DOCSLIB.ORG

The Art of Cobra September 15 – November 20, 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Cobra September 15 – November 20, 2016 , 1951; Lithograph,, 1951; in.; x 8.5 11.5 NSU Art Museum Fort Lauderdale, The Golda and Meyer Marks Cobra Collection FIC2013.24 The (Le Share Eagle’s Droit de l’aigle) Asger Jorn, Human Animals: The Art of Cobra September 15 – November 20, 2016 Organized by NSU Art Museum Fort Lauderdale; Guest-curated by Karen Kurczynski, UMass Art History Assistant Professor University Museum of Contemporary Art Fine Arts Center | UMass Amherst | www.umass.edu/umca Munich; for their support of this exhibition. this of support their for Munich; Gallery, Los Angeles; Cheim & Read Gallery, NY; and Galerie van de Loo, Loo, de van Galerie and NY; Gallery, Read & Cheim Angeles; Los Gallery, Poe + Blum Foundation; Suecia Pro Osher Barbro the Amherst; UMass New York; the Danish Arts Foundation; German and Scandinavian Studies at at Studies Scandinavian and German Foundation; Arts Danish the York; New We gratefully acknowledge Grumbacher; the Consulate General of Denmark – – Denmark of General Consulate the Grumbacher; acknowledge gratefully We Human Animals: The Art of Cobra Consulate General of the Netherlands in New York. York. New in Netherlands the of General Consulate This program is supported as part of the Dutch Culture USA program by the by program USA Culture Dutch the of part as supported is program This September 15 – November 20, 2016 Arts Challenge with additional funding provided by Linda J. Marks and Stephen R. Marks. R. Stephen and Marks J. Linda by provided funding additional with Challenge Arts The exhibition is supported through a grant from the John S. and James L. Knight Foundation, as part of its Knight Knight its of part as Foundation, Knight L. James and S. John the from grant a through supported is exhibition The cobra events:* September 14, 6 – 8 P.M. (Wed.) Opening Reception umass.edu/umca ) for details. (See Symposium information above.) above.) information Symposium (See details. for ) Check our website ( website our Check September 16, 9 A.M. – 6 P.M. (Fri.) Cobra Symposium: “The Legacy of Cobra” , Integrative Learning Center). Center). Learning Integrative , . 5 – . (9 Amherst UMass at 2016, 16, September Friday, on M P M A October 6, 6 – 7 P.M. (Thu.) Tour of the exhibition, as part of the Amherst Art Walk an international symposium symposium international an on Cobra and its legacy in contemporary art will take place place take will art contemporary in legacy its and Cobra on October [TBA] In Conversation: The Cobra Movement Out of Europe’s Ashes (Danish, b. 1967). 1967). b. (Danish, October 21, 7:30P.M. (Fri.) CAGED: Cobra-inspired Poetry with CRVPT Oehlen (German, b. 1954), Nicole Eisenman (American, b. 1965), Alex Heil (German, b. 1965), and Tal R R Tal and 1965), b. (German, Heil Alex 1965), b. (American, Eisenman Nicole 1954), b. (German, Oehlen November 3, 6 – 7 P.M. (Thu.) Tour of the exhibition, as part of the Amherst Art Walk These artists include Herbert Gentry (American, 1919–2003), Jacqueline de Jong (Dutch, b. 1939), Albert Albert 1939), b. (Dutch, Jong de Jacqueline 1919–2003), (American, Gentry Herbert include artists These November 20 (Sun.) Last day to view Cobra exhibition legacy in the work of well-known artists active today, underscoring its continuing relevance and vitality. vitality. and relevance continuing its underscoring today, active artists well-known of work the in legacy *For updates, please visit umass.edu/umca. by UMCA and curated by Kurczynski, sets the art of Cobra into direct dialogue with its contemporary contemporary its with dialogue direct into Cobra of art the sets Kurczynski, by curated and UMCA by a second exhibition second a Cobra: Contemporary Legacy Contemporary Cobra: , which is on view simultaneously, organized organized simultaneously, view on is which , , , Human Animals: The Art of Cobra will be on view at NSU Art Museum Fort Lauderdale in 2017. nsuartmuseum.org Amsterdam. This brings an additional layer of trans-historical dialogue to the project. project. the to dialogue trans-historical of layer additional an brings This Amsterdam. Aldo van Eyck, with a re-working of the “Poet’s Cage” featured in the landmark 1949 Cobra exhibition in in exhibition Cobra 1949 landmark the in featured Cage” “Poet’s the of re-working a with Eyck, van Aldo innovative installations of the first Cobra exhibitions that were designed by Dutch avant-garde architect architect avant-garde Dutch by designed were that exhibitions Cobra first