DOCSLIB.ORG

NEUE Bilder Sale Aus Exquisiter Privatsammlung Von Schweizer & Internationalen Künstlern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NEUE Bilder Sale Aus Exquisiter Privatsammlung Von Schweizer & Internationalen Künstlern NEUE Bilder Sale aus exquisiter Privatsammlung von schweizer & internationalen Künstlern Liebe Graffiti-Kunst-Freunde Wir verkaufen aus exquisiter Privatsammlung Werke von Künstler wie: - Speedy Graphito (Oliver Rizzo) France - DARE (Sigi von Koeding) CH - Basel; gest. 2010 - JONONE (John Andrew Perello) USA & France - TILT (unknown) France - Smash 137 (Adrian Falkner) CH - Basel - WON ABC (Markus Müller) Germany - A1One (Karan Reshad) Iran - SEEN (Richard Mirando) USA - Pro 176 (Rudy Dougbe) France - SOZYONE (Pablo Gonzalez) Belgien - POSE (Pirmin Breu) CH - Aargau Macht Euch selber und/oder Euren Liebsten ein persönliches Geschenk. Martial: 079 427 53 32 Monika: 076 377 70 77 [email protected] [email protected] …wir freuen uns auf Eurer E-Mail / Telefon / What’s App. Speedy Graphito (Oliver Rizzo) France http://www.kollygallery.ch/speedy-graphito-artist/ https://en.wikipedia.org/wiki/Speedy_Graphito Speedy Graphito, or Olivier Rizzo, is a French painter who was born in Paris in 1961. He is one of the pioneers of the French Street Art movement alongside others like Jérôme Mesnager, Miss Tic and Blek le Rat. By imposing a powerful, innovative style in the early 1980s, Speedy influenced a generation of urban artists. Though his work has evolved considerably over the past few decades, he has become known and revered for his exploration of commercialism and references to pop culture images and icons. After a very brief career as a graphic designer and art director, in 1983 Speedy joined the collective X- Moulinex,[1] but left the following year.[2] In 1985, he was on the first meeting of the graffiti and urban art movement in Bondy (France), on the VLP's initiative, with Jef Aerosol, Miss Tic, SP 38, Epsylon Point, Blek le rat, Futura 2000, Nuklé-Art, Kim Prisu, Banlieue-Banlieue… By 1989 Speedy Graphito had participated in a number of group art exhibitions mostly in Paris, and by the late 1990s Speedy Graphito’s unique street art style was exhibited in art galleries across Europe. His graffiti, executed with stencils or with a brush, incorporates schematic and dynamic characters approaching those of the Catalan designer Javier Mariscal or American artist Keith Haring. Other influences include America of the Fifties, cartoons and Manga and images in Maya culture. Particularly influenced by the iconography of Disney characters and video games, Speedy Graphito often turns a critical eye on our society, as his works feed off the collective memory of iconic imagery to create a new universal language.As an example, Speedy Graphito’s “Temptation 2011” features Disney’s Snow White enamored with the half-eaten logo of Macintosh Apple, creating a shrewd and satirical message about consumer seduction. Speedy Graphito’s paintings, prints, and street art murals can be found worldwide. Already recognized in the international arena, Speedy Graphito’s Art is well known in France, England, USA, Belgium, India, Japan, Brazil, and Dubai, as well as major auction houses. Speedy Graphito has recently participated in a number of solo art exhibitions in Los Angeles Art Galleries, as well as exhibiting at the 2011 Miami Art Basel. Speedy Graphito lives and works in Paris. Contemplative Success 2017 140 x 160 cm 39‘500.- EURO Acrylic on canvas The Choice 2017 140 x 160 cm 39‘500.- EURO Acrylic on canvas DARE (Sigi von Koeding) CH - Basel; gest. 2010 https://www.kollygallery.ch/dare-sigi-von-koeding-auswartsspiel/ (Da DARE leider im 2010 viel zu früh von uns gegangen ist stehen nicht mehr viele Bilder von Ihm zum Verkauf) => siehe auch App „Artsy“ https://de.wikipedia.org/wiki/Dare_(Graffitikünstler) Dare (eigentlich Sigi (Siegfried) von Koeding; * 15. September 1968 in Basel; † 6. März 2010 ebenda) war ein Schweizer Graffiti-Writing-Künstler und Kurator. Der Sohn der Schweizer Autorin Yvette Amann und des Deutschen Rolf Kurt von Koeding begann 1986 in der Illegalität, Graffiti zu sprühen. Unter dem Pseudonym Dare machte von Koeding, der auch Rocksänger war,[1] sein Hobby 1990 zum Beruf und startete als selbständiger Künstler. Er sprayte Graffiti nicht nur auf Beton, sondern später auch