Liz Deschenes Selected Texts & Press
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A Guide for Educators and Students TABLE of CONTENTS
The Munich Secession and America A Guide for Educators and Students TABLE OF CONTENTS FOR EDUCATORS GETTING STARTED 3 ABOUT THE FRYE 3 THE MUNICH SECESSION AND AMERICA 4 FOR STUDENTS WELCOME! 5 EXPERIENCING ART AT THE FRYE 5 A LITTLE CONTEXT 6 MAJOR THEMES 8 SELECTED WORKS AND IN-GALLERY DISCUSSION QUESTIONS The Prisoner 9 Picture Book 1 10 Dutch Courtyard 11 Calm before the Storm 12 The Dancer (Tänzerin) Baladine Klossowska 13 The Botanists 14 The Munich Secession and America January 24–April 12, 2009 SKETCH IT! 15 A Guide for Educators and Students BACK AT SCHOOL 15 The Munich Secession and America is organized by the Frye in GLOSSARY 16 collaboration with the Museum Villa Stuck, Munich, and is curated by Frye Foundation Scholar and Director Emerita of the Museum Villa Stuck, Jo-Anne Birnie Danzker. This self-guide was created by Deborah Sepulvida, the Frye’s manager of student and teacher programs, and teaching artist Chelsea Green. FOR EDUCATORS GETTING STARTED This guide includes a variety of materials designed to help educators and students prepare for their visit to the exhibition The Munich Secession and America, which is on view at the Frye Art Museum, January 24–April 12, 2009. Materials include resources and activities for use before, during, and after visits. The goal of this guide is to challenge students to think critically about what they see and to engage in the process of experiencing and discussing art. It is intended to facilitate students’ personal discoveries about art and is aimed at strengthening the skills that allow students to view art independently. -
Secession and the Theory & Practice of International
SECESSION AND THE THEORY & PRACTICE OF INTERNATIONAL RELATIONS Linda Suzanne Bishai A thesis submitted for the degree of Doctor of Philosophy in International Relations Summer 1999 London School of Economics & Political Science UMI Number: U123126 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Disscrrlation Publishing UMI U123126 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 yscit5 7'0S23 Abstract Secession has been noticeably absent from International Relations theory although its role in the creation and recognition of states is clearly relevant. Traditionally, the dominant perspectives in IR have not questioned state formation and this has effectively barred secession as a topic since it cannot be thoroughly treated without looking across the inside/outside divide of state sovereignty. Secession must be placed in its historical context — as a phenomenon only possible in the modem era and only perceived as a global threat in this century. Theorists from other disciphnes who have discussed secession have rehed on a problem solving theoretical perspective which has kept them from considering secession as an outcome of problematic assumptions about identity and territory in the international system. -
Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592
The Evolution of Expressionism In Turn-of-the-Century Vienna: Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592 1 1 Until 1897, Classicism in Viennese high art had served as a mimetic construct of the elite society who were both art's staunchest supporters and the purveyors of moral and philosophical values that served as it's staple of judgment. In the following years, from 1898 to 1918, were revolutions of both natures, political and philosophical. The artistic transformation from the Classicism of the Habsburg Monarchy to the expressionism of the Cafe "Nihilism" could be seen most obviously in two of Vienna's foremost artists of the time, Gustav Klimt and Egon Schiele. This paper seeks to compare and contrast the works of these two artists who seem to crystallize the moral, social, political, and artistic upheaval of early Twentieth Century Vienna. It lS fitting that Gustav Klimt and Egon Schiele died six months from one another, both of the Spanish influenza, and both in 1918. It is important to note that even though stylistic variables call for their ultimate contrast, they loved and admired one another, and they both stood for the values that defined Secessionism. Their proximity in philosophy makes it all the more profound to discover their differences. In Klimt came classical objectivity housed in a contemporary conceptual framework. In Schiele came the shift to brutal subjectivity that pushed the limits of this framework. Even though, as will be discussed, the similarity of the subject matter seems to remain a constant, the execution becomes the variable upon which the change becomes dependent. -
Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P
