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Understanding Constant's New Babylon: a Place That Can Never
Understanding Constant’s New Babylon: A Place That Can Never Be? Figure 1: Constant in his workplace at Wittenburg, Amsterdam, with several works from his New Babylon project, 1967. Image: Leonard Freed/Magnum/Hollandse Hoogte Jip Hinten Student Number: 10474617 Master Kunstgeschiedenis Supervisor: Dr. Marga van Mechelen Reader: Dr. Christa Maria Lerm Hayes Date submitted: 2 February 2017 Universiteit van Amsterdam Word Count: 22,308 Hinten 2 Summary The objective of this text is to add to and correct several understandings of the Dutch artist Constant Nieuwenhuy’s life project New Babylon on which he worked for almost two decades, from roughly 1957 until 1974. The main incentive for this research has been the finding that while the project New Babylon has been studied by many scholars during and long after Constant worked on it, this has not only lead to a thorough understanding of the project, but also to the exact opposite. As New Babylon is structured around several paradoxical ideas and concepts such as freedom and control, reality and fantasy, art and society, several generalizations have been made that represent the project in a far too simplistic way. Among these more general interpretations of New Babylon there seem to be two stances: New Babylon should be considered as reality, and, New Babylon should be considered as a fiction. While both these singular interpretations of the project are problematic in themselves, it is especially distressing that the first of the two stance seems to have been getting the upper hand. The goal of this text is thus to add to the collective effort of grasping the meaning, function, and usefulness of Constant’s New Babylon. -
November 2014 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 31, No. 2 November 2014 Jacob Jordaens, Merry Company, c. 1644. Watercolor over black chalk, heightened with white gouache, 21.9 x 23.8 cm. The J. Paul Getty Museum, Los Angeles. Exhibited at The Getty Center, Los Angeles, October 14, 2014 – January 11, 2015. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President – Amy Golahny (2013-2017) Lycoming College Williamsport PA 17701 Vice-President – Paul Crenshaw (2013-2017) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Treasurer – Dawn Odell Lewis and Clark College 0615 SW Palatine Hill Road Portland OR 97219-7899 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 HNA News ............................................................................1 Lloyd DeWitt (2012-2016) Stephanie Dickey (2013-2017) Personalia ............................................................................... 4 Martha Hollander (2012-2016) Boston Conference Photos ....................................................5 Walter Melion (2014-2018) Exhibitions ......................................................................... -
Supplements Annual Report 2016
CONTENTS Supplements Overview Public Program 2016 2 Educational Activities 7 Publications 2016 13 Annual Report Acquisitions 2016 15 Municipal Art Acquisitions 2015 / 2016 20 Gifts 2016 22 2016 Incoming long-term loans: new in 2016 34 Loans from the collection of the Stedelijk Museum in 2016 35 Conservation 38 Library 49 Development 51 Overview of exhibitions in 2016 53 Stedelijk Museum Amsterdam Staff as of 31 December 2016 55 Supplementary activities of members of the 60 Supervisory Board and the directors 2016 Supplementary Activities of Stedelijk Museum staff in 2016 63 Charter of Stichting Stedelijk Museum Amsterdam 66 Governance 68 1 STEDELIJK FORUM (KNOWN 3 April Overview Public AS STEDELIJK THEORY ‘Book presentation’ SINCE AUGUST 2016) launch of publication ‘Amateur’ (monograph on the work of Wendelien Program 2016 van Oldenborgh) and Dutch première Key-note lectures, book of Oldenborgh’s film ‘From Left to Night launches and interviews by (2015)’, in collaboration with If I Can’t artists, curators and critics. Dance, I Don’t Want To Be Part Of Your Revolution 10 January 24 April ‘White Cube, Black Box ‘Lecture & Gallery Talks: Fifty Shades of Grey?’ De Amsterdamse School Lecture by Professor Claire Bishop, in collaboration with the University en Gispen’ of Amsterdam and the Netherlands with presentations and lectures by Institute for Art History (RKD) Ingeborg de Roode, Marjan Groot, Lennart Booij, Professor Cees Dam and Azinta Plantenga 15 January ‘AAA Festival Confrontaties 22 May Angst’ Lecture series Amsterdam in collaboration -
Marlene Dumas Born 1953 in Cape Town, South Africa
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Marlene Dumas Born 1953 in Cape Town, South Africa. Lives and works in Amsterdam. EDUCATION 2015 Honorary Doctorate, University of Antwerp 1979-1980 Institute of Psychology, University of Amsterdam 1976-1978 Ateliers 63, Haarlem, The Netherlands 1972-1975 University of Cape Town, South Africa SOLO EXHIBITIONS 2020 Marlene Dumas – Double Takes, Zeno X Gallery, Antwerp [catalogue] 2018 Marlene Dumas: Myths & Mortals, David Zwirner, New York [catalogue published in 2019] Marlene Dumas – Rosemarie Trockel: Werke aus der Sammlung Garnatz, Städtischen Galerie Karlsruhe, Karlsruhe, Germany [two-person exhibition] Moonrise. Marlene Dumas & Edvard Munch, Munchmuseet, Oslo [curated by Marlene Dumas] [two-person exhibition] 2017 Marlene Dumas. Die Entstehung eines Altarbildes/The Creation of an Altarpiece, Galerie Gebr. Lehmann, Dresden Marlene Dumas: Dresden Mural, St. Anne’s Church, Freiberger Platz, Dresden [permanent installation] Marlene Dumas. Hope and Fear, Kupferstich-Kabinett, Staatliche Kunstsammlungen, Dresden Marlene Dumas: Oscar Wilde and Bosie, National Portrait Gallery, London [part of I Am Me] Marlene Dumas. Skulls, Albertinum, Dresden 2015 Marlene Dumas/Juan Muñoz: Drawings, Frith Street Gallery, London [two-person exhibition] 2014 Marlene Dumas: The Image as Burden, Stedelijk Museum, Amsterdam [itinerary: Tate Modern, London; Fondation Beyeler, Basel] [each venue published its own -
Contemporary Art
CONTEMPORARY ART The Library of Coosje van Bruggen / Claes Oldenburg projected to be circa 2,500 volumes Partial catalogue June 8, 2018 The Library of Coosje van Bruggen and Claes Oldenburg A towering figure in postwar American art, whose influence, from the start of Pop Art to the present day, has been profound, and whose unmistakable style is instantly recognizable around the world, Claes Oldenburg needs no introduction. His wife and collaborator, the Dutch-American scholar and artist Coosje van Bruggen (1942-2009) had a distinguished career as both a critic and curator of contemporary art, and a widely admired sculptor. Working together over the course of three decades, Oldenburg and van Bruggen produced a series of monumental sculptures, which she termed "Large-Scale Projects," that are among the most iconic of recent years. Their library is a perfect reflection of their work and their interests, with extensive resources on the movements of modern and contemporary art, from Pop and Happenings, Fluxus, Arte Povera, Minimal Art, Conceptual Art, and Land Art, to the developments of the new millenium. In addition to its depth in reference books, the library includes rare historic exhibition catalogues and books of early Minimal and Conceptual art (the publications of Seth Siegelaub, and exceedingly scarce publications from Vancouver and Oberlin, as well as the landmark shows of the 1960s and 1970s), rare periodicals ("Interfunktionen"), and classic source works inscribed by the authors, together with a rich selection of valuable original artists' books, by Carl Andre, John Baldessari, Stanley Brouwn, Hanne Darboven, Peter Downsbrough, Jenny Holzer, Rebecca Horn, Joseph Kosuth, Sol LeWitt, Richard Long, Gerhard Richter, Carolee Schneemann, Emmett Williams, and numerous others. -