auf Leinwände und andere Gegenstände, die in der Folge in Galerien, Museen und auf Messen ausgestellt wurden. Nach seinem ersten Auftrag im Basler Medienhaus für den Fotografen Onorio Mansutti und einer grossen Wandgestaltung für die Gemeinde Münchenstein (1990) folgten Arbeiten wie ein Bühnenbild für das Béjart Ballet in Lausanne (1992) oder die Bemalung der Theater-Tram im Auftrag der Migros-Nordwestschweiz (1995) mit ersten Zeitungsberichten auf nationaler Ebene, begleitet durch Fernsehauftritte und Reportagen beim Schweizer Fernsehen. Zunehmend kamen auch internationale Projekte hinzu, so etwa zur Gestaltung von Fassaden, Wänden und Geschäften in Los Angeles, New York City und Hamburg sowie Life-Paintings mit anderen Graffitikünstlern in Paris, Barcelona, Zagreb und Næstved (Dänemark). Bei der Graffiti- Ausstellung Concrete or Wallpapers 2001 in der Schweizer Botschaft in London lernte Dare seinen englischen Kollegen Banksy kennen, den er zu dessen ersten Ausstellung in Deutschland, der Urban Discipline 2002, nach Hamburg einlud, wo beide gemeinsam mit Os Gemeos, DAIM, Loomit, Alexone, H. Beikirch, ZEDZ und weiteren ausstellten. Für den Industriellenerben und Fotografen Gunter Sachs gestaltete Dare 2007 gemeinsam mit seinem Freund Toast das über 200 m² grosse Sachs-Appartement im Schloss Velden am Wörthersee. Das Projekt wurde von Sachs für das Magazin Architectural Digest fotografisch dokumentiert.[2][3][4] Auf der Uhren- und Schmuckmesse Baselworld 2007 präsentierte die Schweizer Uhrenmarke Pierre DeRoche ihre auf elf Exemplare limitierte Uhrenkollektion mit von Dare handbemalten Ziffernblättern mit einem „Spray- Happening“ in Anwesenheit des Künstlers.[5] Das Museum der bildenden Künste Leipzig zeigte von März bis Juni 2008 Bilder von Dare im Rahmen der Ausstellung Die Kunst ist weiblich.[6] In der Talkshow von Kurt Aeschbacher im SRF1 erläuterte Sigi von Koeding am 15. April 2009 unter dem Motto „Kindsköpfe“ rückblickend seinen Werdegang vom illegalen „Schmierer“ zum anerkannten Künstler. Am 6. März 2010 starb Dare an den Folgen eines Hirntumors. Er wurde auf dem Friedhof am Hörnli in Basel beigesetzt.[7] Postum wird 2011 die Auftragsarbeit für den mittlerweile ebenfalls verstorbenen Gunter Sachs in der Financial Times als „one of the best examples of interior graffiti“ eingeordnet.[8] Egoline orange 2009 70 x 50 cm 2‘000.- CHF Silkscreen print; Litho limited edition of 59 (inklusive weissem Rahmen) Study ist mit knapp 3 Meter Länge und ca. 1.5 Meter Höhe eines der grössten DARE-Bildern. Mit dem ausdrucksvollen rot verleiht es einem Raum Power und Energie. Der typische und berühmte 3-D-DARE Schriftzug hat eine tolle Tiefenwirkung und urbanen-modernen Touch. study 2006 273 x 145 cm 25‘000.- CHF Acryl & Spray auf Leinwand melting thoughts 2007 140 x 60 cm 15‘000.- CHF Acryl & Spray auf Leinwand Bemerkung: mit diesem Thema bemalte Sigi von Koeding die Privatgemächer von Gunter Sachs! reading clouds 2006 150 x 80 cm 15‘000.- CHF Acryl & Spray auf Leinwand tinydare 1 2007 15 x 15 cm 1‘000.- CHF Acryl & Spray auf Leinwand thorn 4 2004 40 x 50 cm 3‘000.- CHF Acryl & Spray auf Leinwand Stockholm 2005 60 x 150 cm 3‘000.- CHF Acryl & Spray auf Leinwand JONONE (John Andrew Perello) USA & France https://www.kollygallery.ch/jonone-artist/ https://en.wikipedia.org/wiki/JonOne JonOne (born John Andrew Perello, 1963), also known as Jon156, is an American graffiti artist. Originally from New York, he lives and works in Paris. Early Life and Upringing JonOne was born in New York's Harlem neighborhood to parents from the Dominican Republic. Growing up in Harlem, his introduction to street art began when he would see graffiti and tags on subway cars and city walls. When he was 17 he entered the world of graffiti with his childhood friend "White Man," tagging his name Jon with the numbers 156on walls and trains in his neighborhood.[1] JonOne said, "The subway is a museum that runs through the city."[2] In 1984, JonOne founded the graffiti group 156 All Starz, in order to bring together their passion for painting trains at night and to help forget about their problems, including drug use. At this time, he met the artist Bando, who was living in New York. Following an invitation from Bando, Jonone moved to Paris in 1987.