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Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
Architectural Theory and Practice, and the Question of Phenomenology
Architectural Theory and Practice, and the Question of Phenomenology (The Contribution of Tadao Ando to the Phenomenological Discourse) Von der Fakultät Architektur, Bauingenieurwesen und Stadtplanung der Brandenburgischen Technischen Universität Cottbus zur Erlangung des akademischen Grades eines Doktor-Ingenieurs genehmigte Dissertation vorgelegt von Mohammadreza Shirazi aus Tabriz, Iran Gutachter: : Prof. Dr. Eduard Führ Gutachter: Prof. Dr. Karsten Harries Gutachter: Gastprofessor. Dr. Riklef Rambow Tag der Verteidigung: 02. Juni 2009 Acknowledgment My first words of gratitude go to my supervisor Prof. Führ for giving me direction and support. He fully supported me during my research, and created a welcoming and inspiring atmosphere in which I had the pleasure of writing this dissertation. I am indepted to his teachings and instructions in more ways than I can state here. I am particularly grateful to Prof. Karsten Harries. His texts taught me how to think on architecture deeply, how to challenge whatever is ‘taken for granted’ and ‘remain on the way, in search of home’. I am also grateful to other colleagues in L.S. Theorie der Architektur. I want to express my thanks to Dr. Riklef Rambow who considered my ideas and texts deeply and helped me with his advice at different stages. I am thankful for the comments and kind helps I received from Dr. Katharina Fleischmann. I also want to thank Prof. Hahn from TU Dresden and other PhD students who attended in Doktorandentag meetings and criticized my presentations. I would like to express my appreciation to the staff of Langen Foundation Museum for their kind helps during my visit of that complex, and to Mr. -
Annual Report 2017
2017 ANNUAL REPORT ANNUAL REPORT 2017 2,522 EMPLOYEES FROM 71NATIONS WORKED IN 38 COUNTRIES AND OVERSEAS PROGRAMMES IN 2017. 410 WITH MILLION EUROS OF FUNDING 229.4 WE SUPPORTED MILLION PEOPLE IN ORDER 11. 8 TO ACHIEVE 1 GOAL : Interview with Supervisory Board and Executive Board 6 WHAT WE Zero Hunger Requires Political Measures 8 WANT Welthungerhilfe's Vision 52 Project Map 10 WHAT WE Congo: Better Harvests for a Brighter Future 12 Bangladesh: The Suffering of the Rohingya 14 ACHIEVE Nepal: Fast Reaction thanks to Good Preparation 16 Sierra Leone: Creating Professional Prospects with “Skill Up!” 18 Horn of Africa: Prepared for Drought 20 New Approach: Securing Water Sustainably 22 Transparency and Impact 24 Impact Chain 27 Holding Politics Accountable 28 Campaigns and Events 2017 30 Outlook for 2018: Tapping into Potentials 48 Thank You to Our Supporters 50 This Is How We Collect Donations 51 Welthungerhilfe’s Structure 32 WHO WE ARE Forging ahead with the foundation 44 Welthungerhilfe’s Networks 47 Balance Sheet 34 FACTS AND Income and Expenditure Account 37 Income and Expenditure Account in Accordance with DZI 39 FIGURES Welthungerhilfe in Numbers 40 All Overseas Programmes 2017 42 Annual Financial Statement Foundation 46 PUBLICATION DETAILS Publisher: Order number p. 22: Thomas Rommel/WHH; pp. 23, The DZI donation Deutsche Welthungerhilfe e. V. 460-9549 24: WHH; p. 26 t./b.: Iris Olesch; p. 28: seal certifies Friedrich-Ebert-Straße 1 Deutscher Bundes tag/Trutschel; p. 29 t. l.: Welthungerhilfe‘s efficient and 53173 Bonn Cover photo Engels & Krämer GmbH; p. 29 t. r.: responsible Tel. -
Zen for Film
UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 CHAPTER 4 . ZEN FOR FILM 4 .1 . Zen in Three Episodes No .1 In a slightly darkened museum room I am standing in front of a white screen that fills a rectangular wall with a proportional cinematic rectangle. The image seems to diffuse towards its edges, its contour soft, its corners slightly curved. -
Kenneth Noland
! KENNETH NOLAND BIOGRAPHY Born in 1924 in Asheville, North Carolina US Died in 2010 in Port Clyde, Maine US EDUCATION & TEACHING 1985-90 Serves on the Board of Trustees, Bennington College, Bennington Vermont US 1985 Named Milton Avery Professor of the Arts, Bard College, Annandale-on-Hudson, New York US 1952-56 Taught at the Washington Workshop Center for the Arts US 1951-60 Taught at the Catholic University of America, Washington D.C. US 1949-51 Taught at the Institute of Contemporary Art, Washington D.C. US 1948-49 Studies with Ossip Zadkine in Paris FR 1946-48 Studies at Black Mountain College, North Carolina US SELECTED SOLO EXHIBITIONS 2019 Kenneth Noland, Almine Rech, Paris FR 2017 Kenneth Noland: Cicles - Early + Late, Yares Art, New York US Kenneth Noland, Pace Prints, New York US Kenneth Noland: Into the Cool, Pace Gallery, New York US 2016 Kenneth Noland: Unbalanced, Paul Kasmin Gallery, New York US 2015 Kenneth Noland: Color and Shape 1976–1980, Castelli, New York US Kenneth Noland: selected Works 1958-1980, Cardi Gallery, Milan IT ! ! ! 2014 Kenneth Noland: Handmade Paper and Monoprints 1978-1984, Meredith Long & Company, Houston US Kenneth Noland: Paintings 1975-2003, Pace Gallery, New York US 2012 Kenneth Noland: Mysteries, Full Circle, Yares Art Projects, Santa Fe US 2011 Kenneth Noland: Paintings 1958-1968, Mitchell-Innes & Nash, New York US 2010 Kenneth Noland, 1924-2010: A Tribute, Solomon R. Guggenheim Museum, New York US Kenneth Noland: A Tribute, Museum of Fine Arts, Houston US 2009 Kenneth Noland: Shaped Paintings -
