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Deutsche Nationalbibliografie 2017 a 08
Deutsche Nationalbibliografie Reihe A Monografien und Periodika des Verlagsbuchhandels Wöchentliches Verzeichnis Jahrgang: 2017 A 08 Stand: 22. Februar 2017 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2017 ISSN 1869-3946 urn:nbn:de:101-201612063930 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. In Reihe A werden Medienwerke, die im Verlagsbuch- chende Menüfunktion möglich. Die Bände eines mehrbän- handel erscheinen, angezeigt. Auch außerhalb des Ver- digen Werkes werden, sofern sie eine eigene Sachgrup- lagsbuchhandels erschienene Medienwerke werden an- pe haben, innerhalb der eigenen Sachgruppe aufgeführt, gezeigt, wenn sie von gewerbsmäßigen Verlagen vertrie- ansonsten -
Craft Horizons AUGUST 1973
craft horizons AUGUST 1973 Clay World Meets in Canada Billanti Now Casts Brass Bronze- As well as gold, platinum, and silver. Objects up to 6W high and 4-1/2" in diameter can now be cast with our renown care and precision. Even small sculptures within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction-a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price design quotations. Of course, all designs are held in strict Judith Brown confidence and will be returned or cast as you desire. 64 West 48th Street Billanti Casting Co., Inc. New York, N.Y. 10036 (212) 586-8553 GlassArt is the only magazine in the world devoted entirely to contem- porary blown and stained glass on an international professional level. In photographs and text of the highest quality, GlassArt features the work, technology, materials and ideas of the finest world-class artists working with glass. The magazine itself is an exciting collector's item, printed with the finest in inks on highest quality papers. GlassArt is published bi- monthly and divides its interests among current glass events, schools, studios and exhibitions in the United States and abroad. -
Philip Morris Philip Morris and the Arts a 30-Year
I -30 --+-YEA R REPORT - PHILIP MORRIS AND THE ARTS: A 3O-YEAR CELEBRATION THE ART OF ARTS SUPPORT ur support spans a wide range of involvement in the visual and performing arts-from the exploration of the new and innovative to the support ol American culture and international exchange. It follows the basic principle of sound patronage, which encourages quality and freedom of expression. These pages record our association with the arts in an introductory essay and a complete listing of projects and organizations we have supported. We think they paint an accurate picturd'of what arts support can accomplish in the United States and in other countries around the world. Hamish Maxwell Chairman and Chief Executive Officer, Philip Morris Companies Inc COVER: Energt of the Arfs, 1989, mixed-media by Betye Saar. Specially commissioned by Philip Morris Companies Inc. for this publication. Betye Saar is a mixed media artist based in Los Angeles. She works in collage, assemblage, and site-specific installations This report' reflects the involvement of Philip Morris with the arts through 1988 prior to its. purchase of Kraft-.Because of this, Kraft's excellent programming in the arts is not recorded in this report but will follow in the succeeding one. ----.-----30 YEAR REPORT TABLE OF CONTENTS Ct Page 84 € Page 75 Al & 7 lorsrn Anrs AcrnrrrEs s} d t.'\ 7l Museuu Supponr 8l anr Assocrnnons Page 93 84 currumr CnvrEns 85 EnucnrroNar Anrs Pnocn-qMs 85 Hsrorucar Socrsrns Page 26 86 trsRARrEs : 86 lwnnnsano CoNrERrNcEs 87 tnrnarunrTPusucArroNs 4 THnEs Drcnors -
CORTON a - WOCHE 1995 I Lojahriges Jubilaum!
