Reconsidering New Objectivity: Albert Renger-Patzsch and Die
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Berger ENG Einseitig Künstlerisch
„One-sidedly Artistic“ Georg Kolbe in the Nazi Era By Ursel Berger 0 One of the most discussed topics concerning Georg Kolbe involves his work and his stance during the Nazi era. These questions have also been at the core of all my research on Kolbe and I have frequently dealt with them in a variety of publications 1 and lectures. Kolbe’s early work and his artistic output from the nineteen twenties are admired and respected. Today, however, a widely held position asserts that his later works lack their innovative power. This view, which I also ascribe to, was not held by most of Kolbe’s contemporaries. In order to comprehend the position of this sculptor as well as his overall historical legacy, it is necessary, indeed crucial, to examine his œuvre from the Nazi era. It is an issue that also extends over and beyond the scope of a single artistic existence and poses the overriding question concerning the role of the artist in a dictatorship. Georg Kolbe was born in 1877 and died in 1947. He lived through 70 years of German history, a time characterized by the gravest of political developments, catastrophes and turning points. He grew up in the German Empire, celebrating his first artistic successes around 1910. While still quite young, he was active (with an artistic mission) in World War I. He enjoyed his greatest successes in the Weimar Republic, especially in the latter half of the nineteen twenties—between hyperinflation and the Great Depression. He was 56 years old when the Nazis came to power in 1933 and 68 years old when World War II ended in 1945. -
'Ruhr–Lorraine Union' from Die Welt (11 May 1950)
'Ruhr–Lorraine union' from Die Welt (11 May 1950) Caption: On 11 May 1950, the German daily newspaper Die Welt comments on the proposal made by Robert Schuman that coal and steel output in Western Europe should be pooled. Source: Die Welt. Unabhängige Tageszeitung. Hrsg. BLEY, Curt ; Herausgeber SCHERER, Hans. 11.05.1950, n° 109; 5. Jg. Hamburg: Die Welt. "Union Ruhr-Lothringen", p. 2. Copyright: (c) Translation CVCE.EU by UNI.LU All rights of reproduction, of public communication, of adaptation, of distribution or of dissemination via Internet, internal network or any other means are strictly reserved in all countries. Consult the legal notice and the terms and conditions of use regarding this site. URL: http://www.cvce.eu/obj/ruhr_lorraine_union_from_die_welt_11_may_1950- en-51cc0e39-9ff6-4488-a685-48d5abeee16a.html Last updated: 06/07/2016 1/3 Ruhr–Lorraine union The unanimous decision of the French Cabinet on the pooling of the entire coal production of Germany, France and the Saar constitutes a huge breakthrough for the European idea. The ship of Europe had run aground. The idea of the European federation, as it is being represented in Strasbourg, found itself facing a crisis that had been created when the catchword Europe was replaced by a discussion of the real economic and political problems of international cooperation. The crisis went so far that a number of European politicians regarded Strasbourg as a matter already settled, that at best might be capable of solving a few more cultural problems. The economic unity of Europe was directed from the of Marshall Plan office in Paris, and security questions were at all events left to the Atlantic Alliance. -
Cyanotype Detailed Instructions
Cyanotype Detailed Instructions Cyanotype Formula, Mixing and Exposing Instructions 1. Dissolve 40 g (approximately 2 tablespoons) Potassium Ferricyanide in 400 ml (1.7 cups) water to create STOCK SOLUTION A. Allow 24 hours for the powder to fully dissolve. 2. Dissolve 100 g (approximately .5 cup) Ferric Ammonium Citrate in 400 ml (1.7 cups) water to create if you have Chemistry Open Stock START HERE STOCK SOLUTION B. Allow 24 hours for the powder to fully dissolve. If using the Cyanotype Sensitizer Set, simply fill each bottle with water, shake and allow 24 hours for the powders to dissolve. 3. In subdued lighting, mix equal parts SOLUTION A and SOLUTION B to create the cyanotype sensitizer. Mix only the amount you immediately need, as the sensitizer is stable just 2-4 hours. if you have the Sensitizer Set START HERE 4. Coat paper or fabric with the sensitizer and allow to air dry in the dark. Paper may be double-coated for denser prints. Fabric may be coated or dipped in the sensitizer. Jacquard’s Cyanotype Fabric Sheets and Mural Fabrics are pre-treated with the sensitizer (as above) and come ready to expose. 5. Make exposures in sunlight (1-30 minutes, depending on conditions) or under a UV light source, placing ob- jects or a film negative on the coated surface to create an image. (Note: Over-exposure is almost always preferred to under-exposure.) The fabric will look bronze in color once fully exposed. 6. Process prints in a tray or bucket of cool water. Wash for at least 5 minutes, changing the water periodically, if you have until the water runs clear. -