Program Site Landscape and Building
Location: near Neuss, North Rhine-Westphalia, Germany. Architect: Tadao Ando (Japan) Date: 2002.8-2004.7 Site Site: On the grounds of the Museum Insel Hombroich; 1,040 Acres Langen Foundation Case Study Material: Reinforced concrete; Glass; steel. Program: Museum Program The Langen Foundation is located at the Raketenstation Hombroich, a former NATO base, in the midst of the idyllic landscape of 1,040 acres of land is being planned for an experiment in living with nature, where architects and artists from this list each envision his or her own program and its accompanying design. This lat- Japanese collection space the Hombroich cultural environment. ter effort, coordinated by the Berlin architectural office of Hoidn Wang Partner, is known as the “Hombroich spaceplacelab,” and requires that at least 90 percent of each site be left for nature. The simple shape of space inside makes people to be peaceful and Ando got involved with the art program at Hombroich through the instigation of Müller, who knew of Ando’s museums in Japan and the United States Ando’s crafted concrete geometric forms interact compellingly Visitors enter through a cut-out in the semicircular concrete wall, opening up the view to the glass, steel and concrete building. with light, water, and earth in a manner that fits in with the Hombroich identity. In 1995, Ando designed an art pavilion for Müller on the former missile base; it appealed to another German art collector, Marianne focus on the art collections. Langen, who was searching for a home for the art that she had amassed with her late husband, Viktor, a businessman, which they had housed in Switzerland. -
A Guide for Holders of the International Association of Art Card Prepared with Contributions from the Slovak Union of Visual Arts (Slovenská Výtvarná Únia) 2017
A guide for holders of the International Association of Art card Prepared with contributions from the Slovak Union of Visual Arts (Slovenská výtvarná únia) 2017 The International Association of Art (IAA/AIAP) is a non-governmental organization working in official partnership with UNESCO. Its objectives are to stimulate international cooperation among visual artists of all countries, nations or peoples, to improve the socio-economic position of artists nationally and internationally, and to defend their material and moral rights. The IAA issues identity cards to professional visual artists. This card allows free or discounted admission to many galleries and museums in countries around the world. The card is a tool for the lifelong education of artists in their professional artistic research. These institutions, large or small, recognize the benefit they gain from enabling the artists, like art critics and journalists, to visit exhibitions, art events and collections of art, to carry on research, and to gain inspiration. As a member within the IAA network, CARFAC National issues IAA cards exclusively to Canadian professional artists that are members of CARFAC upon request. Only National Committees of the IAA may issue the card. Where to use the IAA card This document includes a chart detailing selected institutions that offer free or discounted admission prices, or other perks to IAA card holders while travelling abroad. This information was obtained from surveying recent users of the card and IAA National Committees worldwide, and is updated regularly – most recently in 2017 by the Slovak Union of Visual Arts (SUVA). Users will find that different areas in Europe are more receptive to the card than others. -
Die Brücke Der Blaue Reiter Expressionists
THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era. -
Spanish Painting During Developmentism
