Un Art De La Critique D'art
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Lewinsky Zum70.Legter Einenneuen Romanvor 12 Derfremde
Nr.2|28.Februar 2016 NZZamSonntag Lewinsky DerFremde DieSchweizer Terrorjahre Zum70. legter AlbertCamus’ Wiesie Politik EinBuchbringt einenneuen Klassikerwird zurKomödie Bundesbern Romanvor umerzählt machen inBewegung Bü12 10 ch18 er21 am Sonntag Wirregenuns aufüber obligatorische Kindersitzli, obwohl wir unsereKinder nie ohneKindersitz im Auto fahren lassen. Aus«‹D Finger ab de Röschti!›ist dererste Bürgerwunsch»von Monika Bütler 10 ׫NZZamSonntag» zu Jetzt Probe lesen für nur 25 Fr. mhalben Preis Artikel SMS mit Keyword: NZZ4,Namen verpasst? und AdresseanNr. 880(20 Rp./SMS) Online unter nzz.ch/sonntag4 Inhalt EinGlasWein trinken. Aufstehen. Weglaufen. Und Punkt: sich kein Weggehen einziges Mal mehrnach der Welt umdrehen. Es können die Vorlagen eines undsichderWelt Abstimmungssonntags sein, die solchen Eskapismus stimulieren; es können die Zumutungeneines jeden Tagessein, das Schreiender Kinder, annähern das Schweigen der Menschen,die die Sehnsuchtnach dem Ausbruch wecken. Was aber, wenn es nichts ist, das einen in die Leere treibt? In Peter Stamms neuem Roman (S.4)steht einer auf undgeht–und keinerweiss, warum. DerDrangnach Freiheit, nimmtman an, führt den Helden «weit über das Land», dem Wesentlichen entkommteraberwederinWäldern noch aufBergen: Die Liebe bindetden Entflohenen ans Daheim zurück. Die Fluchtist eine vermeintliche: Das gilt auch für den Rückzug ins Schöngeistige, den wirdiesen Monatmit einer ganzenReihe vonBüchern aus dem Kunstbereich anzutreten scheinen. Wirwidmen uns den Nr.2|28. Februar 2016 NZZ am Sonntag Lewinsky -
The Arensberg Salon As a Cubist Space
MA MAJOR RESEARCH PAPER FRACTALS OF ART AND LIFE: THE ARENSBERG SALON AS A CUBIST SPACE ERIN JOELLE MCCURDY Dr. Irene Gammel The Major Research Paper is submitted in partial fulfilment of the requirements for the degree of Master of Arts Joint Graduate Program in Communication & Culture Ryerson University - York University Toronto, Ontario, Canada August 16,2010 McCurdy 1 Frontispiece: Charles Sheeler, Porlrait of Waller Arensberg, undated. Drawing. Walter and Louise Arensberg Papers (1912-1982). Philadelphia Museum of Art Archives, Philadelphia, P A. McCurdy 2 Acknowledgments It has been an absolute pleasure exploring the salon of Walter and Louise Arensberg, and I would like to acknowledge the individuals and organizations that made this major research paper possible. I would like to extend my gratitude to Dr. Irene Gammel who not only piqued my interest in modernist salons, but also provided crucial mentorship and unwavering support as my supervisor throughout this process. Also, many thanks to Dr. Gammel for her vital assistance with the editing of this research paper. I would like to thank Dr. Shelley Hornstein for her insightful and thoughtful feedback. Great thanks also to the Communication Culture program at Ryerson University and the Social Science and Humanities Research Council of Canada for generous funds in support of this major research paper. This paper would not have been possible without assistance from Ryerson's Modem Literature and Culture Research Center, which provided access to rare texts and journals, and the Smithsonian Archives of American Art, which made the Walter and Louise Arensberg Papers accessible through interlibrary loan. I am grateful to Elizabeth Knazook from Ryerson Library's Special Collections who generously donated her time to facilitate this archival research. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: July 31, 2005______ I, Colleen Richardson , hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Conducting, Wind Emphasis It is entitled: Edgard Varèse and the Visual Avant-Garde: A Comparative Study of Intégrales and Works of Art by Marcel Duchamp This work and its defense approved by: Chair: Rodney K. Winther____________ Kimberly Paice _______________ Terence G. Milligan____________ _____________________________ _______________________________ Edgard Varèse and the Visual Avant-Garde: A Comparative Study of Intégrales and Works of Art by Marcel Duchamp A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2005 by Colleen Richardson B.M., Brandon University, 1987 M.M., University of Calgary, 2001 Committee Chair: Rodney Winther ABSTRACT Edgard Varèse (1883–1965) had closer affiliations throughout his life with painters and poets than with composers, and his explanations or descriptions of his music resembled those of visual artists describing their own work. Avant-garde visual artists of this period were testing the dimensional limits of their arts by experimenting with perspective and concepts of space and time. In accordance with these artists, Varèse tested the dimensional limits of his music through experimentation with the concept of musical space and the projection of sounds into such space. Varèse composed Intégrales (1925) with these goals in mind after extended contact with artists from the Arensberg circle. Although more scholars are looking into Varèse’s artistic affiliations for insight into his compositional approach, to date my research has uncovered no detailed comparisons between specific visual works of art and the composer’s Intégrales. -
Work and World: on the Philosophy of Curatorial Practice
WORK AND WORLD: ON THE PHILOSOPHY OF CURATORIAL PRACTICE A Dissertation Submitted to the Temple University Graduate Board ______________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY ________________________________________________________________________ by Susan Elizabeth Spaid August 2013 Examining Committee Members: Joseph Margolis, Ph.D.,Advisory Chair, Philosophy, Temple University Lewis Gordon, Ph.D., Philosophy, Temple University Susanna Gold, Ph. D., Art History, Temple University Sherri Irvin, Ph.D., External Member, Philosophy, Oklahoma University TABLE OF CONTENTS ABSTRACT………………………………………………………………….……...…….v ACKNOWLEDGMENTS……………………………………………….………………vii .. LIST OF TABLES………………………………………………………………………..ix LIST OF FIGURES……………………………………………………………………….x INTRODUCTION………………………………………...……………………………...xi CHAPTER 1. THE CURATOR Care…………………………………….…………………………………………….1 Imagination………………………………………………….……………………….7 Discourse……………………………………………………………………………10 Collections………………………………………………………………………….11 Curated Exhibitions………………………………………………………………...17 Belongingness………………………………………………………………………19 Inferential Properties...…….………………………………………………………..27 Relational Clusters………………………………………………………………….32 Exacted Exhibitions………………………………………………………………...37 Nonartistic Pursuits…………………………………………………………………42 Tasteful Pursuits…………………………………………………………………….50 Work and World………………………………….…………………………………52 Uncurated Exhibitons……………………………………………………………….56 2. SPECTATOR Candidacy………………………………………………………………………......60 -
Dada, Cyborgs and the New Woman in New York
3 Dada, Cyborgs and the New Woman in New York Who is she, where is she, what is she – this ‘modern woman’ that people are always talking about? Is there any such creature? Does she look any different looks or talk any different words or think any different thoughts from the late Cleopatra or Mary Queen of Scots or Mrs Browning? Some people think the women are the cause of modernism whatever that is. But then, some people think woman is to blame for everything they don’t like or don’t understand. Cher- chez la femme is man-made advice, of course. (New York Evening Sun, 13 February 1917)1 New York in 1917, particularly with the first Independents Exhibition and the events surrounding it, was in the grip not just of an American flowering of modernist innovation, but of the specific manifestation of New York Dada. The term New York Dada is a retrospective appellation emerging from Zurich Dada and from 1920s popular press reflections on New York modernism; it suggests a more coherent movement than was understood by those living and working in this arena at the time. The many individuals participating in or on the margins of New York Dada included French expatriates such as Francis Picabia and Marcel Duchamp and Americans such as Alfred Steiglitz and Man Ray. Even Ezra Pound was touched by New York Dada, writing two poems for The Little Review in 1921 that explored the interchange between one of its most visible figures, Baroness Elsa von Freytag-Loringhoven, and William Carlos Williams.2 It is not incidental that while the First World War in Europe raged, disturbing the boundaries of ‘natural’ identity and enacting a machinic destruction of cultural and human life, artists and writers in New York 85 A. -
