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Open Windows 10
Open Windows 10 Resonance Chamber. Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection Nadine Engel Emil Nolde Young Couple, c. 1931–35 22 HollandischerDirektor bracht ✓ Thyssen-Schatzenach Essen Elnen kaum zu bezifiernden Wert bat elne Ausslellung des Folkwang-Museums, die btszum 20. Marz gezelgt wird: sie ent hiilt hundertzehn Melsterwerke der europaisdlen Malerei des 14. bis 18. Jahrhunderts aus der beriihmten Sammlung Sdtlo8 Roboncz, die heute Im Besitz des nodt Jungen Barons H. H. Thys sen-Bornemisza ist und in der Villa Favorlta bei Lugano ihr r Domlzil hat. Insgesamt mnfafll sie 350 Arbeiten. Erst um 1925 wurde sle in besdieidenen An fll.ngen von August Thyssen ge grilndet, dann von dessen SOh nen, zumal von Heinrkh Thys sen, entscheidend ausgebaut. Jetzt billet und vermehrt sie der Enke!. B~i d~r_ErOff11ungsfeicr,zu d~r auch l I ~~~~e~~l:~~n F~~~m~~!sr:::~ei:~ _,_,J NRW ersdli,:mcn war, -sagte Ober- - / ~~;~::~:ii5~c~dlNJ!:~n;(o~W~ti.~: Baron und ::;o;~~ lhJ,~~!~!~g~:::,~~~~::~o,::;~~:.;';~'::i~~=~Nie1wolldt ;~~~:::ig~\t~~~~"::::cann1~bt~~J st~Uung in der Bund~srepublik K{iln, nerer Tcil der Sammlung Thysscn- :U~~!~:~\:~s:J~;~n:,!%~'~!i~gd~::~ ~o~qs:~ldi~u~~Esj~~ i1~0;~~:~~:J1a~~; t:;ge 1~is~~~~~:_uE'!1::~dd!~tg:t:J:;; t~~}:~~:~ J1~!~1:~~::1gs;;;;:;n;u;::: ;;~~7i~gd~~S:s~~n ~zt:~:~ieiab:t ;ii~e~u;/~:?n_anredtnen, iwe1tep_~~~: komme, der eines solchen Ausgleidts lugano - Rotterdam - Essen I drin9en? bedarf. Baron_H. ~-1.Thyssen· So trafen denn die behutsamgepfleg Bornem!sza sdtl!derte in einer kuncn ten Schiille in drei wohlgesidierlen Relle die_ En\widdu~g Iler Sammlu~g Transporten die Fahrt von Rotterdam und erklarte dann die Ausstellung fur nadl Essen an, nadldem sie ein paar fig. -
Kuvakirjasto Nordstromin Kokoelma.Pdf
Lars-Gunnar Nordströmin kirjakokoelma Taideyliopiston kirjastossa / Lars-Gunnar Nordström's collection in the University of the Arts Helsinki Library Nimeke / Title Tekijä / Author Julkaisuvuosi / Publishing year Julkaisija / Publisher New York : Museum of Modern Art ; Picasso and Braque : pioneering cubism William Rubin 1989 Boston Richard Serra edited by Ernst-Gerhard Güse ; with contributions by Yves-Alain Bois ... [ja muita]. 1988 New York, N.Y. : Rizzoli Piet Mondrian : 1872-1944 Yve-Alain Bois, Joop Joosten, Angelica Zander Rudenstine, Hans Janssen. 1994 Boston : Little, Brown and Company Franciska Clausen. Bd. 2, I "de kolde skuldres land" 1932-1986 Finn Terman Frederiksen. 1988 Randers : Buch Salvador Dalí: rétrospective 1920-1980. Centre Georges Pompidou. 1980 Paris : Centre Georges Pompidou Russia: an architecture for world revolution / El Lissitzky ; translated by Eric Dluhosch Lissitzky, El 1970 London : |b Lund Humphries, |c 1970. Kandinsky François Le Targat 1986/1988 London : Academy Editions New York : Solomon R. Guggenheim Kandinsky at the Guggenheim Vivian Endicott Barnett 1983 Museum : Abbeville Press Varvara Stepanova : a constructivist life A. N. Lavreniev; John E. Bowlt 1988 London : Thames and Hudson P.O. Ultvedt : Tvivel och övermod : arbeten från 1945 till 1988 Per Olof Ultvedt; Malmökonsthall 1988 Malmö: Den konsthall Sonia Delaunay : fashion and fabrics Jacques Damase 1991 New York : H.N. Abrams Jackson Pollock Daniel Abadie; Claire Stoullig; Musée national d'art moderne (France) 1982 Paris : Centre Georges -
Künstlerische Praxis Aus Dem Blickwinkel Der Documenta11 Hrsg
