Third Floor Schätzwerte Bis 3.000 Euro 1. Dezember 2018
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Josef Albers (D), John M Armleder (CH), Hans/Jean Arp (F), Horst Bartnig (D), Martin Boyce (GB), Katja Davar (GB), Adolf Fleischmann (D), Sylvie Fleury (CH), Günter Fruhtrunk (D), Walter Giers (D), Camille Graeser (CH), Guan Xiao (CHN), Gregor Hildebrandt (D), Bernhard Höke (D), Markus Huemer (A), Takehito Koganezawa (J), Alicja Kwade (PL), Hartmut Landauer (D), Verena Loewensberg (CH), Robert Longo (USA), Ma Qiusha (CHN), Rune Mields (D), Kirsten Mosher (USA), Brian O’Doherty (IRL), Park Chan-kyong (ROK), Peter Roehr (D), Ugo Rondinone (CH), Lerato Shadi (ZA), Roman Signer (CH), K.R.H. Sonderborg (DK), Anton Stankowski (D), John Tremblay (USA), Rosemarie Trockel (D), Andrew Tshabangu (ZA), Timm Ulrichs (D), Xavier Veilhan (F), Xu Zhen produced by Madeln Company (CHN), Michael Zahn (USA), Heimo Zobernig (A) Videos, Audio and Sound Works, Sound Sculptures, Pictures, Graphics Compiled and arranged by Gerwald Rockenschaub July 7, 2019—February 2, 2020 Curator and Editor Renate Wiehager Contents 6 Introduction Sound on the 4th Floor Renate Wiehager 27 On Visual Codes and the Imaginary Soundtrack Interview with Gerwald Rockenschaub Nadine Isabelle Henrich and Sarah Maske 33 Composition in Music and Art Sarah Maske 39 Acoustic Immersion Strategies in Contemporary Art Nadine Isabelle Henrich 47 Words from Mouth to Abyss Friederike Horstmann 54 Sound—Structuring, Scattering, Mixing Sarah Maske 61 Instrument n°4, 2018 Xavier Veilhan 64 “Air to party in”—Rhythm as an Artistic Strategy in Painting, Photography and Video Nadine Isabelle Henrich 70 Exhibition views 78 List of works _ Gerwald Rockenschaub, design for exhibition display ›Sound on the 4th Floor‹ 4 5 Introduction _ Gerwald Rockenschaub, graphic draft for the exhibition Sound on the 4th Floor ›Sound on the 4th Floor‹, 2019 Renate Wiehager Seeing Sound spond to the theme in their motifs, whereby the term is reduced to a functional acronym: ‘Sot4thF’. -
Mainframe Experimentalism
MAINFRAME EXPERIMENTALISM Early Computing and the Foundations of the Digital Arts Edited by Hannah B Higgins and Douglas Kahn Q3 UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London 4 INFORMATION AESTHETICS AND THE STUTTGART SCHOOL Christoph Kllitsch In the mid-1960s, mainframe computer art emerged from an adventurous en counter among a new information aesthetic, political ideologies, and technical possibilities. In Stuttgart, new computer technology invited speculation about the nature of art, beauty, and mechanical production. Here a new generation of artist-scientists believed the computer would enable them to break with the speculative and subjective approach to making and evaluating art. The main frame Denkmaschirzen1 (thinking machines) offered users the limited computing capacities of the time, forcing the computer artist to program carefully, to use the resources as economically as possible, and, through an extreme economy of means, to break down visual problems into small, elegantly designed pieces. Through an analysis of the early work of a few members of the Stuttgart school, the artistic range of early mainframe computer art, as well as its rigorous theoretical basis, will be discussed. The chronological beginning of the Stuttgart school falls somewhere between December 1964, when an article titled "Statistische Graphik" (Statistical graphic) by Georg Nees appeared in the journal Grundlagenstudien aus Kybernetik und Geisteswissenschaft (GrKG; Fundamentals in cybernetics and humanities), and February 5, 1965, when the -
On the Subject of the Ready-Made Or Using a Rembrandt As an Ironing Board
On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Daimler Art Collection On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Max Ackermann John McLaughlin Josef Albers Albert Mertz Ian Anüll Gerold Miller John M. Armleder Olivier Mosset Hans/Jean Arp Horst Münch Richard Artschwager John Nixon Willi Baumeister Blinky Palermo Bill Beckley Patrick Fabian Panetta Max Bill Esteban Pastorino Julius Heinrich Bissier Lothar Quinte Dieter Blum Timm Rautert Hartmut Böhm Joseph Francis Charles Rock Greg Bogin Peter Roehr Monika Brandmeier Ulrike Rosenbach Andreas Brandt Tom Sachs Sarah Browne Kiyoshi Sakamoto Max Burchartz Pietro Sanguineti Daniel Buren Viviane Sassen André Cadere Jürgen