[2] Career JonOne began his work as a painter on canvas in a workshop at the Hospital Ephemeral, a literal hospital building that became a squatting place for artists, located in the 18th arrondissement of Paris. Here, he painted with the artists A-One, Sharp, Ash (Victor Ash), Jayone and Skki.[3] JonOne made a name for himself in Parisian artistic circles through his work on canvas and the exhibitions he held, including one in 1990 at Gallery 45 Gleditsch in Berlin and the exhibition Graffiti Paris, at rue Chapon in Paris. At an Artcurial auction on June 6, 2007, Match Point, a large canvas by JonOne made at the Hospital Ephemeral in 1993, was bought by a New York collector for €24,800, a record sale for the artist. This auction was also the highest bid ever obtaine hellod in France for a work of graffiti art.[4] Since 2013 JonOne enriched its creation by collaborating with Didier Marien from the Boccara Gallery on an important series of street art rugs.[5] Montpellier 2000 2016 173 x 99 cm 28‘000.- CHF Acrylic and ink on canvas Searching for the Sunshine & Summer in the Winter - JonOne 2018 je 76 x 61 cm 24‘000.- CHF (2 Stück zusammen) Acrylic and ink on canvas TILT France https://soldart.com/a/tilt/ Tilt was born in 1973 in Toulouse (FR). He started painting in 1988 in his hometown. What he prefers doing is quickly signing his name using the “throw up” or “flop” technique, usually consisting in two colors with volume and a rounded shape.
Load more

Recommended publications
  • Dossier De Presse
    Dossier de Presse Inauguration du Sky Center La Marseillaise du World Trade Center Marseille Provence Marseille 28 Janvier 2019 Infos et Contact World Trade Center : Yaël Savignac-Rauzada - Responsable Communication 04 13 94 00 18 - [email protected] Presse : Laurent Weil - Bleu Dixit 06 64 55 00 66 – [email protected] Table des matières Préambule ............................................................................................................................................... 1 Le programme de développement du World Trade Center Marseille Provence ....................................... 4 La genèse des projets ............................................................................................................................... 4 2 sites complémentaires: ......................................................................................................................... 5 Les ambitions des projets menés depuis 2014 ......................................................................................... 6 Questions à… ............................................................................................................................................ 9 Les investissements : .............................................................................................................................. 13 Les Offres : ............................................................................................................................................. 13 Les Intervenants : ..................................................................................................................................
    [Show full text]
  • A Critical Analysis of 34Th Street Murals, Gainesville, Florida
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Critical Analysis of the 34th Street Wall, Gainesville, Florida Lilly Katherine Lane Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE A CRITICAL ANALYSIS OF THE 34TH STREET WALL, GAINESVILLE, FLORIDA By LILLY KATHERINE LANE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2005 Copyright © 2005 All Rights Reserved The members of the Committee approve the dissertation of Lilly Katherine Lane defended on July 11, 2005 ________________________________ Tom L. Anderson Professor Directing Dissertation ________________________________ Gary W. Peterson Outside Committee Member _______________________________ Dave Gussak Committee Member ________________________________ Penelope Orr Committee Member Approved: ____________________________________ Marcia Rosal Chairperson, Department of Art Education ___________________________________ Sally McRorie Dean, Department of Art Education The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ..…………........................................................................................................ v List of Figures ..................................................................
