International Journal of Education & the Arts
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Art History Undergraduate 2000-2001
Art History - pathways & 1000 Level modules School of Art History Head of School Professor P B Humfrey Degree Programmes Single Honours Degree: Art History Joint Honours Degrees: Art History and Ancient History, Biblical Studies, Classical Studies, English, FrenchW, Geography, GermanW, Hebrew, Integrated Information Technology, International Relations, ItalianW, Management, Mathematics, Mediaeval History, Middle East Studies, Modern History, Philosophy, Psychology, RussianW, Social Anthropology, SpanishW. Minor Degree Programme: Mediaeval Studies (See School of History) W available also as ‘with Integrated Year Abroad Degrees’ Programme Prerequisites For all Programmes: A pass at Grade 11 or better in 3 of: AH1001, AH1003, AH2001 and AH2002 Programme Requirements Single Honours Degree: AH3099 and at least a further 180 credits in Art History Honours modules - at least one module in a subject area before 1600 and at least one in a subject area post 1600. Joint Honours Degree: At least 90 credits in Art History Honours modules - at least one module in a subject area before 1600 and at least one in a subject area post 1600. In the case of students who spend part of the Honours Programme abroad on a recognised Exchange Scheme, the Programme Requirements will be amended to take into account courses taken while abroad. Modules AH1001 Art of Renaissance Italy Credits: 20.0 Semester: 1 Description: The module will provide a survey of painting, sculpture and architecture in Italy from c.1280 to 1580. It will trace a chronological development through the work of the major creative personalities, from Giotto at the beginning of the fourteenth century, to Leonardo, Michelangelo, Raphael and Titian in the earlier sixteenth century. -
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. -
A Late Summer Full of Inspiration and Activities Diy
Are the images not displayed? View the HTML version. A LATE SUMMER FULL OF INSPIRATION AND ACTIVITIES Summer is drawing to a close and the museum has a number of special activities on the agenda for September. The bomb shelter of the Kröller-Müller Museum is opening, DIY workshops are being organized in the Rietveld pavilion and new exhibitions are coming. Want to know how to attend the activities and how to learn more about art from home? Then read on. DIY WORKSHOPS IN THE RIETVELD PAVILION MAKE YOUR OWN GARMENT Do you like art and fashion? Then we have good news for you. To celebrate the 40th anniversary of HUMANOID, you can make your own garment or bag in the Rietveld pavilion from Friday 3 September to Monday 6 September. Under the guidance of the HUMANOID creative team, you will work with the designs of HUMANOID. Want to participate in one of the workshops? Sign up via the ticket page and choose a day and time. Six time slots are available per day and the workshop lasts 45 minutes. The workshop is free, but you do need a pre- booked online ticket for the museum. Please note: the museum is located in the middle of De Hoge Veluwe National Park. Therefore, you must also pay for the park and purchase a separate ticket for this. Don’t delay because only a limited number of places are available. Sign up for the DIY workshop >> Creations of the workshop that are shared via social media have a chance to win a voucher of 500 euros to spend in the HUMANOID webshop. -
'The World Is My Poetry' Some Moments from the Life = Work of Herman De Vries1