Schadeberg Siegfried Cremer Andreas Schmid Gia Edzgveradze Leonhard Schmidt Sergio Fermariello Jan J. Schoonhoven Roland Fischer Dayanita Singh Adolf Richard Fleischmann Anton Stankowski Günter Fruhtrunk Elaine Sturtevant Poul Gernes Guy Tillim Hermann Glöckner Hayley Tompkins David Goldblatt Rosemarie Trockel Camille Graeser Timm Ulrichs Konstantin Grcic Dieter Villinger George Grosz Andy Warhol Isabell Heimerdinger Franz West Jan Henderikse Christa Winter Adolf Hölzel Zheng Guogu Johannes Itten Heimo Zobernig Donald Judd Franklin Prince Knott Tadaaki Kuwayama Liu Zheng Robert Mapplethorpe FOREWORD The exhibition On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board – featuring 130 works from the Daimler Art Collection selected by Welsh conceptual artist Bethan Huws – strad- dles the years 2016 and 2017, thus referencing the ‘double’ birthday of the ready-made as a concept and as an artistic praxis. -
Constructivism (Art) 1 Constructivism (Art)
Constructivism (art) 1 Constructivism (art) Constructivism was an artistic and architectural philosophy that originated in Russia beginning 1919, which was a rejection of the idea of autonomous art in favour of art as a practice for social purposes. Constructivism as an active philosophy lasted until about 1934, greatly effecting the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism. Some of its motifs have been reused sporadically since. Beginnings The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko during 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed during 1922.[1] Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited during 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Photograph of the first Constructivist Exhibition, 1921 Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. The teaching basis for the new ohilosophy was established by The Commissariat of Enlightenment (or Narkompros) the Bolshevik government's cultural and educational ministry directed by Anatoliy Vasilievich Lunacharsky who suppressed the old Petrograd Academy of Fine Arts and the Moscow School of Painting, Sculpture and Architecture during 1918. IZO, the Commissariat's artistic bureau, was managed during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune. -
Toward a New Typography
Toward Toward Toward Toward a New a New a New a New Typography Typography Typography Typography The Origins of the International Typographic Style Jennifer M. Dyer The International Typographic Style, technology, science, and psychology The paradoxes that defined life in the “Significant departures from also known as Swiss design, culmi- that it seemed human suffering could early 20th century are refl ected in the use of conventional typo- nated from a progression of artistic be eradicated. The discovery of the contemporary artistic expression. graphic forms occurred in ideas that had developed over the structure of DNA, the harnessing of Many artistic movements intermingled Europe at the beginning of the course of nearly a century. Character - atomic energy, the development of as artists synthesized a new under- 20th century. During this ized by a clean appearance ordered theories about the space-time con- standing of the world in their work activist period, experimenta- by a mathematical grid, the use of tinuum, the advent of space travel, and developed a new syntax for tion in all the visual and per- sans serif typefaces and a color and exploration of the human psyche artistic expression. Artists felt that forming arts was affected by palette limited to red, black, and suggested that humanity was on the they must reject the styles of history potent social and philosoph- white, the International Typographic verge of understanding life itself. Yet, and develop a mode of expression ical changes, industrial and Style achieved its greatest infl uence during these same years, two world appropriate for the modern era. -
Anton Stankowski Ist Einer Der Einflussreichen Gestalter Der Schweiz Der 1930Er-Jahre Und Der Deutschen Nachkriegszeit