    [Show full text]
  • Jef Aérosol (2011), Paris L’Art Urbain : De L’Interdit Aux Marqueurs De La Mondialisation Frédéric DURAND
    « Chuuuttt », Jef Aérosol (2011), Paris L’art urbain : de l’interdit aux marqueurs de la mondialisation Frédéric DURAND L’art urbain, ou street art, est délicat à délimiter, tant dans ses formes que dans ses finalités. À l’origine, il s’agit d’inscriptions ou d’images jouant avec l’interdit ou la provocation, mais exprimant aussi une volonté plastique tout en acceptant un caractère éphémère. Par le passé, le caractère subversif s’est traduit par l’anonymat de nombreuses réalisations, voire par leur destruction sans qu’aucun témoignage n’en soit conservé. Elles étaient d’ailleurs rarement l’œuvre d’artistes professionnels. n° 3 / juin 2018 BelvedeЯ 39 L’art urbain : de l'interdit aux marqueurs de la mondialisation urant la seconde moitié du La France pays pionnier XXe siècle, les images ont de l’art urbain subversif D envahi les rues des villes La France est sans doute le pays où a via les affiches et les publicités, réellement émergé l’art urbain. Parmi au point parfois de saturer l’esprit les pionniers, Gérard Zlotykamien ou de ne plus être remarquées. qui, à partir de 1963, a peint à la Parallèlement, l’art « officiel », sou- bombe des bonhommes très stylisés vent cantonné dans des musées ou dans le chantier du trou des Halles des galeries, s’est affirmé dans des à Paris, en référence aux victimes formes déroutant de plus en plus le anonymes des guerres. Son travail grand public : abstractions, installa- restait cependant proche du graffiti tions, performances… Leurs rares ou de l’art brut. Dans ce contexte, exhibitions dans la rue n’en font une dimension esthétique plus mar- guère un art de rue.
    [Show full text]
  • Asemantic Approach to Urban Graffiti from Semiotics Viewpoint
    Archive of SID International Journal of Architecture and Urban Development Vol.6, No.1, Winter 2016 A Semantic Approach to Urban Graffiti from Semiotics Viewpoint 1Siamak Panahi, 2*Nazanin Bahrami Samani , 3Anosha Kia 1Associate Professor, Islamic Azad University, Abhar, Branch, Iran. 2Ph.D. Candidate, Department of Art and Architecture, Islamic Azad University, Karaj, Branch, Iran. 3Ph.D. Candidate, Department of Art and Architecture, Islamic Azad University, Karaj, Branch, Iran. Recieved 09.28.2015; Accepted 12.21.2015 ABSTRACT: City is the most complicated and tangible creature of man. There is a critical mutual communication between human and city; and the effect of one’ living environment is beyond question. Graffiti is a new urban phenomenon, which has drawn attention in light of its connection with protestation culture and street art. Thanks to symbolism of graffiti, the artists have added mysterious aspects to their work and distinguished themselves from formal culture. Social protestation is the most notable feature of the graffiti found in Iranian cities. However, to the best of our knowledge, there has been no notable research work in Iran on the relationship of human, society, and existence from of graffiti symbolism viewpoint in particular. The present study is an attempt to survey and evaluate common symbols used on urban graffiti through documentary research. Technique and content analysis in stratified semiology based on Iranian-Islamic culture were taken into account. Keywords: Graffiti, Street art, Semiology, Symbol, Vandalism. INTRODUCTION but also causes heavy costs. Importance of symbols and the Cities are centers of cultural and social activities so that one main urban elements in readability on one hand, and chaos in can witness the most disciplined and elegant appearance of urban landscape and mental image of the citizen on the other cultural and artistic works in cities.