Hamburg University Press Bernhard Balkenhol art unrealized – 3-937816-21-6 ISSN 1613-1339 ISBN künstlerische Praxis aus dem Blickwinkel der Documenta11 Kunstpädagogische Universität Hamburg 12/2006 Kunstpädagogische Positionen Positionen 12 Editorial Gegenwärtig tritt die Koppelung von Kunst & Pädagogik, Kunstpädagogik, weniger durch systematische Gesamt- entwürfe in Erscheinung, als durch eine Vielzahl unter- schiedlicher Positionen, die aufeinander und auf die Geschichte des Faches unterschiedlich Bezug nehmen. Wir versuchen dieser Situation eine Darstellungsform zu geben. Wir beginnen mit einer Reihe von kleinen Publikationen, in der Regel von Vorträgen, die an der Universität Hamburg gehalten wurden in dem Bereich, den wir FuL (Forschungs- und Le[ ]rstelle. Kunst – Pädagogik – Psychoanalyse) genannt haben. Im Rahmen der Bildung und Ausbildung von Stu- dierenden der Kunst & Pädagogik wollen wir Positionen zur Kenntnis bringen, die das Lehren, Lernen und die bildenden Effekte der Kunst konturieren helfen. Karl-Josef Pazzini, Eva Sturm, Wolfgang Legler, Torsten Meyer Bernhard Balkenhol art unrealized – künstlerische Praxis aus dem Blickwinkel der Documenta11 hrsg. von Karl-Josef Pazzini, Eva Sturm, Wolfgang Legler, Torsten Meyer Kunstpädagogische Positionen 12/2006 Hamburg University Press Es ist bald ein Jahr her, dass die Documenta11 ihre Tore in Kassel geöffnet hat. Heute vor einem Jahr wurde noch heftig an dieser immer noch bedeutendsten Ausstellung gearbeitet. In der Binding-Brauerei war fast noch gar nichts gehängt/aufgebaut, weil sich wegen der ungeklär- ten Frage, wer den Umbau der Brauerei in ein Museum der 100 Tage bezahlen soll, alles sehr verzögert hatte. Aber Okwui Enwezor, der künstlerische Leiter der D11, hatte einen genauen Plan für seinen White Cube, den er dann auch durchgesetzt hat. -
Open Windows 10
Leticia de Cos Martín Martín Cos de Leticia Beckmann Beckmann Frau than Quappi, much more more much Quappi, pages 47 — 64 47 — 64 pages Clara Marcellán Marcellán Clara in California in California Kandinsky and Klee Klee and Kandinsky of Feininger, Jawlensky, Jawlensky, of Feininger, and the promotion promotion the and Galka Scheyer Galka Scheyer ‘The Blue Four’: Four’: Blue ‘The pages 34 — 46 34 — 46 pages Manzanares Manzanares Juan Ángel Lpez- Ángel Juan ~' of modern art as a collector as a collector Bornemisza’s beginnings beginnings Bornemisza’s - ~~.·;•\ Thyssen Baron On ~ .. ;,~I il~ ' r• , ~.~ ··v,,,:~ ' . -1'\~J"JJj'-': . ·'-. ·•\.·~-~ . 13 — 33 pages Nadine Engel Engel Nadine Expressionist Collection Collection Expressionist Thyssen-Bornemisza’s German German Thyssen-Bornemisza’s Beginning of Hans Heinrich Heinrich Hans of Beginning 1, 1 ~- .,.... Museum Folkwang and the the and Folkwang Museum ,..~I,.. '' i·, '' ·' ' ' .·1,.~.... Resonance Chamber. Chamber. Resonance . ~I•.,Ji'•~-., ~. pages 2 — 12 2 — 12 pages ~ -~~- . ., ,.d' .. Ali. .~ .. December 2020 2020 December 10 10 Open Windows Windows Open Open Windows 10 Resonance Chamber. Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection Nadine Engel Emil Nolde Young Couple, c. 1931–35 22 HollandischerDirektor bracht ✓ Thyssen-Schatzenach Essen Elnen kaum zu bezifiernden Wert bat elne Ausslellung des Folkwang-Museums, die btszum 20. Marz gezelgt wird: sie ent hiilt hundertzehn Melsterwerke der europaisdlen Malerei des 14. bis 18. Jahrhunderts aus der beriihmten Sammlung Sdtlo8 Roboncz, die heute Im Besitz des nodt Jungen Barons H. H. Thys sen-Bornemisza ist und in der Villa Favorlta bei Lugano ihr r Domlzil hat. Insgesamt mnfafll sie 350 Arbeiten. -
JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A
Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF ARCHVES MASTER OF SCIENCE IN ARCHITECTURE STUDIES MASSACHUSETTS INSTTE AT THE OF TECHNOLOGY MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 7 2013 JUNE 2013 LIBRAR ES 02013 Mariel A. Viller6. All rights reserved. The author hereby grants MIT permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: Department of Architecture May 23,2013 Certified by: Mark Jarzombek, Professor of the Histo4y 7eory and Criticism of Architecture Accepted by: Takehiko Nagakura, Chair of the Department Committee on Graduate Students 1 Committee Mark Jarzombek,'Ihesis Supervisor Professor of the History, Theory and Criticism of Architecture Caroline Jones, Reader Professor of the History of Art 2 Life behind ruins: Constructing documenta by Mariel A. Viller6 B.A. Architecture Barnard College, 2008 Submitted to the Department of Architecture on May 23,2013 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract A transnational index of contemporary art, documenta in its current form is known in the art world for its scale, site-specificity and rotating Artistic Directors, each with their own theme and agenda. On a unique schedule, the expansive show is displayed in Kassel, Germany from June to September every five years. The origins of the exhibition-event are embedded in the postwar reconstruction of West Germany and a regenerative national Garden Show. -
II. Documenta: Origini, Linee Teoriche E Modelli
II. Documenta: origini, linee teoriche e modelli 2.1 Perché proprio Kassel? Documenta nasce con lʼambizione di documentare lo stato dellʼarte nella Germania Federale del 1955 e quindi di porsi come luogo di recupero di un passato che era stato messo al bando fino a dieci anni prima, ma anche come punto di indagine critica capace di fornire delle direttive per il presente, facendo della città in cui è collocata un luogo simbolico di primaria importanza. Centro cruciale nella politica del Terzo Reich, in qualità di snodo ferroviario primario, nel cuore della Germania, e sede delle principali industrie di armamenti e dei ministeri militari, Kassel era stata letteralmente rasa al suolo dai bombardamenti che, dal 1943, avevano portato alla distruzione di oltre lʼ80% della città1 (fig.1). Marginalizzata nel nuovo assetto tedesco, in cui veniva a collocarsi come “periferia del mondo libero”2, ad appena 30 km dal confine con la Deutsche Demokratische Republik, la città era sostanzialmente esclusa dai piani di ricostruzione e si trovava, ancora negli anni ʼ50, in uno stato di sostanziale abbandono3. Alla fine del 1953, nel primo modello teorico di documenta, Arnold Bode affermava che Kassel, collocata a ridosso della zona confine, era la città “predestinata” per una mostra che avesse lʼambizione di manifestare il “pensiero dellʼEuropa” 4. Fin dalle sue prime fasi di pianificazione, lʼesposizione è concepita dunque non semplicemente come una mostra artistica, ma come un luogo denso di significati sovrapposti, capace di porsi come simbolo identitario laddove proprio la questione identitaria si poneva come problema cruciale per la Germania Federale: da una parte i suoi promotori intendevano come una “missione” il reintrodurre la propria nazione allʼinterno di un processo culturale da cui era stata forzatamente esclusa negli anni della dittatura nazista, facendo della 1 Cfr. -
D Is for Documenta: Institutional Identity for a Periodic Exhibition by Kathryn M