Stankowski, Anton, Prospekttitel für PH-Leuchten, Karsruhe, 1929, Hochdruck gelb, schwarz, 29,7 x 21 cm, Stankowski-Stiftung, Stuttgart Bearbeitungstiefe / Name Stankowski, Anton Lebensdaten * 18.6.1906 Gelsenkirchen, † 11.12.1998 Esslingen am Neckar Staatszugehörigkeit D Vitazeile Grafiker, Fotograf, konstruktiver Maler. 1929-1934 in Zürich im Kreis der Foto-Grafiker und Konkreten Künstler. Corporate Design-Arbeiten für grosse Firmen und Institutionen. Kunst am Bau Tätigkeitsbereiche Fotografie, Kunst am Bau, Plakat, Malerei, Grafik Lexikonartikel 1920–26 Lehre und Gesellenjahre als Dekorations- und Kirchenmaler. 1926–28 Studium bei Max Burchartz (1887–1961) an der Essener Folkwangschule, die der holländischen und russischen Avantgarde nahestand. 1929–1934 Grafiker, Fotograf und Typograf in der Agentur Max Dalang in Zürich, wo Stankowski wegweisende Industriewerbung schuf. Seit 1934 in Basel und Lörrach, ab 1938 in Stuttgart. 1940–48 Kriegs- und Gefangenenjahre. 1949–1951 Fotoreporter und später Schriftenleiter der Stuttgarter Illustrierten. Kontakt zu visuellen Erneuerern wie Willi Baumeister (1889–1955), Hugo Häring (1882–1958) oder Egon Eiermann (1904–1970). Ab 1951 eigenes grafisches Atelier in Stuttgart. 1953 Mitglied des Deutschen Werkbundes. 1964 Gastdozent für visuelle Kommunikation an der Hochschule für Gestaltung in Ulm. Ab 1972 Partnerschaft mit Karl Duschek. 1998 Ehrenpreis des Deutschen Künstlerbundes für sein Lebenswerk. Anton Stankowski ist einer der einflussreichen Gestalter der Schweiz der 1930er-Jahre und der deutschen Nachkriegszeit. Durch seine Herkunft aus dem Ruhrpott handwerklich geprägt, vertrat er in seiner gesamten, acht Jahrzehnte dauernden Schaffenszeit einen stets von der Praxis ausgehenden Gestaltungsprozess, der aber immer offen war für die neuesten künstlerischen Entwicklungen. Mit der bildenden Kunst intensiv in Berührung kam er in seinen Zürcher Jahren. -
Maximin : Maximum Minimization in Contemporary
Todos nuestros catálogos de arte All our art catalogues desde/since 1973 MaxiMin MaxiMuM MiniMization in ConteMporary art 2008 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es Fundación Juan March 1 Fundación Juan March This catalogue, and its Spanish edition, are published on the occasion of the exhibition MAXImin Maximum Minimization in Contemporary Art Fundación Juan March, Madrid February 8 — May 25, 2008 Fundación Juan March MAXImin MAXIMUM MINIMIZAtion IN CONTEMPORARy ART Fundación Juan March Fundación Juan March ACKNOWLEDGEMENTS The Fundación Juan March would like to thank the Corporate Art Depart- ment of Daimler AG and especially Dr. Renate Wiehager and her entire staff – particularly Mathis Neidhart – for the help, understanding and ex- traordinary collaboration they extended to us at every phase of this exhibi- -
Creation Is a Patient Search. New York 1960 Benton, Timothy J
607 BIBLIOTHEK Stankowski signiert. Stuttgart o.J. Umfangreiche Fachbibliothek zu den Themen Architektur, Stankowski, Anton, Duschek, Karl: Visuelle Kommunikation. Ein Kunst und Kunstgeschichte des Stuttgarter Architekten Design-Handbuch. Berlin 1989 Prof. Hermann Franzke. 1300,– Künstler-Monographie: Provenienz: Sammlung Familie Prof. Hermann R. Franzke Czwiklitzer, Christoph: Werkverzeichnis der Picasso-Plakate. Paris (1930 - 2018), Stuttgart. 1970 Extensive specialist library on the subjects of architecture, art and art history by the architect Prof. Hermann Franzke, Stuttgart. Thomas, Karin: Alan Frederick Sundberg. Dortmund 1983 Kultermann, Udo: Wassili und Hans Luckhardt. Tübingen 1958 Giers, Walter: Walter Giers, Electronic Art. Berlin 1987 Lach, Friedhelm: Der Merz Künstler Kurt Schwitters. Köln 1971 Le Corbusier Haecker, Hans-Joachim: Friedrich Meckseper. Braunschweig 1982 Le Corbusier: Creation is a patient search. New York 1960 Hnikova, Dagmar: Fritz Glarner im Kunsthaus Zürich. Zürich 1982 Benton, Timothy J.: Le Corbusiers Pariser Villen. Stuttgart 1984 Staber, Margit: Fritz Glarner. Zürich 1976 Von Moos, Stanislaus (Hrsg.): L’Esprit Nouveau. Le Corbusier und Fath, Manfred u.a.: Lothar Schall. Gemälde 1948 – 1989 die Industrie. Zürich 1987 Konnertz, Winfried: Eduardo Paolozzi. Köln 1984 Boesiger, W. / Stonorov, O.: Le Corbusier et Pierre Jeanneret. Oeuv- Schmücking, Rolf (Hrsg.): Johnny Friedlaender. Braunschweig 1974 re complete 1910-1929. Zürich 1960 Kappeler, Susanne: Carlo Vivarelli. Zürich 1988 Boesiger, Willy: Le Corbusier et Pierre Jeanneret. Oeuvre complete Fauchereau, Serge: Kupka. Madrid 1989 1929-1934. Zürich 1957 Barré, Francois u.a.: Gottfried Honegger. Weiningen-Zürich 1993 Bill, Max: Le Corbusier & P. Jeanneret. Oeuvre complete 1934- Gomringer, Eugen u.a.: Andreas Brandt. Weiningen-Zürich 1994 1938. Zürich 1958 Forstbauer, Nikolai B. u.a.: Christian Wulffen. -