    [Show full text]
  • Jef Aérosol Part En Flèche Raphaële De La Fortelle
    JEF AEROSOL PART EN FLÈCHE 1 JEF AÉROSOL OUTSIDE TOKYO LA ROCHELLE LA ROCHELLE BERLIN VENISE LILLE E DES AVELINES DES E É MUS ÉE DES AVELINES NEW YORK NEW YORK BEAUBOURG, PARIS BEAUBOURG, PARIS GIALE ST PIERRE LE PUELLIER, FRANCE PUELLIER, LE PIERRE ST GIALE É COLL ÉGIALE ST PIERRE LE PUELLIER, FRANCE LES BAINS, PARIS BAINS, LES BAINS, PARIS LONDRES KIN É P ÉKIN BELGIQUE UNION É R LA RÉUNION BUENOS AIRES BUENOS AIRES USHUAÏA ..... ..... JEF FAIT UN CARTON - MUSÉE DES AVELINES Jef Aérosol 2011 - Chuuuttt!!! - Place Stravinsky, Beaubourg, Paris, France EMMANUELLE LE BAIL Directrice du musée des Avelines De janvier à avril 2011, le musée des Avelines, musée d'art et d'histoire de Saint-Cloud, a ouvert ses portes à l'univers du street artiste Jef Aérosol pour faire découvrir à son public l'un des courants artistiques les plus importants de notre époque, mais encore peu présenté dans les musées. Les portraits au pochoir de Jef sont empreints de questionnement sur l'humani- té et sa tour de Babel monumentale dans la rotonde a captivé petits et grands. Cette installation inédite, empilement de boîtes de carton à six mètres de haut, habitée de quatre-vingt- dix visages, célèbres ou anonymes, est un hymne à la vie. Elle nous parle de la difficulté de vivre ensemble dans la tolérance et le respect des différences. Cette tour de Babel témoigne Jef Aérosol : 30 ans de pochoirs - Rétrospective - Collégiale St Pierre Le Puellier, Orléans, France d'une utopie vitale et montre combien l'art est porteur d'un À MON FRÈRE JEF, autre niveau de connaissance et d'appréhension de la réalité.
    [Show full text]
  • 65 Introduction the Silver, Partially Gilded, Plate Found by the Czech
    Acta Archaeologica Lodziensia nr 66 Patryk Skupniewicz https://doi.org/10.26485/AAL/2020/66/6 SCENE OF FIGHTING TIGERS ON A SASANIAN PLATE FROM MES ‘AYNAK. NOTES ON THE COMPOSITION ABSTRACT The article discusses, from formal perspective, the mounted hunting scene on the Kushano-Sasanian silver plate found in Mes Aynak in Afghanistan. The scene represents the model related to other Sasanian silverware, however with significant variances. When compared the scene to other models defined by Author, conclusion is made that except for several “canonical” layouts, Sasanian toreuts, allowed themselves a dose of freedom in combining them. This phenomenon seems to be related to peripheries of the Sasanian Empire and model of a sword-wielding rider in combat with large felines while holding an object in outstretched left hand was defined as originating from Kushanshahr and combining Assyrian and Achaemenid formulae of men killing beasts with mounted archer/lancer layouts popular in Sasanian silver. Key words: Kushano-Sasanian art., silver plates, iconography SCENA WALKI Z TYGRYSAMI NA SASANIDZKIEJ PATERZE Z MES ‘AYNAK. UWAGI NA TEMAT KOMPOZYCJI ABSTRAKT W prezentowanym studium poddano ocenie, z formalnego punktu widzenia, scenę konnego polo- wania z kuszano-sasanidzkiej partery znalezionej w Mes Aynak, w Afganistanie. Scena reprezentuje model pokrewny dziełom znanym z toreutyki sasanidzkiej, jednakże z wyraźnymi różnicami. Porównując scenę z modelami wyróżnio- nymi przez Autora, pojawił się wniosek, że sasanidzcy mistrzowie obróbki srebra, poza „kanonicznymi” figurami, po- zwalali sobie na formalne eksperymenty. Jest to zjawisko znane z peryferii imperium Sasanidów, a model obejmujący jeźdźca uderzającego mieczem „kotowatego drapieżnika” a w wolnej, wyciągniętej ręce trzymającego inny obiekt, wykształcił się w Kuszanszahr i łączy w sobie asyryjskie i achemenidzkie formuły ludzi zabijających dzikie bestie z układami ukazującymi konnego łucznika czy jeźdźca operującego włócznią, znane z sasanidzkigo srebra.