ARAGON, Louis (1897-1982) Sources D'archives Identifiées
ARAGON, Louis (1897-1982) Sources d’archives identifiées Outils de recherche : - AGORHA (Accès Global et Organisé aux Ressources en Histoire de l’Art, INHA), en ligne. - CCfr (Catalogue Collectif de France), en ligne. - The Getty Research Institute, Search Tools and Databases, en ligne. Editée par Marie Gispert, 2016. Pour citer cet article : Marie GISPERT, « ARAGON, Louis (1897-1982). Sources d’archives identifiées », in Marie Gispert, Catherine Méneux (ed.), Bibliographies de critiques d’art francophones, mis en ligne en janvier 2017, URL : http://critiquesdart.univ-paris1.fr/louis-aragon ISSY-LES-MOULINEAUX, Archives Matisse Correspondance reçue : 23 pièces de Louis Aragon (1942-1948) LE MANS, Bibliothèque universitaire Vercors Fonds Vercors • Edition clandestine originale de 33 Sonnets composés au secret de Jean Noir [Jean Cassou], présentés par François la Colère [Louis Aragon]. R.VER 226 • Edition clandestine originale de Péguy, Péri : deux voix françaises, 1944. Préface de Vercors et introduction par le témoin des martyrs [Louis Aragon]. R.VER 195 PARIS, Bibliothèque de l’Institut de France Fonds André Maurois et Simone André-Maurois • 2 lettres autographes signées, une carte autographe signée et une lettre signée de Louis Aragon à André Maurois. Joints : le brouillon autographe d'une lettre d'André Maurois et un texte dactylographié avec corrections autographes de Louis Aragon sur le maintien de la paix mondiale. Ms 8505 PARIS, Bibliothèque littéraire Jacques Doucet Fonds général • Epreuves corrigées de Louis Aragon, Le Paysan de Paris. 7586 • Epreuves corrigées de Louis Aragon, La Grande gaieté. 7586 1 • 4 lettres et 1 carte postale de Louis Aragon à Emmanuel Berl. Ms Ms 47124 – Ms Ms 47128 • Manuscrit autographe signé de Le Paradis Terrestre, 1927-1928. -
Downloadable Guide In
THEMATIC TOURS “There is something in the New York air that makes sleep useless.” A Day in simone de beauvoir New York This A Day in New York itinerary takes us through a selection of María Corral Elisa Sopeña masterpieces at the Museo Thyssen-Bornemisza to the heart of this unique and unrepeatable city. A source of inspiration for painters, writers, photographers and film-makers, we shall stroll through its neighbourhoods and museums, meet its characters and enjoy its history. This is an opportunity to turn travellers, and discover the throb and thrill of this fascinating city. MAX WEBER Grand Central Terminal (detail) A Day in New York THEMATIC TOURS 2 [GALLERY F] john george brown, the son of a passed legislation to protect children, ruined lawyer, arrived in New York from thanks to the Keating-Owen Act, which his native England in 1853, on the day restricted and controlled child labour. JOHN GEORGE BROWN of his twenty-second birthday. He first set The photographs of Jacob Riis and Lewis himself up in Brooklyn, where he opened Hine offer a documentary account of immi- Tough Customers, 1881 a portrait painter’s studio, and in 1861 gration, and the crowding and poverty Oil on canvas, 76 x 63.5 cm moved to Richard Morris Hunt’s Tenth of thousands of children such as those carmen thyssen-bornemisza collection on loan at the Street Studio Building, a workshop painted by Brown, who would grow up museo thyssen-bornemisza, madrid, inv. ctb.1987.23 specifically created for artists, where he in the streets of New York. -
Djuna Barnes, Mina Loy and Gertrude Stein