the of installations innovative Human Animals: The Art of Cobra of Art The Animals: Human reflects the the reflects of design the practice, art contemporary with resonance Cobra artwork in a U.S. museum. In keeping with the exhibition’s assertion that Cobra has particular particular has Cobra that assertion exhibition’s the with keeping In museum. U.S. a in artwork Cobra Golda and Meyer Marks Collection at the NSU Art Museum Fort Lauderdale, the largest assembly of of assembly largest the Lauderdale, Fort Museum Art NSU the at Collection Marks Meyer and Golda through paintings, sculpture, prints, and primary documents. All Cobra art in the exhibition is from the the from is exhibition the in art Cobra All documents. primary and prints, sculpture, paintings, through a new generation of art historians specializing in Cobra, the exhibition presents the history of Cobra Cobra of history the presents exhibition the Cobra, in specializing historians art of generation new a Curated by UMass Art History Assistant Professor Karen Kurczynski, a leading scholar who represents represents who scholar leading a Kurczynski, Karen Professor Assistant History Art UMass by Curated political relationships between humans, humans and animals, or humans and the natural environment. environment. natural the and humans or animals, and humans humans, between relationships political (1914–1973), depict figures transforming into animal and human creatures, evoking symbolic and often often and symbolic evoking creatures, human and animal into transforming figures depict (1914–1973), museums10.org such as Dutch painters Constant (1920–2005) and Karel Appel (1921–2006) and Danish artist Asger Jorn Jorn Asger artist Danish and (1921–2006) Appel Karel and (1920–2005) Constant painters Dutch as such UMCA is a member of of member a is UMCA recognized the new power of images after the tragedies of the Second World War. The artists involved, involved, artists The War. World Second the of tragedies the after images of power new the recognized such as Surrealism, as well as children’s and outsider art. With its distinctive material vitality, their art art their vitality, material distinctive its With art. outsider and children’s as well as Surrealism, as such Admission is free is Admission multidisciplinary experiments of a group of artists and poets inspired by prewar avant-garde movements movements avant-garde prewar by inspired poets and artists of group a of experiments multidisciplinary Closed Mondays, state holidays, and academic breaks academic and holidays, state Mondays, Closed art based on popular imagery and personal expression. This exhibition examines the collective and and collective the examines exhibition This expression. personal and imagery popular on based art on first Thursdays first on . 8 until Open M P after the cities Copenhagen, Brussels, and Amsterdam, formed in 1948 to create a new, spontaneous spontaneous new, a create to 1948 in formed Amsterdam, and Brussels, Copenhagen, cities the after . 5:00 – 2:00 Sunday: and Saturday M P . 4:30 – . 11:00 Friday: – Tuesday Open M P M A cobra, an interdisciplinary european avant-garde movement avant-garde european interdisciplinary an cobra, named named MUSEUM HOURS MUSEUM www.umass.edu/umca Guest-curated by Karen Kurczynski, UMass Art History Assistant Professor Professor Assistant History Art UMass Kurczynski, Karen by Guest-curated Amherst, MA 01003-9331 MA Amherst, Lauderdale; Fort Museum Art NSU by Organized University of Massachusetts Amherst Massachusetts of University Fine Arts Center / 151 Presidents Drive Presidents 151 / Center Arts Fine University Museum of Contemporary Art Contemporary of Museum University Amherst, MA Amherst, September 15 – November 20, 2016 20, November – 15 September Permit No. 2 No. Permit PAID Human Animals: The Art of Cobra of Art The Animals: Human U.S. Postage U.S. Non Profit Org. Profit Non “The Legacy of Cobra” — A Symposium SYMPOSIUM SCHEDULE 9:00 A.M. | WELCOME | Karen Kurczynski Friday, September 16, 2016 | UMass Amherst Integrative Learning Center, Room S140 ) 9:30–11:30 A.M. | PANEL 1 COBRA: HISTORY AND MEMORY IN POSTWAR EUROPE Convened by Karen Kurczynski, • Ruth Baumeister, Professor of Architecture History, Assistant Professor, Department of the Architekskolen Aarhus, Denmark, author of L’architecture History of Art and Architecture, University Sauvage: Asger Jorn’s Critique and Concept of Architecture of Massachusetts, Amherst, and Curator (NAi/010, 2014) of Human Animals: The Art of Cobra. • Karen Koehler, Professor of Architectural and Art History at Hampshire College Jacqueline de Jong (b. 1939); Untitled from the “War” The Legacy of Cobra is a one-day Symposium series, 2013; Pastel and charcoal on paper; 19.5 x 27.4 in.; • Daniel Kojo Schrade, Associate Professor of Art Courtesy of the artist presenting new perspectives on the history at Hampshire College and legacy of postwar European art, the • Mary Anne Rose, artist, widow of African American artist Herbert Gentry Cobra movement (Copenhagen, Brussels, • Karen Kurczynski, moderator/respondent Amsterdam, 1948–1951), and its impact on later art from the Situationist International 11:45 A.M.