Bernd & Hilla Becher
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Bernd & Hilla Becher Biography
P A U L A C O O P E R G A L L E R Y Bernd & Hilla Becher Biography Bernd Becher Born: Siegen, Germany 1931 Died: 2007 Hilla Becher Born: Potsdam, Germany 1934 Died: 2015 EDUCATION Bernd Becher 1976 Professor of photography at Staatlich Kunstakademie Düsseldorf 1972 Guest lecturer Hochschule für Bildende Künste, Hamburg 1957-1961 Studies in typography at Staatliche Kunstakademie Düsseldorf 1953-1956 Studies in lithography and painting at Staaliche Kunstakademie Stuttgart under Karl Rösing Hilla Becher 1972-1973 Guest Lecturer Hochschule für bildende Künste, Hamburg 1958-1961 Studies in photography at Kunstakademie Düsseldorf GRANTS & AWARDS 2014 Rheinischer Kulturpreis der Sparkassen-Kulturstiftung Rheinland 2002 The Erasmus Prize 1991 The Leon D’Oro award for sculpture at the Venice Biennale ONE-PERSON EXHIBITIONS 2019 “Bernd & Hilla Becher: Industrial Visions,” National Museum Cardiff, Wale, UK (10/26/19 – 3/1/20) “Bernd & Hilla Becher: 1962-2000,” PKM Gallery, Seoul, Korea “Bernd & Hilla Becher: Kohlebunker,” Kunstarchiv Kaiserwerth, Düsseldorf, Germany 2018 “Bernd & Hilla Becher,”Konrad Fischer Galerie, Berlin, Germany 2014 “Bernd & Hilla Becher,” Fotografien aus fünf Jahrzehnten, Konrad Fischer Galerie, Düsseldorf “Bernd & Hilla Becher,” Sprüth Magers, London 2013 “Photographische Sammlung der SK Stiftung Kultur, Cologne Dia Art Foundation, New York Siegerländer Fachwerkhäuser, Orts- und Dorfansichten des Siegerlandes, Siegerländer Gruben und Hütten, Holzfördertürme in Pennsylvania, Museum für Gegenwartskunst, Siegen 2012 galerija TR3, Ljubljana, Slowenia Coal Mines. Steel Mills., Galerie Rudolfinum, Prague Bernd and Hilla Becher, Sonnabend Gallery, New York Bernd & Hilla Becher. Imprimés 1964-2010, Grand Palais, Paris 2011 Bergwerke und Hütten, Industrielandschaften, Fotomuseum Winterthur 534 WEST 21ST STREET, NEW YORK, NEW YORK 10011 TELEPHONE 212.255.1105 FACSIMILE 212.255.5156 P A U L A C O O P E R G A L L E R Y Blick in die Sammlung: Bernd und Hilla Becher. -
Bernd & Hilla Becher Coal Mines. Steel Mills
Bernd & Hilla Becher: Coal Mines. Steel Mills. 22.3.2012 – 3.6.2012 This unique representative collection of 95 black-and-white photographs by Bernd and Hilla Becher focuses on so-called “Industrial Landscapes” – a term the artists themselves use to describe a particular type of image, which does not seek to portray individual works of architecture as such, but rather the situation of heavy industry plants within their urban and landscape context. The project Coal Mines. Steel Mills. is based on works created in the Ruhr Valley (Ruhrgebiet). From as far back as the early 1960s, the mining facilities and surrounding steel mills of the area have provided both artists with a major theme for their work, one they have followed to the most minute details in their records of entire industrial zones, such as the mines Hannover in Bochum, Zollern II in Dortmund, or Concordia in Oberhausen. Photographs from the Ruhr Valley are accompanied by images from the area around Siegen in North Rhine-Westphalia as well as from the UK, France and the United States in such a way – in keeping with the artists’ intent – as to draw comparison between the language of industrial architecture as it has evolved over the course of the previous century, regardless of regional or national borders. Bernd and Hilla Becher rank among the most prominent representatives of post-war German photography, not only due to their monumental oeuvre, but also the exceptional degree of international success of the various adherents of the Düsseldorf School of Photography, which they founded. As pioneers of conceptual photography, they directly influenced several generations of German photographers. -
THE MEDIA of PHOTOGRAPHY Special Issue of the Journal of Aesthetics and Art Criticism