Internal Security and the Fight Against Terrorism in Germany I. the German
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Dokumenten-Publikationsserver der Humboldt-Universität zu Berlin Dipl.-Soz. Sebastian Bukow Philosophische Fakultät III Institut für Sozialwissenschaften Lehrbereich Innenpolitik der BRD Unter den Linden 6 10099 Berlin [email protected] Internal security and the fight against terrorism in Germany Nearly periodically the topic of internal security appears on the public agenda of the Federal Re- public. Election Campaigns are held and elections have been won with the promise of more security [cp. 30, p. 13; 33, p. 10; 21]. The subjective feeling of a lack of security in different dimensions of life is omnipresent. The latest security- and monitoring-acts interfere deeply – and at the same time nearly unnoticed – with the daily life of every single citizen. The debate on crime and internal secu- rity is dominated by very emotional and ideological-normative arguments [cp. 18, p. 151]. Objec- tive arguments and evaluations of proportionality are hard to find. I. The German understanding of “Internal security” and its his- torical roots The term “Innere Sicherheit” – internal security – appeared for the first time in the 1960s. From then onwards it has always played an important role in political discussions. Since 1969 the Federal Ministry of the interior periodically published a report on „Innere Sicherheit“ (for the last time in 1994). Since then the term has been established in the political and administrational language. In 1972 the policy of internal security became the quasi status of law by the introduction of the “Schwerpunktprogramm Innere Sicherheit” (programme of emphasis internal security) [25, p. -
Qui Était August Sander? [1]
Sur les traces d’August Sander Par Bernard Birsinger propos recueillis par Emmanuel Bigler Résumé Bernard Birsinger nous raconte comment il est allé un jour au pays d’August Sander pour voir les lieux où le célèbre portraitiste a vécu et travaillé, en particulier là où il a photographié des paysages. Dans ce voyage, Bernard Birsinger a rencontré des témoins ayant connu August Sander, et il en a rapporté un travail photographique sur les lieux de mémoire de l’auteur des « Hommes du vingtième siècle ». Introduction - Qui était August Sander? [1] FIGURE 1 – August Sander en 1925 1 Bernard Birsinger (BBB [2]) : Dans toute quête culturelle, il est important de connaître le décor et aussi ce qui se cache derrière ce décor. Les biographies officielles à propos de Sander comme celle du Getty Museum [3], du MoMA[4], d’Aperture[5] ou de la Tate Gallery [6] de Londres suffisent-elles à nous renseigner ? Eh non. En plus, en tant que photographe, j’ai toujours encore en tête, de façon lancinante, cette phrase de la célèbre photographe américaine Diane Arbus [7] : « Rien n’est jamais comme on a dit que c’était, c’est ce que je n’ai jamais vu avant que je reconnais », phrase tirée de son livre paru en 1973 aux éditions du Chêne [8]. Et vous ne le saviez pas, ça alors? Il était donc grand temps pour moi de prendre mon bâton de pèlerin et de parcourir par monts et vaux l’Allemagne sur les traces de Sander, pour mener un double projet photographique. En un : mener un « Rephotographic Survey Project » comme celui mené à propos de Timothy O’Sullivan en 1977 [9], aux USA. -
Oral History Interview with Hans Namuth, 1971 Aug. 12-Sept. 14
Oral history interview with Hans Namuth, 1971 Aug. 12-Sept. 14 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Hans Namuth on August 12 and September 8, 1971. The interview took place in New York City, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview PAUL CUMMINGS: It's August 12, 1971 - Paul Cummings talking to Hans Namuth in his studio in New York City. You were born in Germany - right? HANS NAMUTH: Right. PAUL CUMMINGS: Could you tell me something about life there and growing up and education and how you got started? You were born in - what? - 1915? HANS NAMUTH: Yes. I grew up during the war years and inflation. I have memories of the French Occupation and shooting in the streets. The French occupied Essen. We had a French deserter living with us who taught me my first French. I went to the equivalent of a gymnasium, Humboldt Oberrealschule in Essen, hating school, loathing school. I would say it was a prison. Eventually I started to work in a bookshop in Essen at the age of seventeen and became very affiliated with Leftist groups in 1932 when everything was brewing and for a moment we didn't know whether they were going to go all the way Left or all the way Right. I think the Communist and the Socialist Parties at the time lost a big chance of gaining power in Germany by not uniting in 1931-1932. -