–1:30 P.M. | BREAK and EXHIBITION VIEWING AT UMCA Pierre Alechinsky (Belgian, b. 1927); Among Us (Parmi Nous), 1965; (1957–1972) to today. The Symposium will Acrylic on paper and canvas, 39 x 59 in.; NSU Art Museum Fort 1:30–2:30 P.M. | PANEL 2 Lauderdale; The Golda and Meyer Marks Collection coincide with the opening of the exhibition ALISON GINGERAS, INTERVIEW WITH JACQUELINE DE JONG at the Human Animals: The Art of Cobra • Alison Gingeras, independent curator, New York City, curator of “The Avant-Garde Won’t Give Up: UMCA in September, 2016.
Load more

Recommended publications
  • The Mediatization of the Artist
    The Mediatization of the Artist 19-20 June 2014 This June, renowned film scholars and art historians will join together for the international conference The Mediatization of the Artist. The aim of this event is to investigate the presence of the visual artist in a variety of (popular) media from the nineteenth century to today. With the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage, artists increasingly found themselves confronted with the necessity of developing a public image. Simultaneously, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media – the illustrated press, photography and film – meant that the needs of both parties could be easily satisfied with both words and images. This led to a transformation of the artist from a mere producer of works of art into a widely recognized celebrity. The mechanisms of this transformation and its consequences for the both the popular image and self-understanding of the artist will be the focus of the papers, discussions and screenings that will take place over two days at two spectacular locations in Amsterdam. Practical Information When: 19-20 June 2014 Where: Thursday, 19 June – EYE Film Institute, IJpromenade 1, Amsterdam Friday, 20 June – Het Bethaniënklooster, Barndesteeg 6b, Amsterdam Costs: € 50 regular / € 25 students The number of places is limited and a pre-paid reservation is required. Payment method: All participants are kindly requested to register by sending an e-mail to [email protected]
    [Show full text]
  • Discovering the Contemporary
    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
    [Show full text]
  • The Game of War, MW-Spring 2008
    The Game of War: Debord as Strategist By McKenzie Wark for Issue 29 Sloth Spring 2008 The only member of the Situationist International to remain at its dissolution in 1972 was Guy Debord (1931–1994). He is often held to be synonymous with the movement, but anti- Debordist accounts rightly stress the role of others, such as Asger Jorn (1914–1973) or Constant Nieuwenhuys (1920–2005) who both left the movement as it headed out of its “aesthetic” phase towards its ostensibly more “political” one. Take, for example, Constant’s extraordinary New Babylon project, which he began while a member of the Situationist International and continued independently after separating from it. Constant imagined an entirely new landscape for the earth, one devoted entirely to play. But New Babylon is a landscape that began from the premise that the transition to this new landscape is a secondary problem. Play is one of the key categories of Situationist thought and practice, but would it really be possible to bring this new landscape for play into being entirely by means of play itself? This is the locus where the work of Constant and Debord might be brought back into some kind of relation to each other, despite their personal and organizational estrangement in 1960. Constant offered the kinds of landscape that the Situationists experiments might conceivably bring about. It was Debord who proposed an architecture for investigating the strategic potential escaping from the existing landscape of overdeveloped or spectacular society. Between the two possibilities lies the situation. Debord is best known as the author of The Society of the Spectacle (1967), but in many ways it is not quite a representative text.