d is for documenta The documenta Issue d is for documenta: institutional identity for a periodic exhibition by Kathryn M. Floyd Every five summers, Kassel, Germany is covered its typical boundaries in a display of global art spread over with signs and advertisements for what is billed out not only across the city, but also across the globe.4 as the most significant periodic exhibition of contem- porary art: documenta. [fig. 1] The publicity for the thirteenth edition in summer 2012 managed to attract over 905,000 visitors to this small Hessen city where they viewed hundreds of works by 194 global artists in ten venues and additional public spaces. Organizers dubbed the unassuming branding device commissioned for this enormous blockbuster a “non-logo.” Instead of producing a unique signet or single wordmark to distinguish the event from its twelve predecessors, the Milan-based firm Leftloft developed a “visual grammar” for writing the name in an infinite variety of typefaces. The rules dictated that 2 the name be written with “a lowercase ‘d’ while the rest of the letters will all be uppercase and followed Leftloft’s non-logo also suggested the nature and by the number thirteen in brackets.”1 The resulting history of the documenta institution, itself a “gram- wordmarks,2 including those used for official publica- mar” whose regularized five-year cycle, location, and tions and signage [fig. 2], conveyed dOCUMENTA focus on contemporary art are rewritten with fresh (13)’s “pluralist, imaginative, and cumulative” charac- leadership and artistic content twice a decade. The ter, and required “active engagement, attention, and a design also acknowledged the series’ history by certain amount of extra time on the keyboard.”3 This maintaining the lowercase “d” from the wordmark for challenging, inexhaustible, and flexible functionality the inaugural 1955 edition, a groundbreaking survey mirrored the exhibition’s enormity, which exploded of international modern art. -
Katalog V Moderne Kunst
KATALOG V MODERNE KUNST AUKTIONEN: KATALOG MITTWOCH, 25. MÄRZ & DONNERSTAG, 26. MÄRZ 2015 CATALOGUE Besichtigung: Donnerstag, 19. März – Dienstag, 24. März 2015 V WEDNESDAY 25 MARCH & THURSDAY 26 MARCH 2015 DONNERSTAG Exhibition: Thursday 19 March – Tuesday 24 March 2015 THURSDAY KATALOG I — CATALOGUE I MÄRZ-AUKTIONEN MITTWOCH, 25. UND DONNERSTAG, 26. MÄRZ 2015 MARCH AUCTIONS WEDNESDAY 25 AND THURSDAY 26 MARCH 2015 KATALOG V 26. MÄRZ 2015, BEGINN 10:00 UHR CATALOGUE V 26 MARCH 2015, STARTING 10:00 AM AUKTIONATOREN AUKTIONSTAGE AUCTION DAYS Dipl. Kfm. Holger Hampel Mittwoch, 25. März 2015 Wednesday 25 March 2015 Geschäftsführender Gesellschafter Beginn 10:00 Uhr Starting 10:00 am öffentlich bestellter und vereidigter Auktionator Donnerstag, 26. März 2015 Thursday 26 March 2015 Beginn 10:00 Uhr Starting 10:00 am Vitus Graupner Geschäftsführender Gesellschafter VORBESICHTIGUNG EXHIBITION Donnerstag 19. März 10 – 17 Uhr Thursday 19 March 10 am – 5 pm [email protected] Tel: +49 (0)89 28 804 - 0 (Zentrale) Freitag 20. März 10 – 17 Uhr Friday 20 March 10 am – 5 pm Samstag 21. März 10 – 17 Uhr Saturday 21 March 10 am – 5 pm Sonntag 22. März 10 – 17 Uhr Sunday 22 March 10 am – 5 pm Dr. Kristina Krüger Montag 23. März 10 – 17 Uhr Monday 23 March 10 am – 5 pm [email protected] Dienstag 24. März 9 – 12 Uhr Tuesday 24 March 9 am – 12 pm Tel: +49 (0)89 28 804 - 0 (Zentrale) Tom Wagner [email protected] INFORMATIONEN Tel: +49 (0)89 28 804 - 0 (Zentrale) Hampel Fine Art Auctions GmbH & Co. KG Schellingstr. -
