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Moma PS1 to PRESENT FIRST NEW YORK EXHIBITION of NIKI DE SAINT PHALLE OPENING MARCH 11
MoMA PS1 TO PRESENT FIRST NEW YORK EXHIBITION OF NIKI DE SAINT PHALLE OPENING MARCH 11 LONG ISLAND CITY, New York, February 8, 2021— MoMA PS1 presents the first New York museum exhibition of the work of visionary feminist artist Niki de Saint Phalle (American and French, 1930‒2002). On view from March 11 to September 6, 2021, Niki de Saint Phalle: Structures for Life will feature over 200 works created from the mid-1960s until the artist’s death, including sculptures, prints, drawings, jewelry, films, and archival materials. Highlighting Saint Phalle’s interdisciplinary approach and engagement with key social and political issues, the exhibition will focus on works that she created to transform environments, individuals, and society. From the beginning of her career in the 1950s, Saint Phalle pushed against accepted artistic practices, creating work that used assemblage as well as performative and collaborative modes of production. Saint Phalle initially gained attention in the early 1960s with her Tirs, paintings produced by firing a gun at plaster reliefs to release pockets of paint, and Nanas, brightly colored sculptures of female figures whose sinuous curves would inform much of her work to come. Beginning in the late 1960s, Saint Phalle started producing large-scale sculptures, which led to an expansion of her practice into architectural projects, sculpture gardens, books, prints, films, theater sets, clothing, jewelry, and, famously, her own perfume. Central to the exhibition is an examination of Saint Phalle’s large-scale outdoor sculptures and architectural projects, including Le rêve de l’oiseau (built for Rainer von Diez between 1968 and 1971); Golem, a playground in Jerusalem (1971-72); Le Dragon de Knokke, a children’s playhouse in Belgium (1973-75); and La fontaine Stravinsky (1983); among others. -
Documentary Filming Process
Documentary Filming Process The process of planning an investigation using documentary film as research incorporates traditional methods used in qualitative investigations to collect and analyze data. The documentary filming process involves all the essential elements of a qualitative investigation namely: 1)site selection – where to film, how to position the camera and microphone; 2) participant selection- who to film and obtaining consent using a consent form or media release form; 3) data collection - recording audio and video using equipment, designing protocols for interviews and observations during filming; 4) data analysis - reviewing and selecting video and audio clips during editing; 5) findings, discussion and recommendations-making meaning of the video clips and context by sequencing selected clips, adding other audio visual elements; and finally, 6) sharing results-disseminating the results through documentary film. Camera setup An important consideration for filming is determining if the filming location will be outdoors or indoors. Filming outdoors will require taking into consideration the need for lighting and determine what times the footage can be gathered. Outdoors filming is also used when the local context needs to be captured on camera. The next consideration is the camera setup. Use of a tripod helps avoid unnecessary movement except in cases where a larger area has to be spanned to show the local environment and context. The researcher also needs to make a decision on the positioning of the camera. Video shots can be taken with the camera pointed at the participant with the researcher filming from behind the camera or taken from other angles. The decision is based both on the aesthetic sensibilities of the researcher as well as what the focus of research is. -
Stan Brakhage
DAVID E. JAMES Introduction Stan Brakhage The Activity of His Nature Milton produced Paradise Lost for the same reason that a silk worm produces silk. It was an activity of his nature.—KARL MARX ork on this collection of texts began some three years ago, when we hoped to publish it in 2003 to celebrate Stan Brakhage’s Wseventieth birthday. Instead, belatedly, it mourns his death. The baby who would become James Stanley Brakhage was born on 14 January 1933 in an orphanage in Kansas City, Missouri.1 He was adopted and named by a young couple, Ludwig, a college teacher of business, and his wife, Clara, who had herself been raised by a stepmother. The family moved from town to town in the Middle West and, sensitive to the stresses of his parents’ unhappy marriage, Stanley was a sickly child, asthmatic and over- weight. His mother took a lover, eventually leaving her husband, who sub- sequently came to terms with his homosexuality and also himself took a lover. In 1941, mother and son found themselves alone in Denver. Put in a boys’ home, the child picked up the habits of a petty criminal, but before his delinquency became serious, he was placed with a stable, middle-class family in which he began to discover his gifts. He excelled in writing and dramatics and in singing, becoming one of the leading voices in the choir of the Cathedral of St. John’s in Denver. Retrieving her now-teenaged son, his mother tried to make a musician of him, but Stanley resisted his tutors, even attempting to strangle his voice teacher. -