In Search of Play
The Yale Undergraduate Research Journal Volume 1 Issue 1 Fall 2020 Article 35 2020 In Search of Play Margaret Saunders Yale University Follow this and additional works at: https://elischolar.library.yale.edu/yurj Part of the Architecture Commons, and the Arts and Humanities Commons Recommended Citation Saunders, Margaret (2020) "In Search of Play," The Yale Undergraduate Research Journal: Vol. 1 : Iss. 1 , Article 35. Available at: https://elischolar.library.yale.edu/yurj/vol1/iss1/35 This Article is brought to you for free and open access by EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in The Yale Undergraduate Research Journal by an authorized editor of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Saunders: In Search of Play HUMANITIESSTEM | Astronomy | Architecture VOL.VOL. 1.1 1.1 | |Dec. Nov. 2020 2020 In Search of Play Margaret Saunders1 1Yale University Abstract This thesis addresses the existence, inclusion, and access to play spaces in the built environment. It proposes that play is fundamental to the wellbeing of people of all ages, not only children, and analyzes how play spaces are or are not inclusive to people of all ages, then further addresses this in regard to gender, race, and socioeconomic class. This project presents the perspectives of social theorists such as Johan Huizinga, Guy Debord/ SI International, and Henri Lefebvre to analyze the role of space and social production of play. Additionally, it looks at historical case studies like New Babylon, Modellen & Aldo van Eyck’s playgrounds as examples of synergy between play & public/institutional design. -
D Documenta 3KRWRJUDSKHUXQNQRZQ Documenta (13) %HTXHVWRI$UQROG%RGH FRXUWHV\GRFXPHQWD$UFKLY
,QVWDOODWLRQYLHZRIGRFXPHQWD ZLWKZRUNVE\-XOLR*RQ]DOHV d documenta 3KRWRJUDSKHUXQNQRZQ dOCUMENTA (13) %HTXHVWRI$UQROG%RGH FRXUWHV\GRFXPHQWD$UFKLY The goal of the conference d documenta is to provide a forum for discussion and re- ÁHFWLRQRQWKHKLVWRU\RI documenta, its various incarnations and its future. 7KHÀUVWHGLWLRQRIdocumenta was held in Kassel in 1955 on the initiative of Ar- QROG%RGH6LQFHWKHQLWKDVFRPHWRGHÀQHDNH\SHULRGLFPRPHQWZKHQDWÀYH year intervals, contemporary art is generated, exhibited and elaborated. In Kassel, the people who are interested in art and in its relation to the world meet, assess the situa- tion and share their views. For those involved in the organization of the next documenta in 2012, dOCUMENTA (13), the journey begins with this conference. This conference brings together the Artistic Directors of the previous editions of documenta, who are present as representatives of the artists and the curatorial teams d who together conceived, imagined, witnessed and dreamed documenta. Each former 'LUHFWRUKDVEHHQDVNHGWRPDNHDSUHVHQWDWLRQDERXWWKHLUdocumentaE\ÀUVWGH- scribing their understanding, at the time of their project, of the sense of the present: how did they feel present to their time, what did this mean, and how did this inform WKHVWUDWHJLHVWKH\HPSOR\HGWKHGHFLVLRQVWKH\PDGH"6HFRQGO\WKHVSHDNHUVKDYH EHHQDVNHGWRRXWOLQHLQUHWURVSHFWZKDWWKH\PLJKWKDYHGRQHGLIIHUHQWO\²LQWKH documenta light of the changes occurred in the art world and the world at large subsequently to a conference towards dOCUMENTA (13) their documenta. Some of the participating artists in various editions of documenta una conferenza verso dOCUMENTA (13) KDYHDOVREHHQDVNHGWRVSHDNDWWKLVFRQIHUHQFH konferenz auf dem weg zur dOCUMENTA (13) In the early 1950s, documenta was conceived as a direct response to the Third Re- ich’s policies towards “degenerate art”; at the time, in Germany, only an art which September 18th and 19th, 2009 celebrated the regime was allowed, while all avant-gardes were banned. -