Hans Arp & Other Masters of 20Th Century Sculpture
Hans Arp & Other Masters Stiftung Arp e. V. Papers of 20th Century Sculpture Volume 3 Edited by Elisa Tamaschke, Jana Teuscher, and Loretta Würtenberger Stiftung Arp e. V. Papers Volume 3 Hans Arp & Other Masters of 20th Century Sculpture Edited by Elisa Tamaschke, Jana Teuscher, and Loretta Würtenberger Table of Contents 10 Director’s Foreword Engelbert Büning 12 Hans Arp & Other Masters of 20th Century Sculpture An Introduction Jana Teuscher 20 Negative Space in the Art of Hans Arp Daria Mille 26 Similar, Although Obviously Dissimilar Paul Richer and Hans Arp Evoke Prehistory as the Present Werner Schnell 54 Formlinge Carola Giedion-Welcker, Hans Arp, and the Prehistory of Modern Sculpture Megan R. Luke 68 Appealing to the Recipient’s Tactile and Sensorimotor Experience Somaesthetic Redefinitions of the Pedestal in Arp, Brâncuşi, and Giacometti Marta Smolińska 89 Arp and the Italian Sculptors His Artistic Dialogue with Alberto Viani as a Case Study Emanuele Greco 108 An Old Modernist Hans Arp’s Impact on French Sculpture after the Second World War Jana Teuscher 123 Hans Arp and the Sculpture of the 1940s and 1950s Julia Wallner 142 Sculpture and/or Object Hans Arp between Minimal and Pop Christian Spies 160 Contributors 164 Photo Credits 9 Director’s Foreword Engelbert Büning Hans Arp is one of the established greats of twentieth-century art. As a founder of the Dada movement and an associate of the Surrealists and Con- structivists alike, as well as co-author of the iconic book Die Kunst-ismen, which he published together with El Lissitzky in 1925, Arp was active at the very core of the avant-garde. -
Tate Papers Issue 12 2009: Walter Grasskamp
Tate Papers Issue 12 2009: Walter Grasskamp http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/gras... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue To Be Continued: Periodic Exhibitions ( documenta , For Example) Walter Grasskamp Between 1978 and 1983 I worked for the German art magazine Kunstforum International that planned to publish its fiftieth volume in 1982, the year of the seventh documenta . I proposed that we should dedicate the issue to the history of the documenta , combining our minor jubilee with the major event that had re-established West Germany as an international forum of modern art in 1955. Having heard that a documenta archive existed in Kassel, I expected that little work would be needed. ‘Just grab the photos and run’, I thought, but I was wrong. The archive in Kassel turned out to be quite a respectable library, consisting of catalogues and books on modern and contemporary art, most of them debris from the previous six exhibitions sent in by gallerists and artists, or bought for, and left behind by, the various exhibition committees. More appropriate to the name and function of an archive was an impressive collection of press clippings and reviews, stored in folders that also contained letters, drafts and other material written by the founders and curators of the first six documentas . When I asked for installation photographs of the exhibitions, however, I was shown a metal locker in the corner of the room, brim-full of envelopes and files containing heaps of photographs and papers. But it seemed that the locker had been opened for me for the first time in years: a quick examination showed that most of the photographs were unsorted and had no comments, or only laconic comments, on the back, some not even giving the number of the documenta in which they had been taken. -