Notes Introduction: modernist studies and cultural studies 1. See Burke, 1984, 1987 and 1991. 2. This is by no means an exhaustive list and ignores completely, for example, work on race and modernism, both within and beyond definitions of the Harlem Renaissance 3. As an example of interdisciplinarity, consider the Italian Futurist’s sphere of activity which incorporated burlesque performance, visual art, advertising, cinema, clothing, mathematics and politics. 4. For a very useful genealogy of ‘articulation’ within cultural studies see Slack, 1996. 5. ‘[C]ontext is not something out there, within which practices occur or which influence the development of practices. Rather, identities, practices, and effects generally, constitute the very context within which they are practices, iden- tities or effects’ (Slack, 1996: 125). 6. The potentials and limits of Deleuze and Guattari for a feminist theory and praxis are too complex to be summarised here but will be returned to in Chapter 2; for debates in this area, see Alice A. Jardine, ‘Becoming a Body Without Organs: Gilles Deleuze and His Brothers’, in Gynesis: Configurations of Woman and Modernity (1985). Both Rosi Braidotti and Elizabeth Grosz make excellent use of Deleuze in their work, and are a profound influence on my own thinking, see also Buchanan and Colebrook (eds), Deleuze and Feminist Theory (2000). 7. ‘The assemblage is tetravalent: (1) content and expression [a semiotic system and a pragmatic system]; (2) territoriality and deterritorialization’ (Deleuze and Guattari, 1988: 505). 8. Deleuze, Nietzsche aujourd’hui, vol. 1, Intensities, Paris: Union Générale d’Éditions, 10:18 (1973): 87: Quoted in Daniel W. -
Cat153 Final.Qxd
modern art ars libri ltd catalogue 153 73 CAT ALOGUE 153 MODERN ART ars libri ltd ARS LIBRI LTD 500 Harrison Avenue Boston, Massachusetts 02118 U.S.A. tel: 617.357.5212 fax: 617.338.5763 email: [email protected] http://www.arslibri.com All items are in good antiquarian condition, unless otherwise described. All prices are net. Massachusetts residents should add 5% sales tax. Reserved items will be held for two weeks pending receipt of payment or formal orders. Orders from individuals unknown to us must be accompanied by pay- ment or by satisfactory references. All items may be returned, if returned within two weeks in the same con- dition as sent, and if packed, shipped and insured as received. When ordering from this catalogue please refer to Catalogue Number One Hundred and Fifty-Three and indicate the item number(s). Overseas clients must remit in U.S. dollar funds, payable on a U.S. bank, or transfer the amount due directly to the account of Ars Libri Ltd., Cambridge Trust Company, 1336 Massachusetts Avenue, Cambridge, MA 02238, Account No. 39-665-6-01. Mastercard, Visa and American Express accepted. June 2010 front and back covers: item 7 endpapers: item 61 n avant-garde 5 1 1 Hélion, Pevsner, Delaunay, Taeuber-Arp, Arp, Calder, Dreier, ABSTRACTION, CRÉATION, ART NON FIGURATIF Moholy, Prampolini, and Schwitters, among others, all with Édité par l’Association Abstraction Création. Comité varying amounts assessed. The annotations follow exactly directeur: Arp, Gleizes, Hélion, Herbin, Kupka, Tutundjian, the same arrangement in No. 3, by which time the payers Valmier, Vantongerloo. -
Artist List for MODERN ART HISTORY: WOMEN and POC
Artist List for MODERN ART HISTORY: WOMEN AND POC Credit: Liesa Lietzke ● Turn of the 20th century ○ Late Impressionism/Art ● 1920s-1930s: Harlem Renaissance Nouveau ○ Sculpture ■ Henry Ossawa ■ Meta Vaux Warrick Tanner Fuller ■ Bessie Potter Vonnoh ■ Nancy Elizabeth ■ Yun Gee Prophet ■ Georgia O’Keeffe ■ Augusta Savage ■ Chiura Obata ○ Painting ○ Post-Impressionism ■ Lois Mailou Jones ■ Paula ■ Palmer Hayden Moderson-Becker ■ Hale Woodruff ■ Gabriele Munter ■ Norman Lewis (also ■ Suzanne Valadon see Abstract ■ Sonia Lewitska Expressionism) ■ Henriette Tirman ■ Charles Alston ■ Wilhemina Weber ■ *Aaron Douglas Furlong ● Early 20th Century Photography ● 1910s: Expressionism/the birth of ■ Anne Brigman abstraction ■ P.H. Polk ○ Expressionism ■ Eva Watson-Schutze ■ Natalia Goncharova ■ Zaida Ben Yusuf ■ Marianne von ■ Gordon Parks Werefkin ■ James Van Der Zee ■ Gabriel Munter ■ Nakayama Iwata ■ Yun Gee ■ Lee Miller ■ Chiura Obata ■ Hugh Bell ■ *Kathe Kollwitz ■ Roy DeCarava ○ Early abstraction ■ Hilma Af Klint ● North America in the 1920s-1930s ■ **Georgia O'Keeffe ○ Social ○ Cubism/Futurism Realism/PrecisionismWPA ■ Natalia Goncharova ■ Eitaro Ishigaki 1 ■ Hideo Noda ■ *Meret Oppenheim ■ Elsie Driggs ■ **Frida Kahlo ■ Hallie Flanagan ■ Helen Lundeberg ■ Mary Kellogg Rice ■ Rosa Rolanda ■ Dorothy West ■ Kati Horna ■ Paraskeva Clark ■ **Dorothea Lange ● 1920s/30s: Bauhaus/Art ○ Muralists Deco/Constructivism ■ Aurora Reyes Flores ○ Bauhaus (Aurora Reyes) ■ Marianne Brandt ■ Lucienne Bloch ■ Anni Albers ■ **Diego Rivera ■ Gunta Stölzl ■ *José -