On Gerard De Lairesse's
Volume 12, Issue 1 (Winter 2020) On Gerard de Lairesse’s “Frenchness,” His Liège Roots, and His Artistic Integration in Amsterdam Eric Jan Sluijter [email protected] Recommended Citation: Eric Jan Sluijter, “On Gerard de Lairesse’s “Frenchness,” His Liège Roots, and His Artistic Integra- tion in Amsterdam,” Journal of Historians of Netherlandish Art 12:1 (Winter 2020) DOI: 10.5092/ jhna.2020.12.1.2 Available at https://jhna.org/articles/on-gerard-de-lairesses-frenchness-his-lige-roots-and-his- artistic-integration-in-amsterdam/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page On Gerard de Lairesse’s “Frenchness,” His Liège Roots, and His Artistic Integration in Amsterdam Eric Jan Sluijter This article demonstrates how Lairesse’s style, his knowledge of contemporary Italian art and ideas, and his understanding of the art of antiquity was fully developed by 1670 and had been shaped by the Romanist-classicist tradition in Liège and through confrontation with the art in Amsterdam, without any significant intervention of French painting and art theory. 1 In the second half of the nineteenth century a positive view of seventeenth-century Dutch art (realist, honest, the art of the common people) came to oppose a negative view of French art (idealized, academic, aristocratic) of the same period.1 Dutch painting of the later seventeenth century was therefore perceived as ruined by the French influence, and Gerard de Lairesse, who functioned within this framework as the epitome of “Frenchness,” became the scapegoat. -
Karel Appel, Le Cheval Mourant, 1956
Karel Appel, Le cheval mourant, 1956 Valeriano Bozal This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao © Karel Appel, VEGAP, Bilbao, 2009 Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: fig. 1 © Collection Centre Pompidou, Dist. RMN/Adam Rzepka: fig. 6 © Collection Centre Pompidou, Dist. RMN/Droits réservés: fig. 19 © Collection Van Abbemuseum, Eindhoven. Photo: Peter Cox, Eindhoven, The Netherlands: fig. 16 © Karel Appel Foundation: figs. 3, 4, 7, 9-13, 15, 17, 18 and 20-22 © Stedilijk Museum voor Actuele Kunst, Gent: fig. 2 © Stedilijk Museum Amsterdam: fig. 5 © Tate, London 2010: fig. 8 © The Museum of Modern Art, New York: fig. 14 Text published in: B’09 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 5, 2010, pp. 255-300. 1. Force, violence, chance, dynamism, exaggeration, excess, chaos, cruelty, unexpected, spontaneous, unfore- seen and irrational: all are words that can fairly be applied to the work of Karel Appel (1921–2006), and not least to Le cheval mourant (1956) [fig. -
K a R E L a P P
K A A R P E P L E L SAMUELIS BAUMGARTE GALERIE K 1 3 . A 2 A . R 2 0 P 2 1 – E 0 8 . P 4 . L 2 E 0 2 0 L SAMUELIS BAUMGARTE GALERIE Avantgardistische Tradition K A R A Das avantgardistische Berlin der 1920er-Jahre, von dem Karel Appel als P Junge geträumt hatte, gab es lange schon nicht mehr und in Amster- E dam zu bleiben, erschien dem aufstrebenden Maler wenig attraktiv. Die öffent lichen Reaktionen auf ein 1949 gerade fertig gestelltes und in P seiner Thematik1 in der malerischen Radikalität provozierendes Wandbild L in der Cafeteria des damaligen Amsterdamer Rathauses waren derma- ßen heftig ausgefallen, dass die Malerei noch im selben Jahr mit Tapete E überklebt wurde. Kurz drauf verließ Karel Appel die Stadt, in der er ge- boren und aufgewachsen war, in Richtung Paris, das zu dieser Zeit noch als Welthauptstadt der Kunst galt – freilich schon bald darauf von New L York abgelöst. Im Gespräch mit Rudi Fuchs erinnerte der Maler sich 1990 an diese Zeit in Paris. Das Leben dort war schwierig, aber es erschien ihm besser als in den Niederlanden: „Das einzige, was übrig blieb, war Paris. Das war eine intakte Stadt, nicht bombardiert, es waren Galerien da, darum wollte jeder nach Paris.“2 Schon seit 1947 reiste Appel wieder- holt dorthin, um andere Künstler zu treffen und sich an Ausstellungen zu beteiligen. Auch die Künstler der deutschen Avantgarde, wie Emil Schu- macher, der bereits 1930 als 18-jähriger mit dem Fahrrad dorthin gereist war, suchten in dieser Zeit künstlerischen Anschluss in der französischen Hauptstadt. -