CALL FOR PAPERS THE MEDIA OF PHOTOGRAPHY Special Issue of the Journal of Aesthetics and Art Criticism GUEST EDITORS Diarmuid Costello (University of Warwick) Dominic McIver Lopes (University of British Columbia) Three overlapping events occasion this proposal for a special issue of JAAC on the philosophy of photography. First, photography has matured as a visual art medium. No longer confined to specialist galleries, distribution networks, discourses, or educational programs, it has won mainstream institutional recognition – fine art museums increasingly mount major retrospectives of contemporary photographers’ work, and many of those museums now appoint curators of photography. Second, the boundary between photographic and non-photographic visual art has blurred, as lens-based technologies have found a home in a wide range of art practices from painting and theater through sculptural installation to conceptual art. Photography has become one more means at artists’ disposal; it is no longer just for photographers. Third, the rapid, ongoing development of digital imaging technologies is profoundly reshaping how photographs are made and displayed, and hence appreciated, while at the same time creating new venues for displaying photographs outside traditional art institutions. Taken together this conjunction of events raises fundamental philosophical questions about photography as an art and an aesthetic phenomenon. The proposed special issue is intended to address these questions by bringing them under a unifying theme, “the media of photography.” -
Welcome to A' Level Photography
Welcome to A’ level Photography • Now that you have decided to study A Level Photography, you will need to do a bit of preparation. This document contains information regarding the course structure, the summer project and some Photographers you should know to prepare you to start your A level in September. The purpose of studying Photography at A Level is to develop knowledge and understanding of: • Specialist vocabulary and terminology when analysing or explaining your own and others’ work • Theoretical research of a particular genre style and/or tradition • In‐depth understanding of a variety of media, techniques, and processes • Development of an idea, concept, or issue • Recording ideas and observations related to chosen lines of enquiry • Communicating a particular meaning, message, idea or feeling • There will be a pack to buy from school which will contain a selection of the and materials you will need. The cost of the pack will be approximately £50 What do I have to do in A Level Art? Photography? There are two components of the course‐ the personal investigation and the externally set assignment. The table below summarises the evidence you will produce for each component: A Level Components What will I need to do? How will I evidence this? Personal Investigation ‐Write a personal study (essay) ‐A 1000‐3000 word essay (coursework) based on your chosen theme ‐Research on a range of artists ‐Create a body of work related to and/or designers 60% a chosen theme/s ‐Exploration of a variety of ‐Create a final piece/s media, techniques and processes ‐Development of ideas in response to chosen artist/s/theme ‐Recording of ideas and observations Externally Set Assignment ‐Create preparatory studies ‐By creating a body of work (Exam) based on the theme based on the theme given. -
New York Times July 15, 2003 'Critic's Notebook: for London, a Summer
New York Times July 15, 2003 ‘Critic's Notebook: For London, a Summer of Photographic Memory; Around the City, Images From Around the World’ Michael Kimmelman This city is immersed in photography exhibitions, a coincidence of scheduling, perhaps, that the museums here decided made a catchy marketing scheme. Posters and flyers advertise the “Summer of Photography.” Why not? I stopped here on the way home from the Venice Biennale, after which any exhibition that did not involve watching hours of videos in plywood sweatboxes seemed like a joy. The London shows leave you with no specific definition of what photography is now, except that it is, fruitfully, many things at once, which is a functionally vague description of the medium. You can nevertheless get a fairly clear idea of the differences between a good photograph and a bad one. In the first category are two unlike Americans: Philip-Lorca diCorcia, with a show at Whitechapel, and Cindy Sherman, at Serpentine. Into the second category falls Wolfgang Tillmans, the chic German-born, London-based photographer, who has an exhibition at Tate Britain that cheerfully disregards the idea that there might even be a difference