'the world is my poetry' Some moments from the life = work of herman de vries1 Cees de Boer What a wonderful tree! And so old! It has survived so many centuries! How could it have become this thousand-year old tree? Well, because the tree was completely useless. Its wood was not suitable for making wagon wheels or furniture, not suitable for making charcoal to keep someone warm or cook food. And now that it is old, it is really not worth cutting down. It is a completely useless tree. (After Chuang Tzu) During the preparations for the great retrospective of his work in 1980 at the Groninger Museum, herman de vries wrote to the then director Frans Haks, that he was looking forward to his first group exhibition. Haks observed de vries' ironic remark to be very meaningful: 'the outer forms of de vries' work change, but 'it is clearly based on a number of principles.' There is indeed a great diversity of forms in de vries' work: informal art, monochrome art, concrete art, concrete poetry, conceptual art and artist's books. Haks: 'the drawback is that these are names which in fact bear on the external features of the work, which say nothing about the intention of its maker.' The above- mentioned terms are therefore only illuminating for a short period of time: truly important artists do not repeat themselves but develop and renew themselves. This can particularly be said of herman de vries.'2 Apart from a few cognoscenti (and the very few collectors in the Netherlands who incorporate a historic perspective in their collection), the name of herman de vries will chiefly bring to mind those works which present elements from the natural world such as the leaves of a blueberry plant (ill.#) or deer droppings (ill.#). -
History of Modern Art Painting Sculpture Architecture Photography
HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION LK024_P0001EDarmason_HoMA_FM_Combined.indd i 14/09/2012 15:49 LK024_P0001EDarmason_HoMA_FM_Combined.indd ii 14/09/2012 15:49 HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION H.H. ARNASON ELIZABETH C. MANSFIELD National Humanities Center Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo LK024_P0001EDarmason_HoMA_FM_Combined.indd iii 14/09/2012 15:49 Editorial Director: Craig Campanella This book was designed and produced by Editor-in-Chief: Sarah Touborg Laurence King Publishing Ltd, London Senior Sponsoring Editor: Helen Ronan www.laurenceking.com Editorial Assistant: Victoria Engros Production Manager: Simon Walsh Vice President, Director of Marketing: Brandy Dawson Page Design: Robin Farrow Executive Marketing Manager: Kate Mitchell Photo Researcher: Emma Brown Editorial Project Manager: David Nitti Copy Editor: Lis Ingles Production Liaison: Barbara Cappuccio Managing Editor: Melissa Feimer Senior Operations Supervisor: Mary Fischer Operations Specialist: Diane Peirano Senior Digital Media Editor: David Alick Media Project Manager: Rich Barnes Cover photo: Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 (detail). Oil on canvas, 58 ϫ 35” (147.3 ϫ 88.9 cm). Philadelphia Museum of Art. page 2: Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86 (detail). 1 1 Oil on canvas, 6’ 9 ∕2” ϫ 10’ 1 ∕4” (2.1 ϫ 3.1 m). The Art Institute of Chicago. Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text or in the picture credits on pages 809–16. -
THE STORY of LAND ART a Film by James Crump
VITO ACCONCI CARL ANDRE GERMANO CELANT PAULA COOPER WALTER DE MARIA VIRGINIA DWAN GIANFRANCO GORGONI MICHAEL HEIZER NANCY HOLT DENNIS OPPENHEIM CHARLES ROSS PAMELA SHARP WILLOUGHBY SHARP ROBERT SMITHSON HARALD SZEEMANN LAWRENCE WEINER THE STORY OF LAND ART a film by james crump PRESENTED BY SUMMITRIDGE PICTURES AND RSJC LLC PRODUCED BY JAMES CRUMP EXECUTIVE PRODUCER RONNIE SASSOON PRODUCER FARLEY ZIEGLER PRODUCER MICHEL COMTE EDITED BY NICK TAMBURRI CINEMATOGRAPHY BY ALEX THEMISTOCLEOUS AND ROBERT O’HAIRE SOUND DESIGN AND MIXING GARY GEGAN AND RICK ASH WRITTEN AND DIRECTED BY JAMES CRUMP photograph copyright © Angelika Platen, 2014 troublemakers THE STORY OF LAND ART PRESS KIT Troublemakers: The Story of Land Art A film by James Crump Featuring Germano