Toon Verhoef 1946, Voorburg, the Netherlands
toon verhoef 1946, Voorburg, The Netherlands education 1968 – 1970 Ateliers ’63, Haarlem, The Netherlands 1966 – 1968 Visual Arts Studio, Johannesburg, South AfriCa 1965 – 1966 Rijksacademie voor Beeldende Kunsten, Amsterdam, The Netherlands 1963 – 1965 AtlantiC College, St. Donats, Wales awards 1988 Amsterdam Art Foundation Prize 1988 Dr. A.H. Heineken prize for the Arts 1985 Sandberg Prize solo exhibitions 2021 Toon Verhoef, Galerie Onrust, Amsterdam 2020 The Laboratory of Painting, Galerie Onrust, Amsterdam 2018 Toon Verhoef, Galerie Onrust, Amsterdam 30 Jaar Heinekenprijs voor de Kunst, Van Abbemuseum, Eindhoven, The Netherlands 2015 Toon Verhoef – Recente Schilderijen, De Pont, Tilburg, The Netherlands Painting devoid of subject matter, Galerie Onrust, Amsterdam 2014 Kunsthaus Baselland, Muttenz / Basel, Switzerland (Catalogue) 2013 Toon Verhoef, Paintings, Galerie Onrust, Amsterdam (catalogue) Lichthof, StaatliChe Akademie der Bildenden Künste Karlsruhe, Karlsruhe, Germany 2011 Then and now, Galerie Onrust, Amsterdam (with NiCholas Pope) 2010 Toon Verhoef, De Pont, Tilburg, The Netherlands and Kunstmuseum Bonn, Bonn, Germany (Catalogue) 2009 Galerie Onrust, Amsterdam Nirox Projects, Arts on Main, Johannesburg, South AfriCa 2008 Toon Verhoef, Schilderijen, Galerie Onrust, Amsterdam 2007 Kunstmuseum Bonn, Bonn, Germany onrust planciusstraat 7 | 1013 md amsterdam 2006 Galerie Onrust, Amsterdam Achter de Ramen, Amsterdam 2005 Kunstmuseum Den Haag, The Hague, The Netherlands 2004 Galerie Onrust, Amsterdam Toon Verhoef, Artist in Residence, -
STEDELIJK MUSEUM AMSTERDAM Annual Report 2016
STEDELIJK MUSEUM Annual Report 2016 AMSTERDAM THE STEDELIJK AS OPEN PLATFORM FOR DEBATE, CONTENTS REFLECTION, AND PERFORMANCE z38 Debate and reflection 38 Message from the Board of Directors 2 Performances and events 40 Report from the chairman of the Supervisory Board 4 THE STEDELIJK SUPPORT BASE: DIVERSE THE STEDELIJK AS LEADING MUSEUM 5 AND DEDICATED 42 Exhibitions and research 6 Support for exhibitions 42 Exhibitions: Stedelijk Museum Amsterdam 2016 9 Support of major donors: Stedelijk Museum Foundation Collection: preparing for a new presentation 18 and new support circles 44 Growing number of gifts 19 Corporate partners 44 Public outreach 20 Support of private patrons: memberships 45 Stedelijk Museum Bureau Amsterdam 22 Exhibitions: SMBA 2016 23 THE STEDELIJK: ENTERPRISING AND PROFESSIONAL 47 THE STEDELIJK COLLABORATES 24 Stedelijk as one 47 Living in the Amsterdam School 24 Focus on visitors 48 Collaborative education projects 25 Focus on (sustainable) enterprise 48 International partners 27 HR policy 49 Joint acquisitions 27 Partnership-based programs 28 GOVERNANCE 51 THE STEDELIJK IS FOR A BROAD, VARIED, Governance model 51 AND INTERNATIONAL PUBLIC 31 Schedule of rotations, changes, and appointments 52 Meetings of the Supervisory Board in 2016 53 Highly valued by visitors 31 Audit Committee 53 Stedelijk connects with new audiences 32 Cultural Governance Code 54 Influencer marketing 34 Smart and savvy marketing mix 36 Credits 55 1 REFINING OUR UNIQUE IDENTITY IN 2016 the first museum solo of American artist Jordan Wolfson in 2016, designed as a two-part presentation. The past year is one we can look back on with pride and satisfac- tion.