The Anatomy of Information Design
Rochester Institute of Technology RIT Scholar Works Theses 5-22-1997 The Anatomy of information design Young-Kook Kim Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Kim, Young-Kook, "The Anatomy of information design" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. The Anatomy of Information Design Young Kook Kim Approvals Chief Adviser: R. Roger Remington Dole ? Associate Adviser: Deborah Beardslee 1 Dole .22 #l1/ '1r Associate Adviser: Bruce Ian Meader Department Chairperson: Mary Ann Begland Dote ~4 ·/ff~ I, Young-Kook Kim, hereby grant permission to the Wallace Memorial Library of RIT to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit. Dole Rochester Institute of Technology A Thesis Submitted to the Faculty of The College of Imaging Arts and Sciences in Candidacy for the Degree of Master of Fine Arts. The Anatomy of Information Design by Young-Kook Kim May 22, 1997 Table of Contents Thesis Project Definition Introduction Course Experience Team Involvement Research and Analysis Personal Experience Research Representative Books, Articles, Theories Synthe General Schedule Fall 1996 Winter 1 996-97 Spring 1997 Development Development of the Matrix Development of the Study Guide Development -
![MT124 Several Aspects of Her Work on Magie Squares Have Been Discussed [4]](https://docslib.b-cdn.net/cover/7207/mt124-several-aspects-of-her-work-on-magie-squares-have-been-discussed-4-10827207.webp)
MT124 Several Aspects of Her Work on Magie Squares Have Been Discussed [4]
March 1989 Reflection, significance and resonance: extracts from 3 a teacher trainer‘s diary Rita Nolder Celtic knotwork Rod Clarkson 5 Centres of a triangle and a central dilemma Ruth Eagle 9 Teaching takes place in time, learning takes place 12 over time Peter Griffin Passages 14 Parallels 19 The relationship of the MA and the ATM Neil Bibby 22 Beyond 16 — maths in the workplace 26 Pat Drake & Jane Mardell GCSE Coursework: make a model 30 Dick Parsons, Gill Baxter & Jan Denton ATM News 34 Budapest 1988 36 Mathematics and modern art: combinatorics 42 Ulrich Grevsmühl Letters 50 Personal reflections on the Bristol seminars Dave Hewitt 53 Mathematical and commentary writing 55 Martin Hoffman & Arthur Powell We can‘t say that, we haven‘t proved it Nicolas Balacheff 58 Photograph p17 Laurinda Brown; illustration p23 Kristian Russell MATHEMATICS AND MODERN ART: COMBINATORICS Ulrich Grevsmühl The systematic use of combinatorics in art and design originated in the l6th and l7th centuries when card and dice garnes were the starting points for many investigations into combinatorics and probability. In particular, Blaise Pascal, Pierre de Fermat, Gottfried Wilhelm Leibniz, Christian Huygens and Jakob Bernoulli laid the foundation for the theory which was subsequently applied to problems in economics and art. Dominique Douat made a systematic study of the theory of pattern, published in 1722 [1,2]. As a means of visualisation he used a square which was divided about one diagonal and then coloured using two different colours. Rotating the square by 900, the four elements A, B, C and D are formed. -
Before and After Minimalism : a Century of Abstract Tendencies in The
Todos nuestros catálogos de arte All our art catalogues desde/since 1973 Before and after MiniMalisM a Century of aBstraCt tendenCies in the daiMlerChrysler ColleCtion 2007 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es mu>eu d'Ar' I .0"'~,~~po"n' ?=;;- 1'''",,,'.,", 'U.", \1.11<11 • Ai e a 1-- lf1 h D n lt'l( 2 .0 .2007-08.0 .2007 Befare and AfterAfier Minimalism A Century of Abstract Tendencies inin the DaimlerChrysler Collection The artistic current known as and methods of European and herehere.. Thanks to this collaboration Minimal Art and especially the American artists; as much among we have been able to present, installations and objects of the those of the postwar generation as for the first time, a panoramic representatives of classicalc1assical 1960s among those contemporaries who display of the pioneering figures Minimalism - artists such as Carl partake in minimalist tendencies of the vanguard predecessors of Andre, Dan FlaFlavin,vin, Donald Judd or invoke European abstraction European and American minimalist and the recently deceased Sol and constructivism as their historiehistoric currents.