A Százéves Dada Hundred Years Old Dada
A százéves dada A Petőfi Irodalmi Múzeum és az MTA BTK Irodalomtudományi Intézete 2016 novemberében konferenciát rendezett a dada zürichi kezdetének századik évfor- dulójára. A konferencia elsősorban a dada közép-kelet-európai jelenségeire, ne- vezetesen az Osztrák-Magyar Monarchiában és utódállamaiban megjelenő dada technikákra koncentrált. A dada a közép-kelet-európai művészekre az első világ- háború vége felé gyakorolt hatást, amikor is az intézményesült gazdasági, politi- kai és identitásstratégiák válságon, illetve átalakuláson mentek keresztül. Ezekben az években számos határ átjárhatóvá vált, például centrum és periféria, politika és politikaellenesség között , a nemek, a művészi szerepek, a művészi kifejezési for- mák között . A dadára jellemző att itűd a határátlépés, amelynek alapvetően eman- cipatorikus szerepe van, a hagyományos társadalmi normák felfüggesztésével utat nyit a határok nélküli művészi önmegvalósítás felé. A dada negligálta az eredetet, a vallási hátt éret, a sztereotip női szerepeket vagy a formális művészi képzést. El- mozdított a a morális korlátokat, s hajlandónak mutatkozott a művészi alkotásra és befogadásra, az intézményekre, a társadalomra és a közízlésre vonatkozó, addig provokatívnak tűnő, vagy egyenesen elképzelhetetlen kérdések feltevésére is. A da- da a régi világ szétesésének szimptómája, s radikális nyelvezete olyan művészekre is hatással volt, akik magukat sohasem tekintett ék dadaistának. Kötetünk dadáról szóló szövegeit FÖldes GyÖrgyi és Kappanyos András szer- kesztett e. A SzerkesztŐbizottság Hundred Years Old Dada The conference of the Petőfi Literary Museum – Kassák Museum and the Institute for Literary Studies of the Hungarian Academy of Sciences marks the centenary of the beginning of Dada in Zurich. The conference concentrates on Dada phenomena in East-Central Europe, especially the Dada techniques that appeared in the Austro-Hungarian Empire and its successor states. -
Sarah Leary Ma Thesis
© COPYRIGHT by Sarah Leary 2019 ALL RIGHTS RESERVED FLORINE STETTHEIMER’S STUDIO PARTY AND THE ART OF CONVERSATION BY Sarah Leary ABSTRACT Between 1917 and 1919, Florine Stettheimer created a painting inspired by the salons that took place in her New York studio. In Studio Party, numerous artists and creative figures mingle around her studio inspecting her newly unveiled artwork. Scholars have attended to Stettheimer’s “naïve” style and have argued that this work and others look to the subject matter and mis en abyme technique in Diego VeláZqueZ’s Las Meninas (1656), which pictures the artist working on a painting of the King and Queen of Spain, as evidenced in the reflection in the mirror in the background, while court members wait on their daughter to the right of VeláZqueZ. By contrast, my thesis analyzes the work in the context of Stettheimer’s dual roles as artist and salonnière. Drawing on the history of portraiture and early twentieth-century debates about artistic practice, I argue that Studio Party is a group portrait that represents the impact of conversation and, thereby, salons on artistic practice. In this way, Stettheimer championed her role as a salonnière and asserted her status as an artist, but also countered traditional notions of the lone male artist- genius. ii ACKNOWLEDGMENTS This project would not have been realiZed had it not been for the support and guidance of the entire American University Art History Department. Generous grants from Carol Bird Ravenal and the College of Arts and Sciences enabled me to conduct critical archival research. I gratefully acknowledge the staff at the Rare Book and Manuscript Library at Columbia University and Beinecke Rare Book and Manuscript Library at Yale University for their help and patience.