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Pages 4 Rotella, Lot 51 Pagine
LOT 42 In copertina | Cover Pagine 4 | Pages 4 Pagina 133 | Page 133 Baechler, lot 15 Rotella, lot 51 Turcato, lot 29 Retro copertina | Back cover Pagine 6-7 | Pages 6-7 Pagina 142 | Page 142 Arman, lot 25 Schifano, lot 30 Melotti, lot 33 Pagina 1 | Page 1 Pagine 8-9 | Pages 8-9 Pagina 143 | Page 143 Dorazio, lot 42 Music, lot 60 Cassinari, lot 39 SEDE - VIA SANT’AGNESE 18, 20123 MILANO ASTA ARTE MODERNA E CONTEMPORANEA 10 NOVEMBRE 2020 MILANO, VIA SACCHI 7 – presso LA POSTERIA 23 OTTOBRE - 4 NOVEMBRE, MILANO VIA SANT’AGNESE 18 0 (ORARIO 10.00-19.00 – ESCLUSO FESTIVI E 29 OTTOBRE) PREVIO APPUNTAMENTO 7-8-9 NOVEMBRE, MILANO, VIA SACCHI 7 (ORARIO 10.00-19.00) UNICA SESSIONE MARTEDÌ 10 NOVEMBRE 2020 ORE 16.00 LOTTI 1 - 243 PRESENTAZIONE TELEVISIVA TOP LOTS Lunedì 2/11 ore 21.30-23 canale 134 del digitale terrestre Martedì 3/11 ore 21.30-23 canale 134 del digitale terrestre Giovedì 5/11 ore 21.30-23 canale 134 del digitale terrestre Venerdì 6/11 ore 21.30-23 canale 134 del digitale terrestre OFFERTE SCRITTE FINO A LUNEDÌ 9 NOVEMBRE 2020 ORE 15.00 FAX +39 02 40703717 [email protected] È possibile partecipare in diretta on-line inscrivendosi (almeno 24 ore prima) sul nostro sito www.ambrosianacasadaste.com CONSULTAZIONE CATALOGO E MODULISTICA www.ambrosianacasadaste.com da venerdì 23 ottobre 2020 AMBROSIANA CASA D’ASTE / GALLERIA POLESCHI CASA D’ASTE - VIA SANT’AGNESE 18 20123 MILANO - TEL. +39 0289459708 - FAX +39 0240703717 www.ambrosianacasadaste.com • [email protected] LOT 51 338 1226703 5 MODERN AND CONTEMPORARY ART -
Copertina Artepd.Cdr
Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo. -
Catalogo 144 TENDENZE INFORMALI
COMUNE DI BRESCIA CIVICI MUSEI D’ARTE E STORIA PROVINCIA DI BRESCIA ASSOCIAZIONE ARTISTI BRESCIANI TENDENZE INFORMALI DAGLI ANNI CINQUANTA AI PRIMI ANNI classici del contemporaneo SETTANTA NELLE COLLEZIONI BRESCIANE mostra a cura di Alessandra Corna Pellegrini 144 aab - vicolo delle stelle 4 - brescia 22 settembre - 17 ottobre 2007 orario feriale e festivo 15.30 - 19.30 edizioni aab lunedì chiuso L’AAB è orgogliosa di inaugurare la stagione 2007/2008 con una prestigiosa esposizione, di rilievo certamente non solo locale, che propone opere di artisti fra i più rappresentativi dell’Informale. La mostra prosegue la fortunata serie “Classici del contemporaneo” dedicata al collezionismo della nostra provincia, che ha già proposto artisti come Kolàr, Demarco, Fontana, Munari, Birolli, Dorazio, Vedova, Fieschi, Adami, Baj ed esponenti della Nuova Figurazione. La curatrice della rassegna, la storica dell’arte Alessandra Corna Pellegrini, ha selezionato un nucleo essenziale di opere (34) che rappresentano esempi molto significativi dell’esperienza e del linguaggio di un movimento pur tanto complesso e così difficile da circoscrivere come l’Informale e dimostrano l’alta qualità delle collezioni bresciane, sia pubbliche sia private. L’impegno dell’AAB, scientifico organizzativo finanziario, può ben essere documentato dall’importanza internazionale degli autori proposti, da Dubuffet Mathieu Schneider a Afro Basaldella Corpora Dorazio Fontana Morlotti Santomaso Scanavino Scialoja Tancredi Turcato. L’esposizione, come è prassi costante dell’Associazione, -
Corporate Social Responsibility in Lebanon
LEBANESE TRANSPARENCY ASSOCI A TION Corporate Social Responsibility in Lebanon The Lebanese Transparency Association P.O. Box 05-005, Baabda , Lebanon Tel/Fax: 169-9-510590; 169-9515501 [email protected] www.transparency-lebanon.org The Lebanese Transparency Association PO Box 05 005 Baabda, Lebanon Telephone +169 9 510590 • Fax +169 9 515501 www.transparency-lebanon.org LEBANESE TRANSPARENCY ASSOCIATION Introduction Corporate social responsibility (CSR) at its best practice can be defined as the overall management process that accompanies all the efforts of an organization within the limits of a certain ethical conduct. CSR starts internally within the organization as a set of