Celant, Walter De Maria, Michael Heizer, Dennis Oppenheim, Robert Smithson, Nancy Holt, Vito Acconci, Virginia Dwan, Charles Ross, Paula Cooper, Willoughby Sharp, Pamela Sharp, Lawrence Weiner, Carl Andre, Gianfranco Gorgoni, Harald Szeemann. Running time 72 minutes. Summitridge Pictures and RSJC LLC Present a Film by James Crump. Produced by James Crump. Executive Producer Ronnie Sassoon. Producer Farley Ziegler. Producer Michel Comte. Edited by Nick Tamburri. Cinematography by Alex Themistocleous and Robert O’Haire. Sound Design Gary Gegan and Rick Ash. Written and Directed by James Crump. Troublemakers unearths the history of land art in the tumultuous late 1960s and early 1970s. The film features a cadre of renegade New York artists that sought to transcend the limitations of paint- ing and sculpture by producing earthworks on a monumental scale in the desolate desert spaces of the American southwest. Today these works remain impressive not only for the sheer audacity of their makers but also for their out-sized ambitions to break free from traditional norms. -
Jan Eric Visser CV
Jan Eric Visser CV Born in 1962, Leeuwarden. Lives and works in Rotterdam. Education 1982-1987 Art Academy, Kampen (NL) Upcoming: 2020 Muse in a Bin, curated by Colin Huizing, Stedelijk Museum Schiedam, 11 Jan - 22 March Selected solo exhibitions 2018 TrashArt, Ground Work Gallery, King’s Lynn (UK) Supported by Embassy of the Kingdom of the Netherlands London 2013 Form Follows Garbage, Art Affairs Gallery, Amsterdam 2009 Aquadyne Sculpture et al, RAM Gallery, Rotterdam. Opening: Anne Berk (art critic) 2008 Transformatie II, Art Society Bergen Beyond Language, Exhibition on the occasion of 80th birthday Jan Verhoeven, collector of abstract modern art, Woudrichem 2007 WasteNewsWax; Overview 1987-2007. Opening: Wim van der Beek (art critic), Gorcums Museum, Gorinchem Selected group exhibitions 2019 What branches grow out of this stony rubbish, l’étrangère, London, UK Residue, VierVaart Project Space, Groede, The Netherlands CODA Paper Art, The Netherlands 2018 Big Art, Art Affairs Gallery @ De Bijlmerbajes, Amsterdam 2017 Lost in Garbage, Verbeke Foundation, Kemzeke (B) Big Art, RAM gallery @ De Zonnewyser, Amsterdam Beelden 2017, Aaltje Snijdershal, Anningahof, Zwolle Ruins of Desire @ Sculpture garden PAK, Gistel (B) Art per Gram @ Verbeke Foundation Gallery, Kemzeke (B) Up Memory Lane, 30 years RAM, booth 51 Art Rotterdam. Curator: Berry Koedam With: Karin Arink, Luc Deleu, Jurgen Bey, Marinus Boezem, Robin Kolleman, Pieter Laurens Mol, Zaida Oenema, Vanessa Jane Phaff et al. Editions & Multiples, We Like Art @ Art Rotterdam 2016 What Remains, CODA Apeldoorn. Curator: Wim van der Beek Up Memory Lane (part 2), RAM Gallery, Rotterdam Beelden 2016, Landgoed Anningahof, Zwolle Untitled 2015, IP 2 @ Verbeke Foundation. -
Size, Scale and the Imaginary in the Work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim
Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim © Michael Albert Hedger A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy Art History and Art Education UNIVERSITY OF NEW SOUTH WALES | Art & Design August 2014 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hedger First name: Michael Other name/s: Albert Abbreviation for degree as given in the University calendar: Ph.D. School: Art History and Education Faculty: Art & Design Title: Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim Abstract 350 words maximum: (PLEASE TYPE) Conventionally understood to be gigantic interventions in remote sites such as the deserts of Utah and Nevada, and packed with characteristics of "romance", "adventure" and "masculinity", Land Art (as this thesis shows) is a far more nuanced phenomenon. Through an examination of the work of three seminal artists: Michael Heizer (b. 1944), Dennis Oppenheim (1938-2011) and Walter De Maria (1935-2013), the thesis argues for an expanded reading of Land Art; one that recognizes the significance of size and scale but which takes a new view of these essential elements. This is achieved first by the introduction of the "imaginary" into the discourse on Land Art through two major literary texts, Swift's Gulliver's Travels (1726) and Shelley's sonnet Ozymandias (1818)- works that, in addition to size and scale, negotiate presence and absence, the whimsical and fantastic, longevity and death, in ways that strongly resonate with Heizer, De Maria and especially Oppenheim. -
Sternberg Press / Style Sheet
STERNBERG PRESS / STYLE SHEET • Titles: First and all significant words in text/essay titles are capitalized • Titles of books, artworks, films, musical albums etc. are italicized • Titles of exhibitions, essays, poems, songs, short stories, etc. appear within double quotation marks (“ ”) • Punctuation: following American standards, punctuation appears within the quotation marks (with the exception of colons or semi-colons, i.e. “free speech”:). Also consistent with American standards, a serial comma is used in a phrase with three or more elements, preceding an “and,” “or,” etc.: “There were lectures, performances, and screenings.” • Quoted material: All quotes appear within double (“ ”) quotation marks. The same is the case with words used by an author in a pejorative (critical/disbelieving/sardonic) way, i.e. I became a “serious” artist. Single quotations appear only when there is a quotation within a quotation. Quotations within block quotations should be contained with double quotation marks. • Foreign words and words that need special emphasis are italicized, although the use of italics for emphasis should be done sparingly. • Artistic/Architectural styles: Names of specific artistic styles are uppercased unless they are used in a context that does not refer to their specific art-historical meaning, however “modernism” is always lowercase. Example 1: “Her piece was characteristically minimalistic.” Example 2: “This sculpture bears all the markings of the Minimalist movement.” • Dates/Years: Consistent with American format: February 6, 2005 / 1960s / 1990 / centuries are spelled out, i.e. the twentieth century, and hyphenated when used as an adjective, i.e. twentieth-century architecture. Abbreviated decades are written with an apostrophe (not single quotation mark) (i.e., ’60s). -
Abakanowickz En/And Hicks
Henriëtte Heezen Een van de opvallendste zalen van De Poolse kunstenaar Magdalena Abakano- van Abakanowicz naast textiele werken van wicz maakte in de jaren zestig een ware zege- de Joegoslavische Jagoda Buic en de Ameri- de collectiepresentatie ‘Revolution in tocht door Europa en de Verenigde Staten. kaanse Sheila Hicks. De enorme, soms vrij the Air – de Sixties en het Stedelijk’ Haar volumineuze geweven werken, amorfe zwevende, robuuste werken uit eind jaren is wel die met textielsculptuur. figuren gemaakt van touw, sisal en paarden- zestig en begin jaren zeventig maken na al haar, waarmee ze een hele zaal kon omtover- die jaren nog steeds indruk. Niet alleen van- In tegenstelling tot hard kunststof, en in een woud van mysterieuze gestalten, wege die krachtige, fysieke aanwezigheid, de metaal en de felle kleuren in de hebben overal de aandacht getrokken. Jean ongekunstelde vorm en het ruwe, organische meeste andere zalen voeren hier jute Leering, toenmalig directeur van het Van materiaal. Ook door die minder makkelijk te Abbemuseum, haalde Abakanowicz in 1968 benoemen spanning tussen de uitnodigende en wol de boventoon. Begin dit jaar naar Nederland. tactiele kant van het werk en de absurde vor- ontving het Stedelijk bovendien een De tentoonstelling reisde verder langs musea men die een ietwat macabere of zwaarmoedi- schenking van Schiphol: het wand- in Haarlem, Schiedam en Groningen. Het jaar ge sfeer ademen. kleed ‘Hommage aan Kho Liang Ie’ daarop was werk van haar te zien in het Het contrast met de kleurrijke, koele registra- Gemeentemuseum Arnhem en op de tentoon- ties van de Amerikaanse Pop Art uit de zaal van Sheila Hicks, dat ook op de ten- stelling ‘Perspectief in Textiel’ in het Stedelijk ernaast is groot. -
