33 criteria was proposed to the IOC Session, which approved it in August 2004 in Athens. These criteria, which were approved by the Session in August 2004, were subsequently used by the IOC Session in Singapore in July 2005 to determine the programme for the 2012 Olympic Games in London. PROCESS REFINEMENT Following the revision of the 2012 Summer Olympic Programme, the present review will utilise the same list of 33 criteria by means of a questionnaire, adapted to the particularities of the Winter Games programme. DATA COLLECTION In April 2006, a questionnaire reflecting these criteria was sent to the seven Olympic Winter Federations. Completed questionnaires were returned by July 2006 to the IOC Sports Department, which then had the responsibility of verifying all responses and requesting further information or clarification where necessary. -
Bauhaus Weimar Dessau Berlin Chicago Shreveport
weimar bauhaus dessau berlin chicago shreveport modernism101.com rare design books 2012 catalog modernism101.com The Road to Utopia is easy to find if you know how to read the signs. In the United States the road ran through Boston out to the colonial suburbs of Lincoln, then down to New Canaan and New York City. It dominated the Philadelphia skyline for years. The road detoured south- ward through Asheville and the Blue Ridge Mountains, and is still readily apparent radiating outward from Chicago. The Road to Utopia was the route of the Bauhaus immigrants and aco- lytes spreading the idea — “Art and Technology: A New Unity!” — throughout the New World. Walter Gropius founded the Bauhaus in 1919 Weimar to reconcile the disparity between the craftsman tradition and machine age mass-production. Gropius gathered the cream of the European Avant-Garde to his cause — visionaries with names like Wassily, Oskar, Marcel, László and Farkas. These visionaries believed in Utopia, political and social perfection. The political and social systems of the era failed to reciprocate. The United States, slowly recovering from the deprivations of the Great Depression, provided fertile soil for these Utopians as the lights slowly and surely went out all over Europe. The central thesis of this catalog is that American culture was forever changed by the immigrants who fled Europe before World War II. All aspects of American culture — art, ar- chitecture, design, advertising, photography, film — were infinitely en- riched by these fugitives’ ideals. I merged onto the Road to Utopia during a visit to the Gropius House in Lincoln, Massachusetts. -
Henryk Berlewi
HENRYK BERLEWI HENRYK © 2019 Merrill C. Berman Collection © 2019 AGES IM CO U N R T IO E T S Y C E O L L F T HENRYK © O H C E M N 2019 A E R M R R I E L L B . C BERLEWI (1894-1967) HENRYK BERLEWI (1894-1967) Henryk Berlewi, Self-portrait,1922. Gouache on paper. Henryk Berlewi, Self-portrait, 1946. Pencil on paper. Muzeum Narodowe, Warsaw Published by the Merrill C. Berman Collection Concept and essay by Alla Rosenfeld, Ph.D. Design and production by Jolie Simpson Edited by Dr. Karen Kettering, Independent Scholar, Seattle, USA Copy edited by Lisa Berman Photography by Joelle Jensen and Jolie Simpson Printed and bound by www.blurb.com Plates © 2019 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection unless otherwise noted. © 2019 The Merrill C. Berman Collection, Rye, New York Cover image: Élément de la Mécano- Facture, 1923. Gouache on paper, 21 1/2 x 17 3/4” (55 x 45 cm) Acknowledgements: We are grateful to the staf of the Frick Collection Library and of the New York Public Library (Art and Architecture Division) for assisting with research for this publication. We would like to thank Sabina Potaczek-Jasionowicz and Julia Gutsch for assisting in editing the titles in Polish, French, and German languages, as well as Gershom Tzipris for transliteration of titles in Yiddish. We would also like to acknowledge Dr. Marek Bartelik, author of Early Polish Modern Art (Manchester: Manchester University Press, 2005) and Adrian Sudhalter, Research Curator of the Merrill C. -
Hebrew Type Design in the Context of the Book Art Movement and New
