DOCSLIB.ORG

Geoff Lucas -- Towards a Concrete

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Geoff Lucas -- Towards a Concrete University of Dundee DOCTOR OF PHILOSOPHY Towards a Concrete Art A Practice-Led Investigation Lucas, Geoff Award date: 2015 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 Towards a Concrete Art: A Practice-Led Investigation Geoff Lucas PhD Fine Art, (Full-time). Duncan of Jordanstone College of Art and Design University of Dundee September 2010 - September 2015 Towards a Concrete Art: A Practice-Led Investigation Geoff Lucas Boyle Family: Loch Ruthven, 2010 Installation view 4 5 Contents 1.33 Can this dialogue operate without representational elements? 96 1.4 HICA Exhibition: Richard Couzins: Free Speech Bubble , 1 March–5 April 2009 98 List of Illustrations 10 1.41 Questioning the location of meaning 98 Abstract 15 1.42 Sign and signified; ‘outer’ and ‘inner’? 100 Foreword and note on the usage of terms in this thesis 16 1.43 Developing Symbolist strategies 102 1.44 Paintings as objects? 109 0.1 Introduction/Contextual review 24 1.5 HICA Exhibition: Alec Finlay and Alexander and Susan Maris: 0.11 Origins of the project 24 You’ll have had your tea? 3 May – 7 June 2009 113 0.12 Ideas forming from a reflection on the arrangement of allotment plots 26 1.51 Innovations through text and collage 113 0.13 A possible relation of the Intuitive and Rational 30 1.52 A new constructive sculptural tradition: real space and the temporal 119 0.14 A possible paradoxical relation between Art and Objecthood 33 1.53 Complexities of meaning: works located in the here and now 123 0.15 The beginnings of curatorial procedures as practice 37 1.6 HICA exhibition: David Bellingham: 40w 60w 100w, 28 June – 2 August 2009 125 0.16 Our move to the Highlands and the establishing of HICA 39 1.61 Encountering difficulties: representation, complexity: the high- to post- modern 125 0.17 The relation of HICA to other art activities in the Highlands 41 1.62 A point of resulting malaise? 127 0.18 The formulation of the experiment of HICA 47 1.63 Alternative ‘concrete’ developments: possible responses to the high- to post-modern 130 0.19 The initial devising of HICA’s programme 52 1.64 The role of irrationality in alternative concrete approaches 132 1.7 Point of Reflection: an observed continuing sense of malaise; its historic roots 135 0.2 A Note on the Name 54 0.21 First ideas: reasons for using the word ‘institute’ 54 2 The Nature Of Process 137 0.22 The impulse towards research: the project’s situating in relation to areas of concern 55 2.1 An introduction to the themes of this chapter: the potential for artworks to affect 0.23 Why ‘The Highland Institute for Contemporary Art’? 58 change; consideration of chance and the ‘irrational’ within processes of change; 0.24 HICA’s local political context, and our finding ways to proceed… 62 a further exploration of art’s relation to science. 137 2.2 HICA exhibition: Jeremy Millar 2 May – 6 June, 2010 139 1 Concrete Now! 67 2.21 Mystic or Rationalist? 139 1.1 HICA’s opening exhibition: Concrete Now! 24 August – 28 September, 2008 67 2.22 The irrational as part of the material? Interventions of consciousness 141 1.11 Exhibition texts 68 2.23 Chance within complexity, developing possibility 146 1.12 Note on the remainder of the text, and consideration of exhibitions 76 2.24 Arp, and a further conception of a ‘concrete’ art 147 1.2 Exchange of exhibitions between HICA and PS: 2.3 Consideration in relation to the work of Theo van Doesburg of exhibitions at Concrete Now! Introducing PS, 23 August – 27 September 2009 HICA by Thomson and Craighead (20 June – 25 July, 2010), Esther Polak HICA, as arranged, 17 January – 28 February, 2010 78 and Ivar van Bekkum (18 September – 10 October, 2010), and also 1.21 The relation of the HICA project to the tradition of Concrete Art 78 including The Great Glen Artists’ Airshow (18 and 19 September, 2010) 148 1.22 A brief sketch of an accepted history of Concrete Art 80 2.31 A Constructivist