    [Show full text]
  • Contemporary Art Market 2011/2012 Le Rapport Annuel Artprice Le Marché De L'art Contemporain the Artprice Annual Report
    CONTEMPORARY ART MARKET 2011/2012 LE RAPPORT ANNUEL ARTPRICE LE MARCHÉ DE L'ART CONTEMPORAIN THE ARTPRICE ANNUAL REPORT LES DERNIÈRES TENDANCES - THE LATEST TRENDS / L’ÉLITE DE L’A RT - THE ART ELITE / ART URBAIN : LA RELÈVE - URBAN ART: THE NEXT GENERATION / TOP 500 DES ARTISTES ACTUELS LES PLUS COTÉS - THE TOP-SELLING 500 ARTISTS WORLDWIDE CONTEMPORARY ART MARKET 2011/2012 LE RAPPORT ANNUEL ARTPRICE LE MARCHÉ DE L'ART CONTEMPORAIN THE ARTPRICE ANNUAL REPORT SOMMAIRE SUMMARY THE CONTEMPORARY ART MARKET 2011/2012 Foreword . page 9 THE LATEST TRENDS How well did Contemporary art sell this year? . page 11 Relative global market shares : Asia/Europe/USA . page 12 Competition between Beijing and Hong Kong . page 14 Europe offers both quantity and quality . page 15 Top 10 auction results in Europe . page 16 France: a counter-productive market . page 17 Paris - New York . page 19 Paris-London . .. page 20 Paris-Cannes . page 21 THE ART ELITE The year’s records: stepping up by the millions . page 25 China: a crowded elite . page 26 New records in painting: Top 3 . page 28 The Basquiat myth . page 28 Glenn Brown, art about art . page 29 Christopher Wool revolutionises abstract painting . page 30 New records in photography . page 31 Jeff Wall: genealogy of a record . page 32 Polemical works promoted as emblems . .. page 34 New records in sculpture & installation . page 36 Cady Noland: € 4 .2 m for Oozewald . page 36 Antony Gormley: new top price for Angel of the North at £ 3 4. m . .. page 36 Peter Norton’s records on 8 and 9 November 2011 .
    [Show full text]
  • In Case of Architectural Design Critique and Praise of Case-Based Design in Architecture
    KATHOLIEKE UNIVERSITEIT LEUVEN FACULTEIT TOEGEPASTE WETENSCHAPPEN DEPARTEMENT ARCHITECTUUR, STEDENBOUW EN RUIMTELIJKE ORDENING Kasteel van Arenberg, B-3001 Leuven In case of architectural design Critique and praise of Case-Based Design in architecture Jury: Proefschrift voorgedragen tot Voorzitter Prof. Joos Vandewalle, vice-decaan het behalen van het doctoraat Prof. Herman Neuckermans, promotor in de toegepaste wetenschappen Prof. André Loeckx Prof. Jan Schreurs door Prof. Johan Wagemans Prof. Albert Dupagne (Université de Liège) Ann Heylighen Prof. Rivka Oxman (Technion Haifa) UDC 72.011 Mei 2000 Katholieke Universiteit Leuven – Faculteit Toegepaste Wetenschappen Kasteel van Arenberg, B-3001 Leuven (Belgium) Alle rechten voorbehouden. Niets uit deze uitgave mag worden vermenigvuldigd en/of openbaar gemaakt door middel van druk, fotokopie, microfilm, elektronisch of op welke andere wijze ook zonder voorafgaande toestemming van de uitgever. All rights reserved. No part of this publication may be reproduced in any form by print, photoprint, microfilm or any other means without written permission from the publisher. D/2000/7515/17 ISBN 90-5682-248-9 For my grandmother Acknowledgements Five years ago, I had to decide on a subject for my graduate’s thesis. Professor Herman Neuckermans made the suggestion to have a look at Case-Based Design, at that time a ‘hot topic’ in the field of CAAD. Computers were not exactly what I would call my cup of tea, but I nevertheless accepted his suggestion – not in the last place because it would enable me to spend one semester at the ETH in Zürich. Although the thesis became an unqualified success in terms of scores, it left me with an uneasy feeling.