Philipp Messner Hebrew Type Design in the Context of the Book Art Movement and New Typography "New Book Art" ("Neue Buchkunst") was the motto under which efforts were made, in the spirit of the English Arts and Crafts Movement, toward the revival of book and type design in turn-of-the-twentieth century Germany. This revival movement perceived itself as a reaction to the country's accelerated industrialization, especially since the founding of the Reich in 1871. The replacement of traditional craft by increasingly industrial production lines effected a variety of everyday consumer products, including the manufacturing of books. According to contemporary commentators this led to deterioration in the material and aesthetic quality of books. Similarly to other industrially manufactured products around the turn of the century, an expectation emerged for books to have a contemporary, functional, and materially sound form. This demand encompassed all aspects of the book, including printing types. Consequently, visual artists were now engaged to design typefaces. Early examples were still heavily influenced by Art Nouveau, but after World War I there was a turn to historical forms with a bias toward handwritten scripts. This was influenced largely by the English calligrapher and type designer Edward Johnston, who taught at the Central School of Arts and Crafts in London. His calligraphic method, which he based on old handwriting forms, became famous in Germany, in part thanks to the work of his pupil and translator, Anna Simons. Type design issues thus received a notably traditional treatment, defined above all by intensive engagement with historical forms. This tendency largely defined the personal styles of Franzisca Baruch and Henri Friedlaender. -
Jan Tschichold and the New Typography Graphic Design Between the World Wars February 14–July 7, 2019
Jan Tschichold and the New Typography Graphic Design Between the World Wars February 14–July 7, 2019 Jan Tschichold. Die Frau ohne Namen (The Woman Without a Name) poster, 1927. Printed by Gebrüder Obpacher AG, Munich. Photolithograph. The Museum of Modern Art, New York, Peter Stone Poster Fund. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Jan Tschichold and the New February 14– Typography: Graphic Design July 7, 2019 Between the World Wars Jan Tschichold and the New Typography: Graphic Design Between the World Wars, a Bard Graduate Center Focus Project on view from February 14 through July 7, 2019, explores the influence of typographer and graphic designer Jan Tschichold (pronounced yahn chih-kold; 1902-1974), who was instrumental in defining “The New Typography,” the movement in Weimar Germany that aimed to make printed text and imagery more dynamic, more vital, and closer to the spirit of modern life. Curated by Paul Stirton, associate professor at Bard Graduate Center, the exhibition presents an overview of the most innovative graphic design from the 1920s to the early 1930s. El Lissitzky. Pro dva kvadrata (About Two Squares) by El Lissitzky, 1920. Printed by E. Haberland, Leipzig, and published by Skythen, Berlin, 1922. Letterpress. The Museum of Modern Art, New York, While writing the landmark book Die neue Typographie Jan Tschichold Collection, Gift of Philip Johnson. Digital Image © (1928), Tschichold, one of the movement’s leading The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. © 2018 Artists Rights Society (ARS), New York. designers and theorists, contacted many of the fore- most practitioners of the New Typography throughout Europe and the Soviet Union and acquired a selection The New Typography is characterized by the adoption of of their finest designs. -
DIE PROVINZ. Ein Versuch Kultureller Vermittlung Zwischen Deutschen Und Tschechen