The Fine Art of Photography Eighth Annual Juried Photography Exhibition 2018 Prospectus
THE FINE ART OF PHOTOGRAPHY EIGHTH ANNUAL JURIED PHOTOGRAPHY EXHIBITION 2018 PROSPECTUS Categories: • Color • Black and White • Non-Traditional (Please note that the Judges’ assessment of which category an entry will be judged is final.) AwarDs: • $500 Best in Show, • Each Category: $250 First Place, $100 Second Place, • Two Honorable Mentions per category Color and Black and White Categories: This is traditional photography. The image has conventional post processing techniQues that enhance the image appearance without changing the pictorial content. Edits and/or effects that changes an image’s appearance from being a normal photograph may be categorized as Digitally Enhanced. Cropping, sharpening, and removal of obtrusive artifacts such as dust specks are allowed. Black and White includes monochromatic and sepia tones. Non-TraDitional Photography (incluDes the following) • Digitally EnhanceD: An image that does not meet the stricter reQuirements for the Color or Blank & White categories, or which has been digitally enhanced beyond the appearance of a photograph. It may have subjects or lighting added, removed or otherwise modified to create the image. • Vintage anD Alternative Printing Processes: Despite having been pioneered decades ago, alternative- printing processes — the photogram, daguerreotype, tintype, collodion, Mordançage and others — are still widely practiced. The 21st century has witnessed increased popularity among these and other organic printing methods, as photographers gravitate to the uniQue, unpredictable and fascinating print characteristics achievable through these time-honored techniQues. This is the perfect opportunity to show off your darkroom skill and creative vision. • Pinhole/Plastic Camera Imagery: This category includes analog photography, e.g. pinhole cameras and plastic cameras like the Holga, Diana and Lomo. -
Shifts in Modernist Architects' Design Thinking
arts Article Function and Form: Shifts in Modernist Architects’ Design Thinking Atli Magnus Seelow Department of Architecture, Chalmers University of Technology, Sven Hultins Gata 6, 41296 Gothenburg, Sweden; [email protected]; Tel.: +46-72-968-88-85 Academic Editor: Marco Sosa Received: 22 August 2016; Accepted: 3 November 2016; Published: 9 January 2017 Abstract: Since the so-called “type-debate” at the 1914 Werkbund Exhibition in Cologne—on individual versus standardized types—the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts—from Art to Science and Politics—that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form. Keywords: Modern Architecture; functionalism; form; art; science; politics 1. -
Making Photos with the Sun
MAKING PHOTOS WITH THE SUN For her exhibition at Storm King this year, artist Kiki Smith made this artwork, called river light. It is made up of nine brilliant blue flags arranged in a circle. Each flag is an image of sunlight sparkling on water. Kiki took these images from videos she made of the East River in New York City as she walked from her apartment to a nearby pool to swim. To make her flags, Kiki Smith used an almost 180-year- old photography process called cyanotype. A cyanotype is a kind of photograph made without a camera. It is made by coating paper or fabric in chemicals that change color when exposed to light. Then, an object or a transparent photo negative is placed on the treated paper and exposed to the sunlight. Everywhere the sunlight reaches, the paper turns deep blue, but everywhere that it is covered up, where the sun does not reach, stays white. Originally, cyanotypes were used to copy text and architectural drawings. Even though they’re no longer copied by cyanotype, that’s why building plans are still sometimes called blueprints! Anna Atkins was the first person to use the cyanotype process to record other kinds of things beside text and building plans. In 1843 she began placing algae and plant specimens directly onto cyanotype paper and exposing them to light to record their exact size and shape. She included over three hundred of these photograms, or photos made by placing objects directly onto photo-sensitive paper, in the very first book illustrated entirely with photographs, Photographs of British Algae: Cyanotype Impressions. -
Dada to New Objectivity, Part 2: Duchamp