Marinus Boezem
! MARINUS BOEZEM Nato nel 1934 a Leerdam NL Vive e lavora a Middelburg NL FORMAZIONE & INSEGNAMENTO 1954 Vrije Academie Artibus, Utrecht NL 1955 Vrije Academie, Den Haag NL 1971-1975 Insegnante presso Vormingsinstituut voor werkende jongeren, Gorinchem & Dordrecht NL 1971 Insegnante ospite, residenza d’artista presso International Highschool Herning, DK 1976-1980 Diretore presso Institute for Artistic Formation 1979-1986 Professore Straordinario di “Studi sulla forma fondamentale” TH Delft NL MOSTRE PERSONALI 2019 Marinus Boezem: Gothic Gestures & A volo d’uccello, Oude Kerk, Amsterdam NL Marinus Boezem. Bird’s-eye View, Galleria Fumagalli, Milano IT 2018 Dell’Uomo, Gorky Park Museum, Moscow RU Views, Upstream Gallery, Amsterdam NL 2017 Marinus Boezem, 1584 La lumière Cisterciënne 2016. Baudelo Gent, Verbeke Foundation, Kemzeke BE 2016 Marinus Boezem in de Oude Kerk, Oude Kerk, Amsterdam NL 2015 Het Syndroom van Stendhal - op zoek naar een archetypisch beeld van schoonheid (2002-2015), installation, SBKM/De Vleeshal, Middelburg NL Boezem & Co. De Stad als Podium, SBKM/De Vleeshal, Middelburg NL 2014 Marinus Boezem: The Absence of the Artist, Upstream Gallery, Amsterdam NL 2012 Marinus Boezem: Della Scultura Rustica, Upstream Gallery, Amsterdam NL ! ! ! Marinus Boezem: La Lumiere Cistercienne, Art Afairs, Amsterdam NL 2011 Marinus Boezem / Gilberto Zorio, Galerie Mueller-Roth, Stutgart DE 2010 Marinus Boezem: A volo d’uccello (‘In vogelvlucht’), De Vleeshal, Middelburg NL 2009 Marinus Boezem: 1968 - L’AIR DU TEMPS, Revolution 100.000.000etc Gallery, Middelburg NL 1999 Gotische reflecties, Stadsgalerij, Heerlen NL Mental Map. ACHK-De Paviljoens, Almere NL Marinus Boezem. Het vroege werk 1960-1975. Rijksmuseum Kroller Muller. Oterlo NL Marinus Boezem: Panorama, Vleeshal Markt, Middelburg NL 1996 Marinus Boezem. -
L'internationale. Post-War Avant-Gardes Between 1957 And
EDITED BY CHRISTIAN HÖLLER A PUBLICATION OF L’INTERNATIONALE BOOKS L’INTERNATIONALE POST-WAR AVANT-GARDES BETWEEN 1957 AND 1986 EDITED BY CHRISTIAN HÖLLER TABLE OF CONTENTS 13 63 162 OPEN Approaching Art through Ensembles Should Ilya Kabakov Bart de Baere Be Awakened? 14 Viktor Misiano Museum of Parallel Narratives, 85 Museu d’Art Contemporani An Exercise in Affects 177 de Barcelona (MACBA), Barcelona (2011) Bojana Piškur Forgotten in the Folds of History Zdenka Badovinac Wim Van Mulders 95 31 What if the Universe 192 Museum of Affects, Started Here and Elsewhere Is Spain Really Different? Moderna galerija, Ljubljana (2011 / 12) Steven ten Thije Teresa Grandas Bart de Baere, Bartomeu Marí, with Leen De Backer, 106 203 Teresa Grandas and Bojana Piškur Age of Change CASE STUDIES Christian Höller 37 204 Prologue: L’Internationale 119 A. ARTISTS Zdenka Badovinac, CIRCUMSCRIBING Bart De Baere, Charles Esche, THE PERIOD 205 Bartomeu Marí and KwieKulik / Form is a Fact of Society Georg Schöllhammer 120 Georg Schöllhamer Connect Whom? Connect What? 42 Why Connect? 215 METHODOLOGY The World System after 1945 Július Koller / Dialectics Immanuel Wallerstein of Self-Identification 43 Daniel Grún Writing History Without 134 a Prior Canon Recycling the R-waste 224 Bartomeu Marí (R is for Revolution) Gorgona / Beyond Aesthetic Reality Boris Buden Branka Stipancic 52 Histories and 145 230 Their Different Art as Mousetrap: OHO / An Experimental Microcosm Narrators The Case of Laibach on the Edge of East and West Zdenka Badovinac Eda Čufer Ksenya Gurshtein