    [Show full text]
  • Engaging with Histories, Theories, Practices, and Discursive Strategies in Global Contexts
    CONFERENCE THEME Reconceptualizing Diversity: Engaging with Histories, Theories, Practices, and Discursive Strategies in Global Contexts. The American Educational Studies Association (AESA) and the International Association for Intercultural Education (IAIE) are presently accepting proposals for their joint conference “Reconceptualizing Diversity: Engaging with Histories, Theories, Practices, and Discursive Strategies in Global Contexts.” Together we will provide a critical space for socio-historical, political and philosophical dialogues focused on reframing diversity within a global context. In particular, we are interested in submissions that address diversity as a multifaceted and dynamic idea as well as the structures that transform, maintain, and reproduce the many intersectionalities of identity. By focusing on colonialism, settler ideologies, capitalism, and neoliberalism, among other related topics we can resituate diversity in a global context. Turning to issues of transnational immigration, cosmopolitan citizenships, and globalized knowledge networks, we might find new approaches to equity and social justice in education. Who We Are The American Educational Studies Association (AESA) was established in 1968 as an international learned society for students, teachers, research scholars, and administrators who are interested in the foundations of education. AESA is a society primarily comprised of college and university professors who teach and research in the field of education utilizing one or more of the liberal arts disciplines
    [Show full text]
  • French Invasion Press Release
    FRENCH CONNECTION INVASION New work by JonOne, Nasty, Rero, Speedy Graphito and Tilt Saturday, May 12th - Sunday, June 24th, 2012 Opening reception with live performance: Saturday, May 12th, from 7-10pm Fabien Castanier Gallery is proud to present the first exhibition in Los Angeles dedicated to the work of France’s leading street artists today. FRENCH INVASION features brand new work by: JonOne, Nasty, Rero, Speedy Graphito and Tilt. The exhibition will present an extensive range of work by these artists including paintings, installations, silkscreens and sculpture. Speedy Graphito, JonOne and Tilt will be present at the Opening Reception on May 12th, spraying a collaborative mural live throughout the evening. Paris has always been an important source of creative inspiration for artists across the globe, giving rise to some of the most important art movements in history. Though born in NYC, graffiti made its way across the pond, becoming firmly rooted in the neighborhoods of France. Whereas art produced on the streets was previously relegated to neighborhood walls and the metro, today it can be seen in galleries and museums. Street art in France has become one of the most considerable art movements of this century. Rero, 2011 FRENCH INVASION highlights the differences in media, context, audiences and issues that these artists maintain both on the street and in the art market. Common to all these artists is their investment in the streets of Paris during the 2000’s but also their evolution in galleries in France and abroad. Contemporary urban art is now the movement of today and tomorrow.
    [Show full text]
  • Göring. a Biography
    A BIOGRAPHY DAVID IRVING F FOCAL POINT Copyright © by David Irving Electronic version copyright © by Parforce UK Ltd. All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. Copies may be downloaded from our website for research purposes only. No part of this publication may be commercially reproduced, copied, or transmitted save with written permission in accordance with the provisions of the Co pyright Act (as amended). Any person who does any unauthorised act in relation to this publi- cation may be liable to criminal prosecution and civil claims for damages. To Thomas B. Congdon, who has helped me so much is the son of a Royal Navy commander. Imperfectly educated at Lon- don’s Imperial College of Science & Technol- ogy and at University College, he subsequently spent a year in Germany working in a steel mill and perfecting his fluency in the lan- guage. In he published The Destruction of Dresden. This became a best-seller in many countries. Among his thirty books (including several in German), the best-known include Hitler’s War; The Trail of the Fox: The Life of Field Marshal Rommel; Accident, the Death of General Sikorski; The Rise and Fall of the Luftwaffe; and Nuremberg, the Last Battle. The second volume of his Churchill's War appeared in and he is now completing the third vol- ume. Many of his works are available as free downloads at www.fpp.co.uk/books. Contents Prologue: Arrest The Reichsmarschall! Part : The Outsider A Triangular Affair Storm Troop
    [Show full text]
  • Marissa K. Munderloh Phd Thesis
    The Emergence of Post-Hybrid Identities: a Comparative Analysis of National Identity Formations in Germany’s Contemporary Hip-Hop Culture Marissa Kristina Munderloh This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 3 October 2014 Abstract This thesis examines how hip-hop has become a meaningful cultural movement for contemporary artists in Hamburg and in Oldenburg. The comparative analysis is guided by a three-dimensional theoretical framework that considers the spatial, historical and social influences, which have shaped hip-hop music, dance, rap and graffiti art in the USA and subsequently in the two northern German cities. The research methods entail participant observation, semi-structured interviews and a close reading of hip-hop’s cultural texts in the form of videos, photographs and lyrics. The first chapter analyses the manifestation of hip-hop music in Hamburg. The second chapter looks at the local adaptation of hip-hop’s dance styles. The last two chapters on rap and graffiti art present a comparative analysis between the art forms’ appropriation in Hamburg and in Oldenburg. In comparing hip-hop’s four main elements and their practices in two distinct cities, this research project expands current German hip-hop scholarship beyond the common focus on rap, especially in terms of rap being a voice of the minority. It also offers insights into the ways in which artists express their local, regional or national identity as a culturally hybrid state, since hip-hop’s art forms have always been the result of cultural and artistic mixture.
    [Show full text]