contemporary art magazine issue # sixteen december | january twothousandnine Spedizione in a.p. -70% _ DCB Milano NOVEMBER TO JANUARY, 2009 KAREN KILIMNIK NOVEMBER TO JANUARY, 2009 WadeGUYTON BLURRY CatherineSULLIVAN in collaboration with Sean Griffin, Dylan Skybrook and Kunle Afolayan Triangle of Need VibekeTANDBERG The hamburger turns in my stomach and I throw up on you. RENOIR Liquid hamburger. Then I hit you. After that we are both out of words. January - February 2009 DEBUSSY URS FISCHER GALERIE EVA PRESENHUBER WWW.PRESENHUBER.COM TEL: +41 (0) 43 444 70 50 / FAX: +41 (0) 43 444 70 60 LIMMATSTRASSE 270, P.O.BOX 1517, CH–8031 ZURICH GALLERY HOURS: TUE-FR 12-6, SA 11-5 DOUG AITKEN, EMMANUELLE ANTILLE, MONIKA BAER, MARTIN BOYCE, ANGELA BULLOCH, VALENTIN CARRON, VERNE DAWSON, TRISHA DONNELLY, MARIA EICHHORN, URS FISCHER, PETER FISCHLI/DAVID WEISS, SYLVIE FLEURY, LIAM GILLICK, DOUGLAS GORDON, MARK HANDFORTH, CANDIDA HÖFER, KAREN KILIMNIK, ANDREW LORD, HUGO MARKL, RICHARD PRINCE, GERWALD ROCKENSCHAUB, TIM ROLLINS AND K.O.S., UGO RONDINONE, DIETER ROTH, EVA ROTHSCHILD, JEAN-FRÉDÉRIC SCHNYDER, STEVEN SHEARER, JOSH SMITH, BEAT STREULI, FRANZ WEST, SUE WILLIAMS DOUBLESTANDARDS.NET 1012_MOUSSE_AD_Dec2008.indd 1 28.11.2008 16:55:12 Uhr Galleria Emi Fontana MICHAEL SMITH Viale Bligny 42 20136 Milano Opening 17 January 2009 T. +39 0258322237 18 January - 28 February F. +39 0258306855 [email protected] www.galleriaemifontana.com Photo General Idea, 1981 David Lamelas, The Violent Tapes of 1975, 1975 - courtesy: Galerie Kienzie & GmpH, Berlin L’allarme è generale. Iper e sovraproduzione, scialo e vacche grasse si sono tra- sformati di colpo in inflazione, deflazione e stagflazione. -
The Life and Times of the Berlin Secession Podcast
Lindenwood University Digital Commons@Lindenwood University Theses Theses & Dissertations Spring 5-2021 The Life and Times of the Berlin Secession Podcast Chris Kitamura Lindenwood University Follow this and additional works at: https://digitalcommons.lindenwood.edu/theses Part of the Classical Archaeology and Art History Commons Recommended Citation Kitamura, Chris, "The Life and Times of the Berlin Secession Podcast" (2021). Theses. 7. https://digitalcommons.lindenwood.edu/theses/7 This Thesis is brought to you for free and open access by the Theses & Dissertations at Digital Commons@Lindenwood University. It has been accepted for inclusion in Theses by an authorized administrator of Digital Commons@Lindenwood University. For more information, please contact [email protected]. Lindenwood University School of Arts, Media, and Communications THE LIFE AND TIMES OF THE BERLIN SECESSION PODCAST by Chris Kitamura Submitted in Partial Fulfillment of the Requirements for the Degree of Master Arts in Art History At Lindenwood University May 2021, Christopher Kitamura The author hereby grants Lindenwood University permission to reproduce and to distribute publicly paper and electronic thesis copies of document in whole or in part in any medium now known or hereafter created. 2 2 Chris Kitamura______________________________________________4/22/21 Author Kelly Scheffer _________________________________________________ Committee chair Dr. Piper Hutson__________________________________________________4/27/2021 Committee member 4/27/21 Clayton -
Dissident Artists' Associations of Germany 1892-1912
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1984 Dissident Artists' Associations of Germany 1892-1912 Mary Jo Eberspacher Eastern Illinois University This research is a product of the graduate program in History at Eastern Illinois University. Find out more about the program. Recommended Citation Eberspacher, Mary Jo, "Dissident Artists' Associations of Germany 1892-1912" (1984). Masters Theses. 2826. https://thekeep.eiu.edu/theses/2826 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced -
Current Anthropology October 2015 Volume 56 Supplement 11 Pages S1–S180
Forthcoming Current Anthropology Wenner-Gren Symposium Current Anthropology Supplementary Issues (in order of appearance) VOLUME 56 SUPPLEMENT 11 OCTOBER 2015 The Life and Death of the Secret. Lenore Manderson, Mark Davis, and Current Chip Colwell, eds. Reintegrating Anthropology: From Inside Out. Agustín Fuentes and Polly Wiessner, eds. Anthropology Previously Published Supplementary Issues Working Memory: Beyond Language and Symbolism. Thomas Wynn and Frederick L. Coolidge, eds. THE WENNER-GREN SYMPOSIUM SERIES Engaged Anthropology: Diversity and Dilemmas. Setha M. Low and October 2015 Sally Engle Merry, eds. POLITICS OF THE URBAN POOR: AESTHETICS, Corporate Lives: New Perspectives on the Social Life of the Corporate Form. Damani Partridge, Marina Welker, and Rebecca Hardin, eds. ETHICS, VOLATILITY, PRECARITY The Origins of Agriculture: New Data, New Ideas. T. Douglas Price and GUEST EDITORS: VEENA