Naturwissenschaft und die Ganzheit des Lebens CORTON A - WOCHE 1995 I lOjahriges Jubilaum! 09. -16. September 1995, Cortona, Toscana, Hotel Oasi, Italien 'Die vielen Wege' Fiir Hochschul-Studenten und Dozenten. Um Be- reiche, die in der akade- mischen Ausbildung ver- gessen werden oder zu kurz kommen (Psyche, Kunst, Religion, Philoso- p hie, Korpergefiihle, Musik ... ) wieder ins Be- wusstsein zu rufen. Und ihre Integration in ein ganzheitliches Leben zu aktivieren. In der Cor- tona-Woche soll dariiber nicht nur gesprochen , sondern es soll auch tat- kr af tig experimentiert werden . Gruppen.ubeiten und Di1ku1,1ion1krtiu: Th . Altherr, Zurich. CH: Benlhrtwerden D. L.isatr·Aepll, Zwich,. CH: Atem, K&ptt Bewusstsein M. Matu/K. Graf , Triboltingen. CH : Wie bin kh gestimmt? H. Morgen1trrn , Frankfurt, D: lherapi e und Mwik J. Riedel, Konsllinz , D: Jm;r,ginieren mit Fuben C. Scheidegger/If . St.tuber, Zur ich,. CH: Psychodr.un.a Mit Vortrigtn (und Ditku1,1iontn) von: Th. Chamberlin, Aargau, CH: Dao Dancing H. Atm.-n,pach,r, Mlinchen,. D: Physili:: B. Eluner/R. HDgger, Stetten, CH: Cortona Kommentar I. Dmutin, Uni-ZJETH-Ziirich. CH: Sprache G. Haflelder, Stuttgart, D: GehirnfofKhung und Heihmg T. ~hjdalani , Zurich, CH: Troouneln Y. Elk.ana/H. Noy;otny, Berlin, D/Wier\ A: Philosophie J. Hilifu, Santa FI, USA: Ethnologie J. Woll Brenn.u, , Weggis, CH: Morgensingen J. Maddox, England: Editor of'Na ture' C. Waltenpitl, TU.bingen,. D: Ki-Aroeit A. Mu1ehg. ETH-Zurich. CH: Uteratur M. Quuk, ETH-Zurich,. CH: Physik Attliu: H. Remmhr, Munchen. 0: Psychologie/Musik C. Huse-Honegger, Zurich. CH: Malalelier O. Rotuhr, TUbingen,. -
Willi Gutmann Form · Movement · Sculpture
Axel Wendelberger ( ed. ) Willi Gutmann FORM · MOVEMENT · SCULPTURE 1 Axel Wendelberger ( ed. ) Willi Gutmann FORM · MOVEMENT · SCULPTURE Including an introduction by Haig Khachatoorian and essays by Pit Gutmann and Axel Wendelberger I was fortunate to work personally with Willi on projects in Atlanta and San Francisco. I chose him to create pieces that would enhance the human experience of our architecture, and he never failed to cause enthusiasm. His spirit lives on in these wonderful works of art. John Portman 4 FOREWORD AND ACKNOWLEDGEMENTS The work on this book started in the summer of 2014, approximately one and a half years after the unexpected death of Willi Gutmann. It was an intensive period of discussions about his artwork for all of us. He left behind an exten- sive œurve, as well as numerous documents which had to be examined, put in order, and finally removed to a different place. The large barn-studio, which Willi Gutmann had rented since 1975, had to be vacated and handed back over to the landlord. Unfortunately, Suzanne Monard, the partner of the artist, cannot cele- brate the publication of this book. She passed away on September 6, 2014 due to heavy illness. These strong personalities were company to each other over thirty-five years of a life shared, and they constantly inspired one another. We felt relieved that Suzanne did witness the beginning of this project. We are pleased to present the first comprehensive publication about the sculptural works of Willi Gutmann. In view of the amount of material that was available and the diversity of his artistic and creative designs, it soon became clear to us that we had to set a limit and concentrate on a representative selec- tion of artworks in order to provide adequate insight into the rich body of work and intellectual world of Willi Gutmann. -
Source : Bibliothèque Du CIO / IOC Library