Spanish Painting during Developmentism From 1960 on, Spanish art consolidated the ground it had gained over the previous decade, in which informal- ism had managed to make itself noticed on the international scene through official promotion and awards given to artists like Antonio Saura and Antoni Tàpies. At the same time, a more lyrical side emerged, which, along with other members of this generation of varied aesthetic options, would set Cuenca’s Museum of Spanish Abstract Art in motion. tinued with what was called “veta brava” Informalism, international recognition was achieved by artists like Antoni Tàpies (1923-2012), who abandoned surrealist figuration in favour of a material informal- ism, Eduardo Chillida (1924-2002), an example of informalist sculpture, and José Guerrero (1914-1991) Spain’s represent- ative of the New York School. Others such as Fernando Zóbel (1924-1984), Gustavo Torner (1925) and Gerardo Rueda (1926- 1996), went on the form part of the central core of what was called the Cuenca Group, representatives of an abstract form that became known as lyrical. These three art- ists shared a sense of aesthetic perfection In the late Fifties and throughout the Sixties, Spain opened up to what lay beyond Fran- and purity of surfaces, producing reflec- co’s regime, so as to modernise the Spanish economy according to the liberal capitalism tive painting, with a very controlled feeling model, resulting in what were known as the Development Plans. One result of the end of far from spontaneity, thereby producing Spain’s isolation was a prolific period for Spanish art, which came into contact with the something that could be called “fake in- international scene for the first time. -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Olafur Eliasson Biography
Olafur Eliasson Biography 1967 Born in Copenhagen 1989 – 1995 Studied at the Royal Danish Academy of Fine Arts in Copenhagen Lives in Copenhagen and Berlin Solo Exhibitions 2019 Olafur Eliasson: In real life, Tate Modern, London, United Kingdom, July 11, 2019 – January 5, 2020. Travel to Guggenheim Bilbao, Spain, February 14, 2020 – June 21, 2021. Tree of Codes, Opéra Bastille, Paris, France, June 26 – July 13. Y/our future is now, The Serralves Museum of Contemporary Art, Porto, Portugal, July 31, 2019 – June 14, 2020. 2018 Objets définis par l’activité, Espace Muraille, Genève, Switzerland, January 24 — April 28. Una mirada a lo que vendrá (A view of things to come), Galería Elvira González, Madrid, Spain, February 13 – April 28. Reality Projector, Marciano Art Foundation, Los Angeles, USA, March 1 – August 25. The unspeakable openness of things, Red Brick Art Museum, Beijing, People’s Republic of China, March 25 – August 12. Multiple Shadow House, Danish Achitecture Center (DAC), Copenhagen, Denmark, May 17 – Oktober 21. Olafur Eliasson: WASSERfarben (WATERcolours) , Graphische Sammlung – Pinakothek der Moderne, Munich, Germany, June 7 – September 2. The speed of your attention, Tanya Bonakdar Gallery, New York / Los Angeles, September 15 – December 22. 2017 Olafur Eliasson, Fischli/Weiß, Art Project Ibiza & Lune Rouge, Ibiza, Spain, January 21 – April 29. Olafur Eliasson: Pentagonal landscapes, EMMA – Espoo Museum of Modern Art, Espoo, Finnland, February 8 – May 21. Olafur Eliasson: Green light – An artistic workshop, The Moody Center of the Arts, Houston, Texas, USA, February 24 – Mid May. Olafur Eliasson: The listening dimension, Tanya Bonakdar Gallery, New York, March 23 – April 22. -
Allan Kaprow
ALLAN KAPROW Born 1927 Atlantic City, NJ Died 2006 Encinitas, CA EDUCATION 1945-1949 New York University, New York 1947-1948 Hans Hofmann School of Fine Arts, New York 1950-1952 Columbia University, New York 1957-1958 New School for Social Research, New York FELLOWSHIPS AND AWARDS 1967 John Simon Guggenheim Memorial Foundation Fellowship, New York 1962 William and Noma Copley Foundation Award, Chicago SELECTED SOLO EXHIBITIONS 2017 Allan Kaprow: Yard, Lévy Gorvy at SALON, Saatchi Gallery, London Allan Kaprow – Painting 1946-1957 – A Survey, Villa Merkel, Esslingen 2015 Allan Kaprow. Yard, NP3 (location M0Bi), Groningen Fluids, Staatliche Museen zu Berlin, Berlin; also traveled to: Hamburger Bahnhof and Museum für Gegenwart, Berlin 2014 Allan Kaprow: Yard, The Hepworth Wakefield, Wakefield Sohm Display Window II. From Painting to Life: Allan Kaprow’s Happenings, Staatsgalerie Stuttgart, Stuttgart Allan Kaprow. Altres Maneres, Fundació Antoni Tàpies, Barcelona 2013 Allan Kaprow. Time Pieces, NBK Neuer Berliner Kunstverein, Berlin Allan Kaprow Stockroom, Sammlung Friedrichshof, Zurndorf Allan Kaprow Project, Sammlung Friedrichshof, Zurndorf Allan Kaprow Books and Posters, Christophe Daviet- Thery Livres et Editions d’ Artistes, Paris Fluids: A Happening by Allan Kaprow Reinvented by Art Theory & Practice, Mary and Leigh Block Museum of Art, Northwestern University, Evanston 2011 Allan Kaprow in Deutschland: Wärme- und Kälteeinheiten, Zentralarchiv des internationalen Kunsthandels ZADIK, Cologne 2009 Allan Kaprow. Yard, Hauser & Wirth, New