beliefs and values of all the human resource. In such a case the organization will naturally communicate those ethical values through: 1. Personal interaction level (Meetings, promotions, events, media gatherings) 2. Corporate communications (press releases, webpage, print communications, product labels, advertising campaigns, brand building strategies, corporate logo) In effect and as illustrated in Fig 1, these communicated beliefs will result in added trust towards the organizations’ overall image and will potentially increase business and sustain development in the long run. In the ideal case, CSR is conducted as part of and adapted to the business strategy and vision, which is normally defined by the top management. According to the St. Galler Management Concept (University of St. Gallen, Bleicher 1991), these principles should be realized by the strategical and operational management levels. The whole strategy is therefore conducted by the whole company and becomes a part of the company’s identity. To act socially responsible and to integrate CSR in a businesses’ strategy has eventually the aim of increasing sales revenues and achieving profits, as opposed to purely philanthropic actions. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
Geo-Visualization Tools for Participatory Urban Planning the Case of Tripoli, Lebanon
KARTOGRAPHISCHE BAUSTEINE BAND 35 DRESDEN 2007 Remarks on the cover The cover illustration combines two different types of imagery. The first one forms the background: it is a geocoded mosaic of three QuickBird scenes of Tripoli acquired on 26 January 2003, 8 April 2003 and 2 July 2003. This is overlaid by four photographs depicting typical scenes of the city centre of Tripoli. From East to West they display the following sites: waste on the both sides of the main river (Abu Ali River); street-vendors at the entrance to the old souk; daily traffic jam in the old city; disused houses in the old city waiting for a renovation since the end of the Civil War in 1990. i Note: More than one month after the beginning of the disastrous summer 2006 war in Lebanon I submit my thesis with the hope that it will be the last conflict in my country, the country which is known for its multicultural and multireligious structure. I hope that by the conclusion of my work Lebanon will have peace and peace for ever. Ich habe die vorliegende Dissertation etwas mehr als einen Monat nach dem katastrophalen Krieg im Sommer 2006 im Lebanon eingereicht. Ich hoffe, daß bis zur Fertigstellung des Drucks dieser Konflikt gelöst ist und endlich dauerhafter Frieden im Libanon einkehrt, dem Land, das für seine Multikulturalität und Multireligiosität bekannt ist. Dresden, August 2006 Disclaimer This document describes work undertaken as part of a programme of study at the Dresden University for Technology, Institute of Cartography. All views and opinions expressed therein remain the sole responsibility of the author, and do not necessarily represent those of the institute. -
Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) Worked in Various Careers Before Turning His Attention to Sculpture Full Time at the Age of Thirty
1950 Sculpture in Wood and Stone by Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) worked in various careers before turning his attention to sculpture full time at the age of thirty. His skills earned him a position as a professor of art at the University of Texas and commissions from many public and private institutions. His sculptures are created in various media, such as Lucite and steel. This exhibition of the California-based artist’s work presented thirty-seven of his sculptures. Barnes studied with Carl Milles (1875– 1955) at the Cranbrook Academy of Art. [File contents: exhibition flier] Color Compositions by June Wayne (March) June Wayne’s (1918–2011) work received publicity in an article by Jules Langsner, who praised her for developing techniques of drawing the viewer’s eye through imagery and producing a sense of movement in her