Dada to New Objectivity, Part 2: Duchamp Arp is always given as the paradigm example of this although recent studies suggest that might be an oversimplification. A recent study of Arp seems to find his multi-lingual childhood a model or metaphor for understanding his “multi-lingual” personality as an artist. Arp wrote poetry, was a sculptor and painter, associated with international constructivism, dada, and surrealism. Making this an apt metaphor are the similarities between his creative activities: in poetry, he wrote in both French and German, easily translating one into the other; in painting and sculpture, he is perhaps best known for his reliefs – a medium which fluidly moves from two to three-dimensions as the relief is painted and like a collage but because they are made of wood or other substantial materials, they engage light and shade and volume in real ways as well as pictorial. The myth about Arp’s early reliefs and collages is that he made them entirely according to the laws of chance – that he cut out pieces of paper (or wood) and let them fall to the ground, creating the future work of art without his direction. Although it seems unlikely that he did, in fact, make his works entirely according to chance, it does not seem unlikely that he wanted them to look as though they had been ruled by chance or that he understood the ways in which chance might affect the final work. Certainly, there is no doubt that in these early works there are no references to figures or recognizable forms and that in place of representation, they assert, if not outright flaunt, the materiality of the object. -
Rethinking New Objectivity in Alfred Barr's Chart of Modern Art in 1936
Rethinking New Objectivity in Alfred Barr’s Chart of Modern Art in 1936 By Niloofar Gholamrezaei, Ph.D. Candidate at Texas Tech University. I- Introduction Historically, modernism refers to the different artistic movements of the 20th century. However, several sets of definitions have shaped the ways in which one defines modern art1. Perhaps the most dominant definition of modernism drives from Alfred Barr’s catalog, “Cubism and Abstract Art" (fig 1). Barr wrote the catalog for the major exhibition, “Cubism and Abstract Art”, curated by the Museum of Modern Art (MoMA) in 1936 (MoMA: Cubism and Abstract Art). The show along with the catalogue were meant to present the modern art (MoMA: Cubism and Abstract Art). In the catalog, Barr wrote a concrete history of modernism (Platt, 293). His definition can be considered as one of the first systematic histographies of modern art (293). In his catalog, Barr identifies the modern art movement as a linear removal from realism toward abstraction (293). According to the Museum of Modern Art, Alfred Barr’s narrative “continues to shape the Museum’s presentation of modernism to this day” (Cubism and Abstract Art). Therefore, his definition of modernism has been promoted by the MoMA as the definition of modern art and has remained an influential way of defining modernism. However, such histography was embedded within certain ideologies and propagandas related to the political condition of its time (Platt, 284). Thus, Barr’s notion of modern art contains limitations and problems and needs to be challenged. Among various problems in Barr’s definition of modernism is his exclusion of some artistic movements and trends that did not fit his model, or which contradicted his definition of modernism. -
Or Not to Be [Titled]? Art History and Its 'Well-(Un)Known' Masters
To be [titled] or not to be [titled]? Art history and its ‘well-(un)known’ masters: introductory remarks Julia Trinkert and Reinhard Köpf When examining medieval monuments in Europe, one sooner or later encounters a series of works of art whose stylistic appearance, iconography, motifs and compositions seem to be closely related. Since the beginning of the twentieth century, these works, have led and continue to lead art historical research to interpretation attempts that are intended to describe the obvious, but not certain, connections. This is where the long art-historical methodological tradition of speculative naming begins. Perceptions that cannot be named in more detail become comprehensible through constructs of attribution to persons who can be named. The perhaps newly discovered artistic connections between individual works gain in importance, visibility and attention through the naming. This is appreciated not only by the experts but also by the press, the interested public and, not least, by potential research project sponsors. In addition, the creation of a speculative name often leads to the construction of a personal network of fictitious employees, who can apparently be distinguished hierarchically on the basis of their skills. Secondary groups of works are assigned to possible successors or pupils by style analyses. This framework therefore offers the possibility of moving further works of art into a closer or more distant context. This discussion focuses on this methodology. Scholarly discourse At the turn of the twentieth century, Wilhelm Vöge (1868-1952) and Adolph Goldschmidt (1863-1944) laid the foundations for an art history of the great continental medieval names.