DIE PROVINZ. Ein Versuch kultureller Vermittlung zwischen Deutschen und Tschechen Mirek Němec Im Januar 1924 erschien im Weimarer Utopia-Verlag die erste Nummer der Zeitschrift DIE PROVINZ. MONATSSCHRIFT FÜR DIE TSCHECHOSLOWAKEI. Der Gründer und Besitzer des Verlags – Dr. Bruno Adler (= Urban Roedl) – wird neben Dr. Ernst Sommer und Ernst Bergauer, „sämtliche in Karlsbad“ (DIE PROVINZ 1924/1: 32), wo auch die Zeitschrift gedruckt wurde, als Herausgeber genannt. Die kulturpolitische Revue bekam den Titel DIE PROVINZ, denn „nicht der Welt und der Menschheit, sondern der Provinz ist diese Zeitschrift gewidmet“ (ANONYM 1924: 2). Der einfache Titel war auch Programm und verrät viel über die Intention der Herausgeber. Es ist daher aufschlussreich, die Bedeu- tung des Wortes ‚Provinz‘ zu interpretieren. Sie verschob sich im Laufe der Zeit und ist nicht eindeutig. Zunächst bezeichneten die alten Römer damit ein Gebiet, welches sich außerhalb vom römischen Stammland befand, aber im- merhin noch in ihrem Herrschaftsbereich lag. Später wurde mit dem Begriff allgemein ein größeres Gebiet bezeichnet, welches eine staatliche oder kirchli- che Verwaltungseinheit bildete. Im Laufe der Zeit änderte sich die Bedeutung des Wortes Provinz und bezeichnete nun den Gegenpol der Metropole oder des Zentrums. Diese Bedeutung war auch für die Herausgeber der Zeitschrift rele- vant. Für sie stand die Provinz in einer Opposition zur Großstadt, zum Fort- schritt und der Moderne. Sie zeichnete sich durch Rückständigkeit, durch An- timoderne und Kulturpessimismus, durch Heimatideologie und Heimatkunst, durch Konservatismus und Enge aus (MECKLENBURG 1982: 16f). In diesem Sinne war DIE PROVINZ für die Herausgeber ein Hoffnungsträger. Bruno Adler sah, unter Bezugnahme auf Oswald Spengler, in der PROVINZ die mögliche Rettung des Abendlandes (ROEDL 1924: 12–16). -
APRIL/MAY 2011 Contemporary ART Mariine Contemporary
Caliornia APRIL/MAY 2011 Contemporary ART Mariine Contemporary Marine Contemporary Ricky Allman littlewhitehead 1733 — A Wendy Heldmann Bad News Abbot Kinney Blvd TTom Hunterer Venice, CA JoJoww Debut U.S. solo show 90291 Dennis Koch Littlewhitehead May 7 — T: +1 310 399 0294 Peter Lograsso June 18, 2011 Christopher Michlig Robert Minervini Christopher Pate Stephanie Pryor Debra Scacco marinecontemporary.com Axadra Wsfd, “Shp Trptyh”, 48 x 62", mxd mda papr, 2010 Axadra Wsfd occASSionAl beAST thrugh Apr 30, 2011 2903 Santa Monica Blvd. Santa Monica, CA 90404 310-828-1912 www.gallerykmLA.com Gallery Hours: TTue –Sat, 11am ––5pm or by appointment 30 12 25 16 29 S T Cover Image 28 N E 28 T 28 31 N 21 O 30 C 28 35 27 39 38 29 30 36 PUBLISHER Richard Kalisher EDITOR Donovan Stanley DESIGN Eric Kalisher CONTRIBUTORS 31 Roberta Carasso Jessie Kim Caliornia Contemporary ART www.caliorniacontemporaryart.net (323) 380-8916 | [email protected] 88 Apr/May 2011 EXHIBIIONS MICHAEL SALVATORE TIERNEY April 29th - May 2nd located at Chicago’s Merchandise Mart Visit us at Booth 11-B 5797 Washington Boulevard | Culver City, California 90232 | 323.272.3642 | [email protected] | blytheprojects.net EXHIBITIONS Herbert Bayer: Bauhaus by Hugo Anderson Bauhaus and our very sense o what is modern in twentieth century art and design are practically synonymous. WWe are surrounded in our everyday lives by the designs and theories put into practice by the Bauhaus. While the school o the Bauhaus existed only rom 1919 to 1933, its principals and inuence resonate today because o the achieve- ments o the artists and architects associated with it: Walter Gropius, Paul Klee, Vassily Kandinsky, Joseph Alpers, Lyonel Feininger, Laszlo Moholy- Nagy, Warner Drewes and Herbert Bayer. -
The Bauhaus 1 / 70
GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 70 The Bauhaus 1 Art and Technology, A New Unity 3 2 The Bauhaus Workshops 13 3 Origins 26 4 Weimar 45 5 Dessau 57 6 Berlin 68 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS 2 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 70 1919–1933 Art and Technology, A New Unity A German design school where ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. © Kevin Woodland, 2020 Joost Schmidt, Exhibition Poster, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 4 / 70 1919–1933 The Bauhaus Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 5 / 70 1919–1933 The Bauhaus Ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. MEGGS • The Arts & Crafts: Applied arts, craftsmanship, workshops, apprenticeship • Art Nouveau: Removal of ornament, application of form • Futurism: Typographic freedom • Dadaism: Wit, spontaneity, theoretical exploration • Constructivism: Design for the greater good • De Stijl: Reduction, simplification, refinement © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 6 / 70 1919–1933 -