relation to science 148 1.23 Some current activity; possible positioning of artists shown by PS 86 2.32 Relevance of Plato or Hegel?; the ‘real’ and the development of ‘plastic means’ 149 1.3 HICA Exhibition: Peter Suchin: The Grey Planets, 26 October–30 November 2008 91 2.33 A questioning of the Rational and Intuitive 153 1.31 The origins of a modern approach to painting: Suchin’s relation to the ‘concrete’ 91 2.34 The concrete and non-transcendence: the implying of reasoned empirical knowledge 156 1.32 A dialogue with materials and form 94 2.35 A move toward Relational understandings 158 2.36 The Relational: necessarily, but materially, representational? 159 6 7 2.37 Reflection on works exhibited at HICA 161 3.36 The example of the works of Geraldo de Barros as a presentation of this dilemma 224 2.4 HICA exhibition: Esther Polak and Ivar van Bekkum, <AbstractView> 3.37 Nature as this struggle? 227 18 September – 10 October 2010 162 3.4 HICA and grey) (area exhibition: Concretely Immaterial, 2.41 empirical geometry 162 25 July – 11 September 2011 230 2.5 HICA exhibition: Thomson + Craighead, 20 June – 25 July 2010 165 3.41 The origins of the Concretely Immaterial project; considering the extent of the ‘concrete’ 230 2.51 A gaining of ‘real’ perspective? 165 3.42 The concrete and conceptual: moving from a rational ‘conceptual’, toward Nature 232 2.6 A reflection on the similarities and differences of approach between these 3.43 Examples of exhibited works; their ‘natural’ relation and engagement of constraints 235 artists’ works, and Van Doesburg’s: concrete rules, plastic means, ‘chance’ 3.44 The conceptual as material? Pursuing the logic of a more overt monist identification 240 and efforts toward a science of art-making 169 3.5 HICA exhibition: Tracy Mackenna and Edwin Janssen: Loss Becomes Object 2.7 Theo van Doesburg’s Manifesto for Concrete Art 172 24 September – 30 October 2011 244 2.71 A structure of oppositions; in works and methods; between Realism and Nominalism 175 3.51 Subjectivity: isolated and anthropocentric or ‘plural and polyphonic’? 244 2.72 Possible interpretations of LeWitt’s positioning 179 3.52 Intervening in the ‘discursive flow’ 247 2.73 Oppositions and a need for ‘activity’: works’ concrete effects as part of lived processes 180 3.53 Considering the employing of objects within the process of the ‘discursive flow’ 249 2.8 HICA exhibition: Boyle Family: Loch Ruthven, 24 October – 28 November 2010 183 3.54 Between the artist and artwork: a further structure of oppositions 253 2.81 A summary of points in relation to Boyle Family’s works 183 3.55 A consistent problem: the questioning of Spinoza’s Realist/Nominalist alignment 253 2.82 The concrete and Nature: the possibility of ‘chance’, and an acceptance of complexity 185 2.83 Engagement with given conditions: involvement in the zeitgeist 187 4 The Problem Of Form 258 2.84 A structure of oppositions as manifested in the presence of the author 188 4.1 Outline of the themes of this chapter: considering the limits of the concrete, and the 2.85 Boyle Family’s installation: the HICA space and view: a reflection on windows… 191 relation of consciousness to the concrete; reflecting on the differentiation of forms 2.86 …and our presence in the drama 193 within general aesthetic experience 258 2.87 A process of nature, and our active involvement; an ‘altering of life-space’ 195 4.2 HICA exhibition: Doug Fishbone: Neither Here nor There, 1 April – 6 May 2012 260 4.21 Questioning Conceptual Art’s definitions and ‘dematerialization’ 260 3 Concrete Vernacular 198 4.22 Fishbone’s alignment: degrees of conceptual content, and the means of its location 265 3.1 Reflection on the previous, and introduction to this chapter: reconsidering order and 4.23 Our unwitting involvements within a bigger picture 271 rationality; our subject/object relations 198 4.3 HICA exhibition: Eloi Puig: Simultaneous Translation/Traducció Simultània 3.2 HICA exhibition: Richard Roth: Vernacular Modernism 1 May – 5 June 2011 199 8 July – 12 August 2012 272 3.21 The development of Vernacular Modernism: dialogue between the local and universal 199 4.31 Concurrent relations, and forms of translation 272 3.22 Roth’s Minimalist positioning: Nominalist or Realist? 