between Categories 1 and 2. There is also the posthumous retrospective, long overdue, of Guy Bourdin, the high- concept soft-core-pornography fashion photographer for French Vogue and Charles Jourdan shoes in the 1970's and 80's, at the Victoria and Albert. And as the unofficial anchor for it all Tate Modern, which until now had apparently never organized a major photography show, has tried in one fell swoop to make up for lost time with “Cruel and Tender: The Real in the 20th Century Photograph.” The title is from Lincoln Kirstein's apt description of Walker Evans's work as “tender cruelty.” Like Tate Modern in general, “Cruel and Tender” is vast, not particularly logical and blithely skewed. -
Photographs Gathered by William T. Hillman
PRESS RELEASE | NEW YORK | 9 MARCH 2015 | FOR IMMEDIATE RELEASE CHRISTIE’S PRESENTS LEAVES OF LIGHT AND SHADOW: PHOTOGRAPHS GATHERED BY WILLIAM T. HILLMAN FREDERICK SOMMER, Livia, 1948. gelatin silver print, $80,000 - 120,000 RINEKE DIJKSTRA, Nicky, The Krazyhouse, Liverpool, England, January 19, 2009, $15,000 - 25,000 New York – On March 31, Christie’s will present the sale of Leaves Of Light And Shadow: Photographs Gathered By William T. Hillman, comprising 117 works judiciously acquired by William Hillman over the past three decades. With a sophisticated eye and tremendous dedication to photography, Mr. Hillman has built a comprehensive collection by pursuing consummate examples from top photographers spanning the history of the medium. In Hillman’s dedication to both photography and his hometown of Pittsburgh, Pennsylvania, his primary mission over the past three decades has been to build a world-class collection that will ultimately be gifted to the Carnegie Museum of Art. “There are gaps in the vintage acquisitions and the need to support and strengthen the contemporary component of this endeavor,” Mr. Hillman has stated. Hillman personally designated each work being presented for sale, and will reinvest the funds raised by the auction back into his mission. The top lot of the auction is Waitress in a Nudist Camp, N.J., 1963 by Diane Arbus (estimate: $200,000-300,000). Additional Highlights include: HENRI CARTIER-BRESSON, Piazza della Signoria, Florence, Italy, 1933, gelatin silver print | Estimate: $100,000-150,000 Piazza della Signoria, Florence was one of Henri Cartier Bresson's favorite images. He included it in his first solo exhibition in 1933 and his last retrospective in 2003, as well as in his first monograph The Decisive Moment in 1952, and his last monograph in 2005. -
JASPER JOHNS 1930 Born in Augusta, Georgia Currently Lives
JASPER JOHNS 1930 Born in Augusta, Georgia Currently lives and works in Connecticut and Saint Martin Education 1947-48 Attends University of South Carolina 1949 Parsons School of Design, New York Selected Solo Exhibitions 2009 Focus: Jasper Johns, The Museum of Modern Art, New York 2008 Jasper Johns: Black and White Prints, Bobbie Greenfield Gallery, Santa Monica, California Jasper Johns: The Prints, The Madison Museum of Contemporary Art, Madison, Wisconsin Jasper Johns: Drawings 1997 – 2007, Matthew Marks Gallery, New York Jasper Johns: Gray, Metropolitan Museum of Art, New York 2007 Jasper Johns: From Plate to Print, Yale University Art Gallery, New Haven Jasper Johns: Gray, Art Institute of Chicago; Metropolitan Museum of Art, New York Jasper Johns-An Allegory of Painting, 1955-1965, National Gallery of Art, Washington, DC; Kunstmuseum Basel, Switzerland States and Variations: Prints by Jasper Johns, National Gallery of Art, Washington, D.C. 2006 Jasper Johns: From Plate to Print, Yale University Art Gallery Jasper Johns: Usuyuki, Craig F. Starr Associates, New York 2005 Jasper Johns: Catenary, Matthew Marks Gallery, New York Jasper Johns: Prints, Amarillo Museum of Art, Amarillo, Texas 2004 Jasper Johns: Prints From The Low Road Studio, Leo Castelli Gallery, New York 2003 Jasper Johns: Drawings, The Menil Collection, Houston, Texas Jasper Johns: Numbers, Cleveland Museum of Art, Cleveland; Los Angeles County Museum of Art Past Things and Present: Jasper Johns since 1983, Walker Art Center Minneapolis; Greenville County Museum of -
WINGATE Final.Pdf