    [Show full text]
  • Else Alfelt, Lotti Van Der Gaag, and Defining Cobra
    WAS THE MATTER SETTLED? ELSE ALFELT, LOTTI VAN DER GAAG, AND DEFINING COBRA Kari Boroff A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2020 Committee: Katerina Ruedi Ray, Advisor Mille Guldbeck Andrew Hershberger © 2020 Kari Boroff All Rights Reserved iii ABSTRACT Katerina Ruedi Ray, Advisor The CoBrA art movement (1948-1951) stands prominently among the few European avant-garde groups formed in the aftermath of World War II. Emphasizing international collaboration, rejecting the past, and embracing spontaneity and intuition, CoBrA artists created artworks expressing fundamental human creativity. Although the group was dominated by men, a small number of women were associated with CoBrA, two of whom continue to be the subject of debate within CoBrA scholarship to this day: the Danish painter Else Alfelt (1910-1974) and the Dutch sculptor Lotti van der Gaag (1923-1999), known as “Lotti.” In contributing to this debate, I address the work and CoBrA membership status of Alfelt and Lotti by comparing their artworks to CoBrA’s two main manifestoes, texts that together provide the clearest definition of the group’s overall ideas and theories. Alfelt, while recognized as a full CoBrA member, created structured, geometric paintings, influenced by German Expressionism and traditional Japanese art; I thus argue that her work does not fit the group’s formal aesthetic or philosophy. Conversely Lotti, who was never asked to join CoBrA, and was rejected from exhibiting with the group, produced sculptures with rough, intuitive, and childlike forms that clearly do fit CoBrA’s ideas as presented in its two manifestoes.
    [Show full text]
  • Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
    1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso.
    [Show full text]
  • Cosmonauts of the Future: Texts from the Situationist
    COSMONAUTS OF THE FUTURE Texts from The Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1 COSMONAUTS OF THE FUTURE 2 COSMONAUTS OF THE FUTURE Texts from the Situationist Movement in Scandinavia and Elsewhere 3 COSMONAUTS OF THE FUTURE TEXTS FROM THE SITUATIONIST MOVEMENT IN SCANDINAVIA AND ELSEWHERE Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen COSMONAUTS OF THE FUTURE Published 2015 by Nebula in association with Autonomedia Nebula Autonomedia TEXTS FROM THE SITUATIONIST Læssøegade 3,4 PO Box 568, Williamsburgh Station DK-2200 Copenhagen Brooklyn, NY 11211-0568 Denmark USA MOVEMENT IN SCANDINAVIA www.nebulabooks.dk www.autonomedia.org [email protected] [email protected] AND ELSEWHERE Tel/Fax: 718-963-2603 ISBN 978-87-993651-8-0 ISBN 978-1-57027-304-9 Edited by Editors: Mikkel Bolt Rasmussen & Jakob Jakobsen | Translators: Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Fabian Tompsett, Jakob Jakobsen | Copyeditor: Marina Mikkel Bolt Rasmussen Vishmidt | Proofreading: Danny Hayward | Design: Åse Eg |Printed by: Naryana Press in 1,200 copies & Jakob Jakobsen Thanks to: Jacqueline de Jong, Lis Zwick, Ulla Borchenius, Fabian Tompsett, Howard Slater, Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Danny Hayward, Marina Vishmidt, Stevphen Shukaitis, Jim Fleming, Mathias Kokholm, Lukas Haberkorn, Keith Towndrow, Åse Eg and Infopool (www.scansitu.antipool.org.uk) All texts by Jorn are © Donation Jorn, Silkeborg Asger Jorn: “Luck and Change”, “The Natural Order” and “Value and Economy”. Reprinted by permission of the publishers from The Natural Order and Other Texts translated by Peter Shield (Farnham: Ashgate, 2002), pp. 9-46, 121-146, 235-245, 248-263.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • How Language Looks: on Asger Jorn and Noël Arnaud's La Langue Verte*
    How Language Looks: On Asger Jorn and No ël Arnaud’s La Langue verte* STEVEN HARRIS In November 1968, the Paris publisher Jean-Jacques Pauvert brought out Asger Jorn and Noël Arnaud’s La Langue verte et la cuite , an event accompanied by a banquet for 2,000 at a Danish restaurant in Paris, and a considerable response from the press, though the book has largely dropped from view since. 1 Initially titled La Langue crue et la cuite , the book was written in French by artist Asger Jorn, founding member of Cobra and of the Situationist International, and revised by Arnaud, member of the Surrealist “Main à plume” group in occupied Paris, founding member of the Revolutionary Surrealist group in postwar Paris (with which Jorn was also involved), and later regent in the Collège de ’Pataphysique. 2 Jorn, in addition to writing the text, also chose the illustrations, while Arnaud added sections of his own and reordered the material in collaboration with Jorn. It is thus the collective labor of two individuals who had first met in Paris in 1946, and who were both involved in the Revolutionary Surrealist group, a splinter group of Communist persuasion that had seceded from the main body of the Surrealist group shortly before the opening of its exhibition Le Surréalisme en 1947 , at the Galerie Maeght. If Cobra was very much ori - ented against Arnaud when it was first formed in 1948, the paths of the two men crossed numerous times in subsequent years. Jorn turned to Arnaud as a trusted friend who was in in sympathy with his aims, who corrected Jorn’s rather casual French, and who in general was willing to lend a hand to the enterprise.