V. Documenta III, 1964
V. documenta III, 1964 5.1 Verso il museo dei cento giorni Il successo ottenuto dalla seconda edizione impone documenta come una rassegna di interesse nazionale e internazionale, ma determina anche una serie di problematiche quali le critiche negative, rivolte in particolar modo allʼapproccio proposto da Haftmann, e le questioni organizzative e finanziarie che si accompagnano allʼistituzionalizzazione della manifestazione. In particolare, a seguito del netto disavanzo con cui si era conclusa documenta II, si acutizza il contrasto tra lʼapparato burocratico e quello organizzativo1. Tali problematiche, assieme alla scelta di utilizzare il castello di Wilhelmshöhe che necessita di complessi restauri, determinano lo slittamento dellʼedizione prevista per il 1963 allʼanno successivo. Il primo documento relativo alla terza documenta, III documenta 1963, ein Vorschlag (III documenta 1963, una proposta)2 viene redatto il 15 giugno del 1 La necessità di riformare lʼassetto del Consiglio di Vigilanza porta a un nuovo contratto, siglato il primo gennaio del 1963, che sancisce lʼingresso del Land di Essen nella GmBH, riducendo la partecipazione privata ma al contempo arginando il ruolo di quella comunale. Cfr. M. Vecco, La Biennale di Venezia, documenta di Kassel, cit. 2 “Documenta si terrà questʼanno per lʼultima volta nel Museo Fridericianum. Questo rispettabile edificio sarà ampliato dopo la chiusura della mostra e poi finalmente ospiterà la Galleria Nazionale. Le opere degli antichi maestri, tra cui forse alcune che erano collocate qui, troveranno una casa, che precedentemente conteneva una raccolta principesca di opere dʼarte e rarità. Se la mostra di questʼanno- come ci auguriamo - avrà la stessa importanza della precedente, si prevede di fare di documenta unʼorganizzazione stabile. -
5.7 Apparato Documentario E Iconografico N. 4
5.7 Apparato documentario e iconografico n. 4 a) scheda della mostra Titolo: documenta III. Internationale Ausstellung, Kassel Periodo: 27 giugno - 5 ottobre 1964 Società titolare: documenta GmbH, Kassel Direttore artistico: Arnold Bode Comitato per la pittura e la scultura: Arnold Bode, Gerhard Bott, Herbert Freiherr von Buttlar, Will Grohmann, Werner Haftmann, Alfred Hentzen, Erich Herzog, Kurt Martin, Werner Schmalenbach, Heinrich Stünke Eduard Trier, Zoran Kržišnik, Giuseppe Marchiori, Josia Reichhardt, Peter Selz. Comitato per il disegno: Werner Haftmann, Jan Heyligers, Wolf Stubbe, Heinrich Stünke, Eduard Trier Presidente del consiglio: Sindaco Karl Branner; vicepresidente: Presidente del Land Alfred Schneider Allestimenti: Arnold Bode (collaboratori: Rudolf Staege, Lorenz Dombois) Segretario: Theodor Ascher Sedi: Museum Fridericianum, Orangerie, Neue Galerie Opere: 1450 opere; 280 artisti Peasi coinvolti: 21 Visitatori: oltre 200.000 Costi e finanziamenti: - Preventivo 1.400.000 DM - Costi sostenuti: 2.437.000 Dm - Ricavo dagli ingressi: 443.000 DM - Donazioni: 340.000 DM - Altre entrate: 237.000 DM - Contributi: Bund 100.000 DM; Land Hessen: 350.000 DM; Stadt Kassel: 390.000 DM. Cataloghi: - Documenta III: Internationale Austellung, 27. Juni-5. Oktober 1964, Kassel, Alte Galerie, Museum Fridericianum, Band. 1, Malerei, Skulptur, DuMont Schauberg, Köln 1964. - Documenta III: Internationale Austellung, 27. Juni-5. Oktober 1964, Kassel, Alte Galerie, Museum Fridericianum, Band. 2, Handzeichnungen, Hessische Druck- und Verlagsanstalt,