ROBERT RAUSCHENBERG ORAL HISTORY PROJECT The Reminiscences of Ealan Wingate Columbia Center for Oral History Research Columbia University PREFACE The following oral history is the result of a recorded interview with Ealan Wingate conducted by Sara Sinclair on April 23, 2015. This interview is part of the Robert Rauschenberg Oral History Project. The reader is asked to bear in mind that s/he is reading a transcript of the spoken word, rather than written prose. Transcription: Audio Transcription Center Session #1 Interviewee: Ealan Wingate Location: New York, New York Interviewer: Sara Sinclair Date: April 23, 2015 Q: This is Sara Sinclair with— Wingate: Ealan Wingate. Q: Today is April the twenty-third and we are at Columbia University [New York]. Okay. So, as I was explaining, with these oral histories we like to start with a little bit about you. So if you could begin by just telling me where and when you were born and a little bit about your early life, some of your early memories. Wingate: Okay. I was born in Tel Aviv, Israel in 1948. My father as well was Israeli born. My mom was born in New York State, up in Syracuse, but because her parents wanted to raise the children in Palestine, everyone left in the late thirties to go there. We returned to the United States in 1952, when I was four, so that my mother could be with her mother a little bit more and my father could start a new life, away from the family business and various other things that had embroiled him. -
A Tale of Two Gallerists by Ryan Wong on February 3, 2014
ARTICLES A Tale of Two Gallerists by Ryan Wong on February 3, 2014 Andy Warhol, “Ileana Sonnabend” (1973) (courtesy The Sonnabend Collection, © 2013 Andy Warhol Foundation for the Visual Arts / Artists Rights Society [ARS], New York) First, a note: I am wary of exhibitions that celebrate dealers and collectors. If we accept that the unbridled market stifles the art world of today, we should also be careful of the logic behind celebrating market dealers past. That grain of salt in mind, the two coincidental exhibitions in New York, on the gallerists Ileana Sonnabend (1914–2007) at the Museum of Modern Art and Holly Solomon (1934–2002) at Mixed Greens and Pavel Zoubok Gallery, make for engaging historiography, selective histories within the established art narratives. It’s worth noting that both gallerists were women in a field dominated, especially until the 1980s, by men. Both, as argued well by each exhibition, put their taste above the immediate demands of the market. The publicity image for each exhibition is a portrait of the gallerist by Warhol. For Solomon, it is a vertical photo booth series from 1983, Solomon clearly enjoying herself as she mugs for each shot. In Sonnabend’s 1973 diptych portrait, Warhol applied his signature mess of zig-zags around the contours of the silkscreened image. The reliance on Warhol is no coincidence: his alchemical touch makes these women familiar, even to those who don’t frequent the back rooms of the art world. Hooray for Hollywood! at Mixed Greens opens with a room full of portraits of the gallerist by artists from Robert Mapplethrope to William Wegman to Christo. -
View the Gallery Branch Art Collection
THE COLLECTION AT CIBC WOOD GUNDY GALLERY BRANCH CIBC World Markets Inc. 200 King Street West, Suite 1807 Toronto ON M5H 3T4 PHOTOGRAPHY: Robert Burley ARCHITECT: Kuwabara Payne McKenna Blumberg MAIN RECEPTION WORKS BY JOHN MASSEY JOHN MASSEY LOCATION — Reception The Jack Photographs #35 – 40 1992-95 6 silver gelatin prints edition 2/5 24 x 23 inches each shown: photos 38, 39 PHOTOS Courtesy of the Artist The inevitability of technology to maim the senses and privilege vision as the dominant sense preceptor at the expense of all others is here poignantly expressed. For Massey, the computer is also the puppet. It is not just the mannequin but the computer as well that represents an agent external to the self that may enact our wishes. Massey’s interrelated images of flesh and wood, sensory organs and mechanical joints in The Jack Photographs suggest to the viewer that the body is the site of perception and memory,not just the mind alone. For Massey, the notion of watching or looking at something is also an exercise in self-perception and forms another meaningful ellipsis to The Jack Photographs.The question of self-perception, how the tools of observation intercede, and how the mind works its anxious response, its motivations, and its insights are each puzzling experiences and difficult to explain but perhaps, in electronic art, possible.The visual codes Massey embeds in this artwork are an encryption that underscores the effects of working with photography in combination with other media. Jack is the foil through which the artist engages perception as subject, identity or self-awareness as object, and the structure of vision as content. -