    [Show full text]
  • Karel Appel Object Paintings Goethestraße 2/3, 10623 Berlin Until 3 April 2021
    Karel Appel Object Paintings Goethestraße 2/3, 10623 Berlin until 3 April 2021 Galerie Max Hetzler is pleased to announce a solo exhibition of sculptures by Karel Appel at Goethestraße 2/3, in Berlin. In important literature on the artist, Karel Appel (1921-2006), who would have celebrated his centennial this year, is consistently referred to as a painter and founding member of CoBrA. The fact that the avant-garde group lasted only three years, and that this period thus actually grasps a relatively brief episode at the beginning of Appel's long career, is usually overlooked. Likewise, few are aware that Appel expressed himself not only in a painterly manner, but also in three dimensions. It is true that he was frst and foremost a painter, and his forays into objecthood are mostly based on a painterly rather than sculptural approach, but this is Karel Appel, Singing Donkeys, 1992 precisely where their particular appeal lies: they apply painterly thinking photo: def image onto the object, and for this reason Appel's sculptures are known as 'Object Paintings'. In the beginning, before CoBrA, his excursions into this medium were largely dictated by necessity: having returned to Amsterdam from his hiding place in the provinces after the war, Appel had to limit himself to what was available. These were not expensive canvases and oil paint, but found objects, and when lucky, some plaster. Yet, even in these early works, oscillating somewhere between relief and sculpture, a main element of his painterly engagement with the object-like manifests itself: a found object sparks the artist's imagination, which he then unleashes onto the object.
    [Show full text]
  • Hamed Abdalla in Arabe 1977, Women = Man 1970, Quo Vadis ? 46 X 37 Cm, Mixed Med on Wood 29,5 X 21 Cm, Stencil, Acrylique, Spray 48 X 36 Cm, Ink, Silk Paper
    HHHAAAMMMEEEDDD AAABBBDDDAAALLLLLLAAA Cover 1962 Next page Hamed Abdalla in arabe 1977, Women = Man 1970, Quo Vadis ? 46 x 37 cm, mixed med on wood 29,5 x 21 cm, stencil, acrylique, spray 48 x 36 cm, ink, silk paper HAMED ABDALLA Story of a life HAMED ABDALLA (1917 – 1985) by Roula El Zein . His works of art tell of revolt and resistance, of injustice and hope, of fellahins and modest people. They speak of revolution, of equality between man 1951 – Le grand-père, 32 x 22cm, lithographie and woman, of death and spirituality… He drew his subjects from Egypt, his native land, from its Pharaonic, Coptic and Islamic past and from its everyday life in the streets and the coffee-houses… For more than fifty years, Hamed Abdalla worked relentlessly, leaving behind him a big amount of paintings, drawings and lithographs that witness today of an ongoing research and a creation that knew no boundaries. Moreover, Hamed Abdalla left many writings for beyond drawing and painting, the man cultivated his art theory and had a passion for philosophy. Several exhibition catalogs, dozens of interviews done in various languages, hundreds of newspaper articles, studies made by others on his work, and a large number of letters were recorded and kept by his family; a precious documentation that reveals the life and work of a great artist who was also a great humanist. 1954 – Autoportrait de l’artiste, 39.5 x 29.5 cm, Gouache 1983, Al Joua’ - Hunger, 65 x 50 cm, acrylique appreciated for his beautiful calligraphy. Since adolescence, he begins to draw.