Human, Spa Human, Space, Machine Experiments at the Bauhaus Pace
PRESSRELEASE SOUTHKOREANovember25th,2014 MediaContact:SydYi Totalpages:7(includedthispage) Tel.+82-2-2188-6232 [email protected] Human,Space,Machine-Stage ExperimentsattheBauhaus NationalMuseumofModernandContemporaryArt,Korea 313Gwangmyeong-roGwacheon-siGyeonggi-do427-701SouthKorea PRESSRELEASE ◇ A 3- year collaborative project with Bauhaus Dessau Foundation since 2012 - Displaying materials related to various stage experimental art and performance, dating back from the founding of Bauhaus in 1919 to its closure in 1933 - Also exhibiting works by 6 Korean contemporary artists whose works have been both directly and indirectly influenced by Bauhaus ◇ Held at National Museum of Modern and Contemporary Art, Seoul, from Wednesday, Nov 12th, 2014 to Friday, Feb 27th, 2015 National Museum of Modern and Contemporary Art (acting director Nam-sun Yoon) is pleased to announce Human, Space, Machine- Stage Experiments at the Bauhaus, co-organized with Bauhaus Dessau Foundation, Germany (Director Dr. Claudia Perren), from November 12th, 2014 to February 22nd, 2015 at the National Museum of Modern and Contemporary Art, Seoul. Human, Space, Machine – Stage Experiments at the Bauhaus opened at the Dessau Bauhaus in Germany in December 2013, and was shown at the Henie Onstad Art Center in Norway in May 2014 before being presented in MMCA Seoul this November. While Bauhaus is considered a major art movement of 20th Century, it’s mainly regarded in Korea as a school which affected the architecture and design field. MMCA co-organized this exhibition with Bauhaus Dessau Foundation since 2012, in order to examine the Bauhaus thought on the human mind and body. Founded by Walter Gropius in 1919, Bauhaus (1919-1933) as an art & design educational institution had a great influence on the development of the 20th century art, architecture, textile, graphic, industrial design and typography. -
Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c. -
Dossiê Kandinsky Kandinsky Beyond Painting: New Perspectives
dossiê kandinsky kandinsky beyond painting: new perspectives Lissa Tyler Renaud Guest Editor DOI: https://doi.org/10.26512/dramaturgias.v0i9.24910 issn: 2525-9105 introduction This Special Issue on Kandinsky is dedicated to exchanges between Theatre and Music, artists and researchers, practitioners and close observers. The Contents were also selected to interest and surprise the general public’s multitudes of Kandinsky aficionados. Since Dr. Marcus Mota’s invitation in 2017, I have been gathering scholarly, professional, and other thoughtful writings, to make of the issue a lively, expansive, and challenging inquiry into Kandinsky’s works, activities, and thinking — especially those beyond painting. “Especially those beyond painting.” Indeed, the conceit of this issue, Kandinsky Beyond Painting, is that there is more than enough of Kandinsky’s life in art for discussion in the fields of Theatre, Poetry, Music, Dance and Architecture, without even broaching the field he is best known for working in. You will find a wide-ranging collection of essays and articles organized under these headings. Over the years, Kandinsky studies have thrived under the care of a tight- knit group of intrepid scholars who publish and confer. But Kandinsky seems to me to be everywhere. In my reading, for example, his name appears unexpectedly in books on a wide range of topics: philosophy, popular science, physics, neuroscience, history, Asian studies, in personal memoirs of people in far-flung places, and more. Then, too, I know more than a few people who are not currently scholars or publishing authors evoking Kandinsky’s name, but who nevertheless have important Further Perspectives, being among the most interesting thinkers on Kandinsky, having dedicated much rumination to the deeper meanings of his life and work.