UAAC Conference.Pdf
Friday Session 1 : Room uaac-aauc1 : KC 103 2017 Conference of the Universities Art Association of Canada Congrès 2017 de l’Association d’art des universités du Canada October 12–15 octobre, 2017 Banff Centre for Arts and Creativity uaac-aauc.com UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 1 Welcome to the conference The experience of conference-going is one of being in the moment: for a few days, we forget the quotidian pressures that crowd our lives, giving ourselves over to the thrill of being with people who share our passions and vocations. And having Banff as the setting just heightens the delight: in the most astonishingly picturesque way possible, it makes the separation from everyday life both figurative and literal. Incredibly, the members of the Universities Art Association of Canada have been getting together like this for five decades—2017 is the fifteenth anniversary of the first UAAC conference, held at Queen’s University and organized around the theme of “The Arts and the University.” So it’s fitting that we should reflect on what’s happened in that time: to the arts, to universities, to our geographical, political and cultural contexts. Certainly David Garneau’s keynote presentation, “Indian Agents: Indigenous Artists as Non-State Actors,” will provide a crucial opportunity for that, but there will be other occasions as well and I hope you will find the experience productive and invigorating. I want to thank the organizers for their hard work in bringing this conference together. Thanks also to the programming committee for their great work with the difficult task of reviewing session proposals. -
ANDY WARHOL New York, NY 10014
82 Gansevoort Street ANDY WARHOL New York, NY 10014 p (212) 966 - 6675 Born 1928, Pittsburgh, PA allouchegallery.com Died 1987, New York City, NY BFA Pictorial Design Carnegie Mellon University SELECTED SOLO EXHIBITIONS 2016 Andy Warhol: Shadows, Guggenheim Bilbao, Spain 2015 Andy Warhol: Works from the Hall Collection, Ashmolean Museum, Oxford, England 2015 Yes! Yes! Yes! Warholmania in Munich, Museum Brandhorst, Munich, Germany 2015 Capturing Fame: Photographs and Prints by Andy Warhol, Richard E, Peeler Art Center, Depauw University, Greencastle, IN 2015 Warhol: Myths and Legends from the Cochran Collection, Art Museum of South Texas, Corpus Christie, TX 2015 Transmitting Andy Warhol, Tate Liverpool, Liverpool, England 2014 Andy Warhol: 1950s Drawings, Anton Kern Gallery, New York, NY 2014 Transmitting Andy Warhol, Tate Liverpool, Liverpool, England 2014 Andy Warhol: Death and Disaster, Kunstsammlungen Chemnitz, Germany 2014 Andy Warhol: Shadows, The Museum of Contemporary Art, Los Angeles, CA 2014 Warhol: Art. Fame. Mortality, The Salvador Dali Museum, St. Petersburg, FL 2014 Andy Warhol’s 13 Most Wanted Men and the 1964 World’s Fair, Queens Museum of Art, New York, NY 2014 Andy Warhol: 15 Minutes Eternal, Mori Art Museum, Tokyo, Japan 2013 Andy Warhol: Toy Paintings, Tel Aviv Museum of Art, Tel Aviv, Israel 2012 Warhol Headlines, National Gallery of Art, Washington, D.C 2011 Andy Warhol and Elizabeth Taylor, Gagosian Gallery, New York, NY 2010 Andy Warhol: Motion Pictures, Museum of Modern Art, New York, NY 2007 Andy Warhol Disaster Prints, Kampa Museum, Prague, Czech Republic 2006 Andy Warhol Campbell’s Soup Cans, Museum of Contemporary Art, Los Angeles, CA 2000 Women of Warhol: Marilyn, Liz & Jackie, C & M Arts, New York, NY 1996 Rorschach Paintings, Gagosian Gallery, New York, NY 1992 Andy Warhol Polaroids 1971 – 1986, Anthony d’Offay Gallery, London, England 1992 Heaven and Hell Are Just One Breath Away! Gagosian Gallery, New York, NY 1989 Andy Warhol Retrospective, Museum Ludwig, Cologne, Germany 1988 Andy Warhol: Cars, The Solomon R.