201 4.32 Understanding form as content: overlapping contents of ‘dispersed’ forms: composite 3.23 Things’ conformity with their place in nature: active forms within an active background 206 entities and environmental meanings 276 3.24 Spatial organisation 207 4.33 More closely identifying two observed processes here: 278 3.3 HICA exhibition: Grow Together: Concrete Poetry in Brazil and Scotland 4.331 The Phenotypical 278 3 July – 7 August 2011 209 4.332 The encountering of forms as totalities 280 3.31 Origins of a ‘concrete’ poetry 209 4.34 The aesthetic negotiation of the world, and a route to its understanding 281 3.32 Tension:
Load more

Recommended publications
  • Restoring Subjectivity and Brazilian Identity: Lygia Clark's Therapeutic
    Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Eleanor R. Harper June 2010 © 2010 Eleanor R. Harper. All Rights Reserved. 2 This thesis titled Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice by ELEANOR R. HARPER has been approved for the School of Art and the College of Fine Arts by Jaleh Mansoor Assistant Professor of Art History Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT HARPER, ELEANOR R., M.A., June 2010, Art History Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice (125 pp.) Director of Thesis: Jaleh Mansoor This thesis examines the oeuvre of Brazilian artist Lygia Clark (1920-1988) with respect to her progressive interest in and inclusion of the viewing subject within the work of art. Responding to the legacy of Portuguese occupation in her home of Brazil, Clark sought out an art that embraced the viewing subject and contributed to their sense of subjectivity. Challenging traditional models of perception, participation, and objecthood, Clark created objects that exceeded the bounds of the autonomous transcendental picture plane. By fracturing the surfaces of her paintings, creating objects that possess an interior and exterior, and by requiring her participants to physically manipulate her work, Clark demonstrated an alternative model of the art object and experience. These experiments took her into the realm of therapy under the influence of psychoanalyst D. W. Winnicott’s work.
    [Show full text]
  • DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION from PICTURES to OBJECTS Monica Amor
    REVIEW ARTICLE Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION FROM PICTURES TO OBJECTS monica amor suárez, osbel. cold america: geometric abstraction in latin america (1934–1973). exhibition presented by the Fundación Juan march, madrid, Feb 11–may 15, 2011. crispiani, alejandro. Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940–1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940–1970]. buenos aires: universidad nacional de Quilmes, 2011. The literature on what is generally called Latin American Geometric Abstraction has grown so rapidly in the past few years, there is no doubt that the moment calls for some refl ection. The fi eld has been enriched by publications devoted to Geometric Abstraction in Uruguay (mainly on Joaquín Torres García and his School of the South), Argentina (Concrete Invention Association of Art and Madí), Brazil (Concretism and Neoconcretism), and Venezuela (Geometric Abstraction and Kinetic Art). The bulk of the writing on these movements, and on a cadre of well-established artists, has been published in exhibition catalogs and not in academic monographs, marking the coincidence of this trend with the consolidation of major private collections and the steady increase in auction house prices. Indeed, exhibitions of what we can broadly term Latin American © 2014 ARTMargins and the Massachusetts Institute
    [Show full text]
  • Tate Report 08-09
    Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements.