    [Show full text]
  • Karel Appel Born 1921 in Amsterdam, the Netherlands Biography Died 2006 in Zurich, Switzerland
    Karel Appel Born 1921 in Amsterdam, The Netherlands Biography Died 2006 in Zurich, Switzerland Education 1942 Royal Academy of Fine Arts, Amsterdam Solo Exhibitions 2019 ‘Figures et Paysages’, Almine Rech, Paris, France ‘Karel Appel : Late Nudes, 1985-1997’, Max Hetzler Gallery, Berlin, Germany 2018 ‘Tête en carton. Collagen 1960 - 1967’, Jahn und Jahn, Munich ‘Out of Nature’, Blum & Poe, Los Angeles 2017 ‘Works on Paper 1945-2006’, Galerie Ulysses, Vienna ‘L’art est une fête !’, Musée d’Art moderne de la Ville de Paris 2016 ‘Der abstrakte Blick’, Emil Schumacher Museum Hagen, Germany ‘A Gesture of Color. Paintings and Sculptures, 1947-2004’, The Phillips Collection, Washington ‘Paintings from Six Decades, Galerie Ulysses, Vienna ‘Karel Appel Retrospectief / Karel Appel Retrospective’, Gemeentemuseum Den Haag, The Hague ‘Reset’, Slewe Gallery, Amsterdam 2015 ‘Works on paper’, Musée national d’art moderne – Centre Pompidou, Paris 2014 ‘Karel Appel’, Blum & Poe, New York 2013 ‘I do not paint, I hit!’, Museum Jorn, Silkeborg, Denmark ‘Paintings, Drawings and Sculpture’, Galerie Ulysses, Vienna 2011 ‘Karel Appel & Van Gogh’, Vincent van Gogh Huis, Zundert, The Netherlands 2010 ‘Paintings from five Decades’, Galerie Ulysses, Vienna 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris 2009 [email protected] ‘Peintures 2000–2001’, Galerie Lelong, Paris - Abdijstraat 20 rue de l’Abbaye Brussel 1050 Bruxelles 2008 [email protected] ‘The Sixties’, Galerie Ulysses, Vienna - Grosvenor Hill, Broadbent House ‘Jazz
    [Show full text]
  • HUMAN ANIMALS the ART of COBRA COBRA CONTEMPORARY LEGACY
    HUMAN ANIMALS THe ART OF COBRA COBRA CONTEMPORARY LEGACY September 15-November 20, 2016 University Museum of Contemporary Art The Cobra Belgium, included twice as many works as the first and displayed a more mature and sophisticated side of Cobra. The show included Movement several well-known artists like Alberto Giacometti, Joan Miró and Wifredo Lam, and thus demonstrated Cobra’s acceptance into the wider artistic community. Despite this, the show’s unfavorable reviews and the onset of tuberculosis in Jorn and Dotremont forced the group Cobra was formed in Paris in 1948 as an international avant-garde to split up and cease to exist as a coherent, international network. movement that united artists and poets of three cities —Copenhagen, Brussels, and Amsterdam—by Christian Dotremont (Belgian, 1922– In the 1950s, artists all around Europe searched for ways to confront 1979), Joseph Noiret (Belgian, 1927–2012), Asger Jorn (Danish, 1914– the traumatic history and legacy of the Second World War. Artists 1973), Karel Appel (Dutch, 1921–2006), Constant (Dutch, 1920–2005), focused internationally on new forms of expressive abstraction in and Corneille (Dutch, 1922–2010). The Cobra artists were inspired paint as well as other materials. Interest was revived in movements by the idea of the “human animal,” a playful or perhaps satirical like German Expressionism, formerly considered “degenerate” under representation of people’s animalistic instincts and desires, while Fascism. Historical Expressionism and Surrealism were the major evoking the symbolic relationship between humans, animals, and the inspirations for Cobra. Abstract Expressionism in the United States natural environment. The group chose the snake as a totem because was a parallel contemporary movement, but Cobra artists differed of the animal’s universal presence as a mythic and religious symbol.
    [Show full text]