DAS AND SHALINI RANDERIA Ofer Bar-Yosef, eds. The Biological Anthropology of Living Human Populations: World Histories, Politics of the Urban Poor: Aesthetics, Ethics, Volatility, Precarity National Styles, and International Networks. Susan Lindee and 56 Volume The Urban Poor and Their Ambivalent Exceptionalities: Notes from Jakarta Ricardo Ventura Santos, eds. The Politics of Not Studying the Poorest of the Poor in Urban South Africa Human Biology and the Origins of Homo. Susan Antón and Leslie C. Plebeians of the Arab Spring Aiello, eds. Political Leadership and the Urban Poor: Local Histories Potentiality and Humanness: Revisiting the Anthropological Object in The Need for Patience: The Politics of Housing Emergency in Buenos Aires Contemporary Biomedicine. Klaus Hoeyer and Karen-Sue Taussig, eds. The Politics of the Urban Poor in Postwar Colombo Supplement 11 Alternative Pathways to Complexity: Evolutionary Trajectories in the Middle Sectarianism and the Ambiguities of Welfare in Lebanon Paleolithic and Middle Stone Age. -
Gustav Klimt: Painting, Design and Modern Life in Vienna 1900
Tate Liverpool Educators’ Pack Gustav Klimt: Painting, Design and Modern Life in Vienna 1900 Gustav Klimt Fir Forest I 1901 courtesy Kunsthaus Zug, Stiftung Sammlung Kamm The Exhibition at Tate Liverpool As the first comprehensive survey of the work of this artist in the UK, this exhibition at Tate Liverpool focuses on the life and art of Gustav Klimt. The exhibition examines Klimt’s role as founder and leader of the Vienna Secession, a progressive group of artists whose work and philosophy embraced all aspects of arts and craft. It features key works from all stages of the artist’s career alongside fellow Secessionist artists such as Josef Hoffman, Carl Moll, Bruno Reiffenstein, and Koloman Moser. This pack will help educators focus on specific areas of this large-scale exhibition with suggested activities and points for discussion that can be used in the classroom and in the gallery. 1 The Vienna Secession (1897-1939) At the turn of the TTTwentiethTwentieth CenturyCentury,, the city of Vienna was one of Europe’s lleadingeading centrescentres of culture. The rising middle classes sought to free themselves from the past and explore new forms of expression in art, architecture, literature and music. The Vienna Secession was founded in 1897 by a group who had resigned from the Association of Austrian Artists, as a protest against the prevailing conservatism of the traditional Künstlerhaus . The movement represented a separation from the art of the past and the establishment of modernism in Austria. The younger generation sought to bring about a renaissance of arts and crafts, uniting architects, designers, Symbolists, Naturalists and craftsmen, from metalworkers to engravers. -
Press Kit Secession
SECESSION The Vienna Secession is an exhibition space that occupies a unique position in the history of modern art, combining a contemporary, forward-looking program with a building whose architecture is an icon of the spirit of adventure around 1900. This architecture has aged well and as a result, its functionality and aesthetic elegance continue to offer excellent conditions for today’s artistic and exhibition practice. The Secession is designed to be used in many different ways, a challenge taken up by artists who engage with both the inside and the outside of the building, producing an ongoing series of specially developed artistic ideas and concepts. Artists have often engaged with both the façade and the dome composed of 3000 gold-plated iron laurel leaves. The magnificent Hauptraum (main gallery) with its glass roof, one of the very first “white cubes,” is particularly well suited for interventions on account of its flexibility. With the Grafisches Kabinett (print room) on the upper floor and the three- room gallery in the basement, this ensures a wide range of options for exhibitions. In keeping with the motto that adorns its facade—“For every time, its art. For art, its freedom.”—the Secession hosts an international program that explores current forms of artistic expression in solo and themed exhibitions. It is a sounding board for the aesthetic and critical discourses on art, culture, and society that define our era, and for the political significance accruing to them. The Secession is an important forum for young experimental art, but its concept also includes prominent, already established positions. -
Expressionism in Germany and France: from Van Gogh to Kandinsky