> |^| • • ^4# • i mm M Tsfly- - I « ' m Source : Bibliothèque du CIO / IOC Library COMPAGNIE MERGE CUNNINGHAM - Peter Brook parle en ces termes de la troupe: "Le travail de Merce Cunningham (en bas a droite) est d une importance considerable. II prospecte de nouvelles directions, il est libre, ouvert aux forces que pressent I'artiste sans pouvoir les controler — tout en restant precis, classique et severe. C'est un amalgame mysterieux domine par une intense actlvite creatrice." La compagnie Merce Cunningham a presente trois pro- grammes auxquels participaient John Cage et Gordon Mumma, le pianiste David Tudor et Jasper Johns, conseiller artistique. Confirmation des idees de I Brook, ces spectacles ont reaffirme la tres haute qualite et I'exceptionnelle importance de la tache du choregraphe, mais avant tout le libre jeu dans lequel la danse devient a la fois cause, effet et reflet exact d'un objectif essentiel: ['exaltation du corps humain dans la contradiction du mouvement. Merce Cunningham nous a explique de vive voix sa position face a la "representation" choregraphique du corps humain et sa collaboration avec Cage, Jasper Johns et Rauschenberg: "La danse devient pour moi reellement interessante quand j'aborde un domaine inconnu." MERCE CUNNINGHAM COMPANY - Peter Brook has written that "the work of Merce Cunningham (lower right) is of the highest quality and greatest importance. It searches in new directions, it is free, open to the play of all the forces the participating artist senses without being able to control-and yet it is presise, classical and severe. This is a mysterious marriage brought about by an intense creativity." The company offered three programs, with the assistance of composers John Cage and Gordon Mumma, pianist David Tudor and scenographer Jasper Johns. -
The Route of Friendship a Testimony to Mexico City's Aesthetic Modernity
ARTANDCULTURE The Route of Friendship A Testimony to Mexico City’s Aesthetic Modernity Raymundo Ángel Fernández Contreras* he Route of Friendship, a collective work of 19 mon- umental concrete sculptures built to celebrate the T1968 Mexico Olympic Games, is unique in the his- tory of world contemporary urban art. Nineteen artists of dif- ferent races and ideologies, from all the world’s continents contributed pieces, which are placed along southern Mexico City’s Beltway.1 It was a special version of what in the 1950s Architect Pedro Ramírez Vázquez archive urban sculptors concerned about taking art to the nation’s roads and highways called an Artistic Way. Contingent on the capital city’s modern urbanism, the road was the outcome of common interests in the plans of archi- tect Pedro Ramírez Vázquez, the chairman of the Olympic Games Organizing Committee, and artist Mathias Goeritz. Ramírez Vázquez wanted to visually integrate sculpture and architecture with the Olympic Village as part of the Cultur- al Olympics activities. Goeritz used the opportunity of being appointed Olympic Committee artistic advisor to organize an international symposium with International Sculptors Fed- Herbert Bayer, Austria, Articulated Wall (station 13). eration (FISE) support, and to make ideas that had been buzzing around in the heads of a group of sculptors for at least 20 years a reality. It was the fulfillment of 20 years * Architect and art historian. Professor-researcher at the Acatlán of attempts by idealistic sculptors to create School of Higher Learning (FES-Acatlán). a collective body of art integrated into a highway Previous page: Angela Gurría, Mexico, Signs (station 1). -
Catálogo De Las Exposiciones De Arte En 1969
DOI: http://dx.doi.org/10.22201/iie.18703062e.1970.sup1 JUSTINO FERNANDEZ CATÁLOGO DE LAS EXPOSICIONES DE ARTE EN 1969 SUPLEMENTO AL NÚM. 39 DE LOS ANALES DEL INSTITUTO DE INVESTIGACIONES ESTÉTICAS MÉXICO, 1970 DOI: http://dx.doi.org/10.22201/iie.18703062e.1970.sup1 Primera edición: 1970 , DR © 1970, Universidad Nacional Autónoma de México Ciudad Universitaria. México 20, D. F. DIRECCiÓN GENERAL DE PUBLICACIONES Impreso y hecho en México DOI: http://dx.doi.org/10.22201/iie.18703062e.1970.sup1 Cuando era de esperarse que el número de exposiciones de arte decreciera exagera damente, después de las que tuvieron lugar durante la Olimpiada Cultural de 1968, en verdad apenas si disminuyó. Es interesante comparar las cifras estadísticas de los últimos años: 1966, 250 exposiciones; 1967, 310 exposiciones; 1968, 373 exposicio nes; 1969, 356 exposiciones. En