subjects. Her more recent works (as presented in the show) were drawn from the dilemmas to be found in Franz Kafka’s works. [File contents: two articles, one more appropriate for a later show of 1953 in memoriam Director Donald Bear] Prints by Ralph Scharff (April) Sixteen pieces by Ralph Scharff (1922–1993) were exhibited in the Thayer Gallery. Some of the works included in this exhibition were Apocrypha, I Hate Birds, Walpurgisnacht, Winter 1940, Nine Cats, and Four Cows and Tree Oranges. Watercolors by James Couper Wright (April 3–April 15) Eighteen of James Couper Wright’s (1906–1969) watercolors were presented in this exhibition. Wright was born in Scotland, but made his home in Southern California for the previous eleven years. -
Werner Haftmann As the Director of the Neue Nationalgalerie in Berlin
692 V. Benedettino УДК: 7.036(4), 069.02:7 ББК: 79.17 А43 DOI: 10.18688/aa200-5-66 V. Benedettino Werner Haftmann as the Director of the Neue Nationalgalerie in Berlin (1967–1974): Survey of the Curatorial Concept in the West German National Modern Art Gallery during the Cold War The following paper will present preliminary results related to key aspects of Werner Haft- mann’s curatorial activity as the director of the Neue Nationalgalerie in Berlin from 1967 un- til 1974. The archival research was undertaken in several public archives in Germany and Italy in the frame of my Ph. D. at Universität Heidelberg and École du Louvre in Paris1. Firstly, Haftmann’s biography will be briefly outlined in order to contextualize his career as an art historian in the first half of the 20th century in Germany, Italy, and after World War II in West Germany. Afterwards, the circumstances of his appointment as the director of the Neue Na- tionalgalerie, built by the renowned architect Mies van der Rohe in West Berlin from 1965 until 1968, will be discussed. Finally, Haftmann’s curatorial concept concerning temporary exhibitions and artworks purchase policy, in addition to his statement about the mission of a national modern art museum will be highlighted. The professional career of Werner Gustav Haftmann (1912–1999) must be analysed in the light of the turbulent political and historical events that occurred in Germany during the 20th century. The art historian started a successful career in the 1930s during the repressive Nazi regime and consolidated it after World War II, in the time of West Germany’s recon- struction. -
Expanding Trades in Late Ottoman Cairo and Damascus
chapter 2 Expanding Trades in Late Ottoman Cairo and Damascus The rising appeal of Islamic collectibles in Europe findings brought up by digs; Islamic artworks rep- and America set a pattern among those who vis- resented a marginal trade in comparison. Stock ited, or sojourned in, the Middle East: that of pro- of objects from the Islamic period seems indeed curing antiques locally and transporting them more limited in Cairo than in Damascus. As a back home. The sought-after artefacts were mostly matter of fact, established dealers specialising secured through formal trade. From the mid- in Islamic artworks emerged at a later stage in nineteenth century onwards, all indicators are that the Egyptian city. In contrast, the Syrian capital Cairo and Damascus became active market-places housed traders in Islamic curios since at least the for Islamic artworks, although the information is 1850s, and it remained for many decades the most fragmentary and unevenly distributed. Evidence renowned place for the abundance and quality of on antique dealing does exist for fin-de-siècle available antiques, whether arms, ceramics, metal- Egypt, but it mostly covers “Egyptian” objects, by work, or indeed architectural salvage. Most Syrian which are meant the Ancient pieces obtained pri- travelogues include a chapter on the riches of the marily at excavations, but also at the villages clos- bazaars, the lavish objects on display, and the opu- est to the ruins.1 No comparable documentation lence of Damascene merchants.2 Products, old and is available for Islamic artefacts produced under new, ranged from locally-made “silks, and embroi- Fatimid, Ayyubid, Mamluk, or Ottoman rule. -