^ Exhibition Didactics Expressionism in Germany and France: From Van Gogh to Kandinsky Private Collectors French avant-garde art was being avidly collected and exhibited in Germany, especially by private collectors, who did not have the same constraints that museum directors and curators faced. Karl Ernst Osthaus was one of the most passionate and important collectors and a fervent supporter of the German Expressionists. In 1902 Osthaus opened the Museum Folkwang in Hagen (today the museum is in Essen). There he exhibited his own collection, including the works of Paul Cézanne, Paul Gauguin, Vincent van Gogh, Henri Matisse, and Paul Signac. His museum was frequented by admirers of avant-garde art, including many of the new generation of Expressionists, among them August Macke, Franz Marc, Emil Nolde, Max Pechstein, and Christian Rohlfs (who later moved to Hagen and had a studio at the museum). The cosmopolitan Count Harry Kessler, who grew up partly in Paris and later divided his time between France and Germany, discovered Neo-Impressionism early through the works of Signac and Théo van Rysselberghe, which he saw in Paris. He was also interested in the French artists group known as the Nabis, and acquired The Mirror in the Green Room (on view in this exhibition) by Pierre Bonnard, one of its members. Kessler also commissioned works from French painters, including Henri-Edmond Cross’s Bather , also on view in this exhibition. In 1905, when he was the director of the Grand Ducal Museum in Weimar, Kessler organized the first major Gauguin exhibition in Germany. Although it provoked a scandal— Gauguin was criticized for being too “exotic”—the exhibition presented the artist’s colorful Symbolist paintings of Brittany and Tahiti to the German art world. -
Rose in a Vase Personal Project Report
Rose in a Vase Personal Project Report School name: Student name: Supervisor name: School year: 2018/2019 Word count: 3 482 Investigating The opportunity to do the Personal Project made me allocate more time for what I enjoy doing. My Personal Project goal is to paint a single motif, a rose in a vase, in five different art styles of the 20th century. The specific art movements I am going to be inspired by are Vienna secession, cubism, abstract expressionism, pop art, and minimalism. The final product will include five A3 canvases each painted with my own interpretation and design of a rose in a vase in one of the given art styles with a short description of the art movement under each painting. I aim to achieve this goal by the final product deadline, February 8th 2019, by working consistently and effectively throughout the year. My art skills, techniques and knowledge are going to be challenged by the goal I picked because I have rarely attempted to paint without a direct template, which makes creating an art piece more difficult by not having outlines, proportions or colours to follow. In order to define my goal better and give my project a specific focus, I utilized the idea of one Global Context. Personal and Cultural Expression is the Global Context I chose to provide me with a starting point in my inquiry and later on encourage me to reflect and draw connections. While working with the specific Global Context, we want to question the nature and purpose of creative expression and explore the ways in which we discover and express ideas, feelings, nature, culture, beliefs and values; ways in which we reflect on and enjoy our creativity; our appreciation of the aesthetic (PLC). -
Gustav Mahler (1860–1911): a Tribute in Art, Music, and Film
Cover Auguste Rodin, Gustav Mahler, 1909, bronze, National Gallery of Art, Washington, Gift of Lotte Walter Lindt in memory of her father, Bruno Walter 3 ! Gustav Mahler (1860!–!1911): A Tribute in Art, Music, and Film David Gari" National Gallery of Art 4 David Gari! “We cannot see how any of his music can long survive him.” !—!Henry Krehbiel, New York Tribune, May 21, 1911 “My time will come!.!.!.!” !—!Gustav Mahler Interest in the life, times, and music of Gustav Mahler (1860!–!1911) has been a dominant and persistent theme in mod- ern cultural history at least since the decade of the 1960s. His status is due, in part, to the championing of his music by Ameri- can conductor and composer Leonard Bernstein (1918!–!1990). Last year (2010) was the 150th anniversary of Mahler’s birth; this year (2011), we commemorate the 100th anniversary of his death on May 18. The study of Mahler!—!the man and his music!—!confronts us not only with the unique qualities of his artistic vision and accomplishments but also with one of the most fertile and creative periods and places in Western cultural history: fin-de-siècle Vienna. Mahler’s life and times close the door on the nineteenth century. His death prior to the outbreak of the First World War is fitting, for his music anticipates the end of the old European order destroyed by the war and sum- mons us to a new beginning in what can best be described as a twentieth-century age of anxiety!—!an anxiety prophetically revealed in Mahler’s symphonies and songs.