general las principales iustituciones han mantenido un equilibrio en el número de exposiciones presentadas; el Instituto Nacional de Bellas Artes unas 80 anuales; la Universidad Nacional Autónoma de México unas veintitantas ; el Organismo de Promoción Internacional de Cultura unas veinte. De los Institutos Culturales extran jeros se distinguieron: el Instituto Mexicano-Norteamericano de Relaciones Cultu rales con 25 exposiciones y el Instituto Francés de América Latina con 15. Ahora bien, el resto de las exposiciones se distribuye entre otras instituciones y galerías particulares en la ciudad de México. El Instituto Nacional de Bellas Artes presentó, en el Palacio de Bellas Artes, las siguientes -
Ganzheit Des Lebens
unddie Ganzheit des Lebens wo sich die Wege der N aturwissenschaft und die Wege des Geistes begegnen 19. -26. August Zukunft-Zukunftsvisionen Inhalt I Contents Welcome from Prof. Pier Luigi Luisi 2 Program of the Day 4 Workshops 5 Detailed Program of the Week 7 Who is who 14 A Week in a Glance 16 List of the Speakers 18 List of the Addresses 62 1 Welcome to Cortona 1998 Pier Luigi Luisi Welcome to this Cortona week, one week-long journey aimed at discovering land and people about which we didn't know before. The people are the very best thing in Cortona-just sit by any of the participants, ask why she/he is here, and you will hear fascinating life stories of search and meaning. The program is again very rich and diverse, and according to the Cortona tradi- tion is meant to foster the "Ganzheit des Lebens", the wholeness of life. And this is done by exercising in Cortona mainly two things, the interdisclipina- rity (i.e., the capability of working jointly with people of different origin and education); and, secondly, the integration between science and humanistic values- the world of art, literature, the world of the body and of the emoti- ons. This large program, with so many different things which are being offe- red, may appear at first sight to be in contradiction with the idea of the "Ganzheit". Quite on the contrary: a large variety of things is offered just because each participant may choose only those few elements which most resonate with her/his nature- for someone this will be physics with music and poetry, for somebody else this will be architecture with philosophy and body movement, and so on. -
Copyright by Ana Patricia Núñez-Ruiz 2017
Copyright by Ana Patricia Núñez-Ruiz 2017 The Dissertation Committee for Ana Patricia Núñez-Ruiz Certifies that this is the approved version of the following dissertation: Mathias Goeritz: Minister of Change in Mexican Modern Art, 1949-1968 Committee: Héctor Domínguez Ruvalcaba, Supervisor Matthew Butler Andrea Giunta Roberto Tejada Mathias Goeritz: Minister of Change in Mexican Modern Art, 1949-1968 by Ana Patricia Núñez-Ruiz Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2017 Dedication To my beloved husband and biggest champion of my work, Juan Ruiz-Healy Acknowledgements During researching and writing this dissertation I relied heavily on the good advice and support of many. This dissertation started with the advice of Andrea Giunta and after she moved back to Buenos Aires, Héctor Domínguez Ruvalcaba courageously took over, for this I will be eternally grateful. I am honored that I attended the last class of Dr. Jacqueline Barnitz a mentor as well; the idea of the dissertation topic started in her class and then developed with Andrea Giunta’s several seminars, she was forever generous with her time and enthusiasm, guiding me through the most difficult aspects of writing and research. For that, she has my deepest appreciation. Professor Domínguez Ruvalcaba took me by the hand and pinpointed the importance of a more critical assessment of Goeritz’s work, the final dissertation was molded by his guidance and pertinent questions. I found I could rely on Roberto Tejada and Matthew Butler to challenge me to think differently and better about the issues that interested me most in this dissertation.