    [Show full text]
  • Discovering the Contemporary
    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
    [Show full text]
  • How to Get Meaning from Abstract Painting: As Interpreted by the Artist, the Viewer, and the Writer Written Review by Linda Bigness-Lanigan
    0 How to Get Meaning from Abstract Painting: As Interpreted by the Artist, the Viewer, and the Writer Written Review by Linda Bigness-Lanigan The articles in this review represent different positions on how viewers, critics, and artists interpret meaning in modern and abstract art. After reading several articles addressing the ways in which pictures in art are looked at, written about and perceived by artists, critics, and viewers, four points of view emerged. The first viewpoint is that of opticality, defined by many of the writers as how one interprets meaning through the visceral surface, brush strokes, composition, and subject manner in a painting and how relevant the perceived meaning is to the work of art. Other writers, however, argue that the message or meaning does not exist in the surface but is instead the reflection of the viewer’s opinion or personal feelings that bring meaning to the work. Still others state that the relevance of the meaning in a work of art does not lie in the meaning suggested only in the painting itself, but is instead what is stated by the artist to interpret his or her personal feelings and intentions. Another theory is that contemporary interpretations of painting rely on critical writing and the theories, for example formalism, used to place works of art in defined categories, meant to be used by the viewer as a reference to give meaning to the perceived artworks. The overall criteria used in finding meaning in abstract art are based upon the physical, optical, and the perceptual responses to an object of art.
    [Show full text]
  • The De Stijl Movement in the Netherlands and Related Aspects of Dutch Architecture 1917-1930
    25 March 2002 Art History W36456 The De Stijl Movement in the Netherlands and related aspects of Dutch architecture 1917-1930. Walter Gropius, Design for Director’s Office in Weimar Bauhaus, 1923 Walter Gropius, Bauhaus Building, Dessau 1925-26 [Cubism and Architecture: Raymond Duchamp-Villon, Maison Cubiste exhibited at the Salon d’Automne, Paris 1912 Czech Cubism centered around the work of Josef Gocar and Josef Chocol in Prague, notably Gocar’s House of the Black Virgin, Prague and Apt. Building at Prague both of 1913] H.P. (Hendrik Petrus) Berlage Beurs (Stock Exchange), Amsterdam 1897-1903 Diamond Workers Union Building, Amsterdam 1899-1900 J.M. van der Mey, Michel de Klerk and P.L. Kramer’s work on the Sheepvaarthuis, Amsterdam 1911-16. Amsterdam School and in particular the project of social housing at Amsterdam South as well as other isolated housing estates in the expansion of the city. Michel de Klerk (Eigenhaard Development 1914-18; and Piet Kramer (De Dageraad c. 1920) chief proponents of a brick architecture sometimes called Expressionist Robert van t’Hoff, Villa ‘Huis ten Bosch at Huis ter Heide, 1915-16 De Stijl group formed in 1917: Piet Mondrian, Theo van Doesburg, Gerritt Rietveld and others (Van der Leck, Huzar, Oud, Jan Wils, Van t’Hoff) De Stijl (magazine) published 1917-31 and edited by Theo van Doesburg Piet Mondrian’s development of “Neo-Plasticism” in Painting Van Doesburg’s Sixteen Points to a Plastic Architecture Projects for exhibition at the Léonce Rosenberg Gallery, Paris 1923 (Villa à Plan transformable in collaboration with Cor van Eestern Gerritt Rietveld Red/Blue Chair c.