Monthly Forecast
September 2013 Monthly Forecast 2 In Hindsight: Overview Penholders 3 Status Update since our August Forecast Australia will preside over the Security Council Assistance Mission in Somalia, most likely by 4 Small Arms in September. its head and Special Representative of the Sec- A debate on small arms is planned during the retary-General Nicholas Kay and AU Special 6 Central African Republic high-level week of the General Assembly. The Representative Mahamat Saleh Annadif (both Prime Minister of Australia may preside with likely to brief by videoconferencing). 7 Liberia other members likely to be represented at min- Briefings in consultations are likely on: 8 Sierra Leone isterial or higher levels. The Secretary-General is • current issues of concern, under the “horizon 10 Guinea-Bissau expected to brief and a resolution is the expected scanning” formula, by a top official from the 11 Libya outcome. Department of Political Affairs; 12 South Sudan and The quarterly debate on the situation in • Sudan and South Sudan issues, twice, on at Sudan Afghanistan is also expected, with Ján Kubiš, the least one of these occasions most likely by Special Representative of the Secretary-Gen- Special Envoy of the Secretary-General Haile 14 Somalia eral and head of the UN Assistance Mission in Menkerios; 16 Yemen Afghanistan, likely to brief. • Guinea-Bissau, by the Secretary-General’s 17 UNDOF (Golan Heights) A briefing onYemen is expected by the Sec- Special Representative and head of the UN 18 Afghanistan retary-General’s Special Advisor, Jamal Beno- Integrated Peacebuilding Office in Guinea- 20 Notable Dates mar, as well as the Secretary-General of the Gulf Bissau, José Ramos-Horta; Cooperation Council, Abdullatif bin Rashid Al- • the Secretary-General’s report on the UN Zayani, and a senior representative of Yemen. -
Roma 1950 - 1965” an Exhibition Curated by Germano Celant Presented by Fondazione Prada 23 March – 27 May 2018 Prada Rong Zhai, Shanghai
“ROMA 1950 - 1965” AN EXHIBITION CURATED BY GERMANO CELANT PRESENTED BY FONDAZIONE PRADA 23 MARCH – 27 MAY 2018 PRADA RONG ZHAI, SHANGHAI “Roma 1950-1965,” conceived and curated by Germano Celant and presented by Fondazione Prada, will open to the public from 23 March to 27 May 2018 within the spaces of Prada Rong Zhai in Shanghai. The exhibition explores the exciting cultural climate and lively art scene that developed in Rome during the period following the World War II, bringing together over 30 paintings and sculptures by artists including Carla Accardi, Afro Basaldella, Mirko Basaldella, Alberto Burri, Giuseppe Capogrossi, Ettore Colla, Pietro Consagra, Piero Dorazio, Nino Franchina, Gastone Novelli, Antonio Sanfilippo, Toti Scialoja and Giulio Turcato. Within a historical context characterized by the Italian economic boom and an increasing industrialization, the intellectual and artistic debate focused on notions of linguistic renewal and political commitment. In Italy, from the mid-1940s, innovation was embodied from a literary and cinematographic perspective through the neorealist movement, represented by film directors such as Luchino Visconti, Roberto Rossellini and Vittorio De Sica, while writers and intellectuals like Elio Vittorini and Cesare Pavese created an extraordinary period of experimentalism and international openness. In the art scene, people witnessed the spread of ferocious debates and polemics, as well as the proliferation of opposing groups and theoretical positions. Rome was one of the most vital epicenters of this clash of ideas which translated into a rethinking of idelogical realism, promoted by artistic figures like Renato Guttuso and Giacomo Manzù, as well as into an attempt to reconcile collective life with individual experience, abstraction with political militancy, art with science. -
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.