    [Show full text]
  • L'aubette 1928
    « L’AUBETTE 1928 » VISITES GUIDÉES Téléchargez gratuitement Place Kléber Possibilité de visites guidées pour l’audio-guide de l’Aubette 1928 : les groupes aux horaires d’ouverture HORAIRES de l’Aubette. Du mercredi au samedi VISITES POUR LES SCOLAIRES de 14h à 18h : R. Aginako Imp. Int. C. U. Strasbourg U. C. Int. Aginako R. Imp. : Mercredis, jeudis et vendredis matin. : M. Bertola, M. : StrasbourgMuséesVille de la de L’AUBETTE 1928 Résa. au 03 88 88 50 50 (du lundi Entrée libre au vendredi de 8h 30 à 12h 30) WWW.MUSEES.STRASBOURG.EU Photos Graphisme L’AUBETTE 1928 BIOGRAPHIES LES ESPACES RESTITUÉS LA RESTAURATION L’AUBETTE 1928 L’AUBETTE ORIGINELLE L’AUBETTE AU XIXE ET DÉBUT DU XXE SIÈCLE L’INITIATIVE DES FRÈRES HORN DESCRIPTIF DU COMPLEXE La réalisation de l’Aubette est confiée en 1765 Après avoir abrité dès 1845 un café dans une Paul Horn réalise de 1922 à 1926 les premiers plans Le complexe de loisirs de l’Aubette comprend alors à l’architecte Jacques-François Blondel (1705- partie de ses locaux, l’Aubette accueille en 1869 intérieurs. Cette même année, les entrepreneurs quatre niveaux (sous-sol, rez-de-chaussée, entresol 1774). Faute de ressources suffisantes, le projet le musée municipal de peintures, créé en 1803, s’adjoignent les compétences de Hans Jean Arp et et premier étage) dont les trois artistes se répar- initial qui comprenait, outre le corps de bâtiment, qui sera ravagé par un incendie le 24 août 1870. Sophie Taeuber-Arp. Le couple d’artistes s’associe tissent la décoration. Seuls les espaces du premier le traitement symétrique de la place Kléber, est La réhabilitation du bâtiment intervient entre 1873 en septembre 1926 à Theo Van Doesburg, peintre étage, accueillant le Ciné-bal et la salle des fêtes aux abandonné.
    [Show full text]
  • Gce History of Art Major Modern Art Movements
    FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • The Art of Hans Arp After 1945
    Stiftung Arp e. V. Papers The Art of Hans Arp after 1945 Volume 2 Edited by Jana Teuscher and Loretta Würtenberger Stiftung Arp e. V. Papers Volume 2 The Art of Arp after 1945 Edited by Jana Teuscher and Loretta Würtenberger Table of Contents 10 Director’s Foreword Engelbert Büning 12 Foreword Jana Teuscher and Loretta Würtenberger 16 The Art of Hans Arp after 1945 An Introduction Maike Steinkamp 25 At the Threshold of a New Sculpture On the Development of Arp’s Sculptural Principles in the Threshold Sculptures Jan Giebel 41 On Forest Wheels and Forest Giants A Series of Sculptures by Hans Arp 1961 – 1964 Simona Martinoli 60 People are like Flies Hans Arp, Camille Bryen, and Abhumanism Isabelle Ewig 80 “Cher Maître” Lygia Clark and Hans Arp’s Concept of Concrete Art Heloisa Espada 88 Organic Form, Hapticity and Space as a Primary Being The Polish Neo-Avant-Garde and Hans Arp Marta Smolińska 108 Arp’s Mysticism Rudolf Suter 125 Arp’s “Moods” from Dada to Experimental Poetry The Late Poetry in Dialogue with the New Avant-Gardes Agathe Mareuge 139 Families of Mind — Families of Forms Hans Arp, Alvar Aalto, and a Case of Artistic Influence Eeva-Liisa Pelkonen 157 Movement — Space Arp & Architecture Dick van Gameren 174 Contributors 178 Photo Credits 9 Director’s Foreword Engelbert Büning Hans Arp’s late work after 1945 can only be understood in the context of the horrific three decades that preceded it. The First World War, the catastro- phe of the century, and the Second World War that followed shortly thereaf- ter, were finally over.
    [Show full text]
  • The Marli Hoppe-Ritter Collection Homage to The
    The Marli Hoppe-Ritter Collection Homage to the Square – the title of Josef Albers’s celebrated series of paintings – could be taken to describe the Marli Hoppe-Ritter Collection. Marli Hoppe-Ritter, founder of MUSEUM RITTER and co-owner of the RITTER SPORT company, has collected art based on the square ever since the early 1990s. By now, over 1,200 works exemplifying 20th and 21st century geometric abstraction have been amassed to build collection with a unique profile. What at first glance looks like a successful marketing coup for the famous square chocolate bar proves to have a stringent art history concept: the history and development of constructive-concrete art from its beginnings to the present, as exemplified by the geometrical figure. At the dawn of the 20th century, the square was made famous as a subject for art by the Russian Suprematist Kazimir Malevich, who saw it as a symbol of a creative new beginning beyond materiality and fixed purpose. A small Malevich drawing from 1915 forms a cornerstone as it were of the Marli Hoppe-Ritter Collection, which has been followed by further works of early Modernism, including the Constructivists Alexander Rodchenko and El Lissitzky, the De Stijl artist Theo van Doesburg, and the Bauhaus protagonists Andor Weininger and Josef Albers. Other approaches have been brought together that also focus on the square: the works of the Zurich Concretists Max Bill, Camille Graeser, Verena Loewensberg and Richard Paul Lohse, whose legacy has been taken up by the Italian Arte Programmata with Grazia Varisco and Alberto Biasi, Op Art by Victor Vasarely and the ZERO group with Heinz Mack and Günther Uecker, accompanied by further variations by among others Rita Ernst, Hans Jörg Glattfelder, Dóra Maurer, Vera Molnár, and Esther Stocker.
    [Show full text]
  • Download Brochure As Free
    Josef Albers (D), John M Armleder (CH), Hans/Jean Arp (F), Horst Bartnig (D), Martin Boyce (GB), Katja Davar (GB), Adolf Fleischmann (D), Sylvie Fleury (CH), Günter Fruhtrunk (D), Walter Giers (D), Camille Graeser (CH), Guan Xiao (CHN), Gregor Hildebrandt (D), Bernhard Höke (D), Markus Huemer (A), Takehito Koganezawa (J), Alicja Kwade (PL), Hartmut Landauer (D), Verena Loewensberg (CH), Robert Longo (USA), Ma Qiusha (CHN), Rune Mields (D), Kirsten Mosher (USA), Brian O’Doherty (IRL), Park Chan-kyong (ROK), Peter Roehr (D), Ugo Rondinone (CH), Lerato Shadi (ZA), Roman Signer (CH), K.R.H. Sonderborg (DK), Anton Stankowski (D), John Tremblay (USA), Rosemarie Trockel (D), Andrew Tshabangu (ZA), Timm Ulrichs (D), Xavier Veilhan (F), Xu Zhen produced by Madeln Company (CHN), Michael Zahn (USA), Heimo Zobernig (A) Videos, Audio and Sound Works, Sound Sculptures, Pictures, Graphics Compiled and arranged by Gerwald Rockenschaub July 7, 2019—February 2, 2020 Curator and Editor Renate Wiehager Contents 6 Introduction Sound on the 4th Floor Renate Wiehager 27 On Visual Codes and the Imaginary Soundtrack Interview with Gerwald Rockenschaub Nadine Isabelle Henrich and Sarah Maske 33 Composition in Music and Art Sarah Maske 39 Acoustic Immersion Strategies in Contemporary Art Nadine Isabelle Henrich 47 Words from Mouth to Abyss Friederike Horstmann 54 Sound—Structuring, Scattering, Mixing Sarah Maske 61 Instrument n°4, 2018 Xavier Veilhan 64 “Air to party in”—Rhythm as an Artistic Strategy in Painting, Photography and Video Nadine Isabelle Henrich 70 Exhibition views 78 List of works _ Gerwald Rockenschaub, design for exhibition display ›Sound on the 4th Floor‹ 4 5 Introduction _ Gerwald Rockenschaub, graphic draft for the exhibition Sound on the 4th Floor ›Sound on the 4th Floor‹, 2019 Renate Wiehager Seeing Sound spond to the theme in their motifs, whereby the term is reduced to a functional acronym: ‘Sot4thF’.
    [Show full text]