Perceptual Realism and Embodied Experience in the Travelogue Genre
Athens Journal of Mass Media and Communications- Volume 3, Issue 3 – Pages 229-258 Perceptual Realism and Embodied Experience in the Travelogue Genre By Perla Carrillo Quiroga This paper draws two lines of analysis. On the one hand it discusses the history of the This paper draws two lines of analysis. On the one hand it discusses the history of the travelogue genre while drawing a parallel with a Bazanian teleology of cinematic realism. On the other, it incorporates phenomenological approaches with neuroscience’s discovery of mirror neurons and an embodied simulation mechanism in order to reflect upon the techniques and cinematic styles of the travelogue genre. In this article I discuss the travelogue film genre through a phenomenological approach to film studies. First I trace the history of the travelogue film by distinguishing three main categories, each one ascribed to a particular form of realism. The hyper-realistic travelogue, which is related to a perceptual form of realism; the first person travelogue, associated with realism as authenticity; and the travelogue as a traditional documentary which is related to a factual form of realism. I then discuss how these categories relate to Andre Bazin’s ideas on realism through notions such as montage, duration, the long take and his "myth of total cinema". I discuss the concept of perceptual realism as a key style in the travelogue genre evident in the use of extra-filmic technologies which have attempted to bring the spectator’s body closer into an immersion into filmic space by simulating the physical and sensorial experience of travelling. -
Film Studies (FILM) 1
Film Studies (FILM) 1 FILM 252 - History of Documentary Film (4 Hours) FILM STUDIES (FILM) This course critically explores the major aesthetic and intellectual movements and filmmakers in the non-fiction, documentary tradition. FILM 210 - Introduction to Film (4 Hours) The non-fiction classification is indeed a wide one—encompassing An introduction to the study of film that teaches the critical tools educational, experimental formalist filmmaking and the rhetorical necessary for the analysis and interpretation of the medium. Students documentary—but also a rich and unique one, pre-dating the commercial will learn to analyze cinematography, mise-en-scene, editing, sound, and narrative cinema by nearly a decade. In 1894 the Lumiere brothers narration while being exposed to the various perspectives of film criticism in France empowered their camera with a mission to observe and and theory. Through frequent sequence analyses from sample films and record reality, further developed by Robert Flaherty in the US and Dziga the application of different critical approaches, students will learn to Vertov in the USSR in the 1920s. Grounded in a tradition of realism as approach the film medium as an art. opposed to fantasy, the documentary film is endowed with the ability to FILM 215 - Australian Film (4 Hours) challenge and illuminate social issues while capturing real people, places A close study of Australian “New Wave” Cinema, considering a wide range and events. Screenings, lectures, assigned readings; paper required. of post-1970 feature films as cultural artifacts. Among the directors Recommendations: FILM 210, FILM 243, or FILM 253. studied are Bruce Beresford, Peter Weir, Simon Wincer, Gillian Armstrong, FILM 253 - History of American Independent Film (4 Hours) and Jane Campion. -
Kinetic Masters & Their Legacy (Exhibition Catalogue)
KINETIC MASTERS & THEIR LEGACY CECILIA DE TORRES, LTD. KINETIC MASTERS & THEIR LEGACY OCTOBER 3, 2019 - JANUARY 11, 2020 CECILIA DE TORRES, LTD. We are grateful to María Inés Sicardi and the Sicardi-Ayers-Bacino Gallery team for their collaboration and assistance in realizing this exhibition. We sincerely thank the lenders who understood our desire to present work of the highest quality, and special thanks to our colleague Debbie Frydman whose suggestion to further explore kineticism resulted in Kinetic Masters & Their Legacy. LE MOUVEMENT - KINETIC ART INTO THE 21ST CENTURY In 1950s France, there was an active interaction and artistic exchange between the country’s capital and South America. Vasarely and many Alexander Calder put it so beautifully when he said: “Just as one composes colors, or forms, of the Grupo Madí artists had an exhibition at the Museum of Fine Arts in Buenos Aires in 1957 so one can compose motions.” that was extremely influential upon younger generation avant-garde artists. Many South Americans, such as the triumvirate of Venezuelan Kinetic Masters & Their Legacy is comprised of a selection of works created by South American artists ranging from the 1950s to the present day. In showing contemporary cinetismo–Jesús Rafael Soto, Carlos Cruz-Diez, pieces alongside mid-century modern work, our exhibition provides an account of and Alejandro Otero—settled in Paris, amongst the trajectory of varied techniques, theoretical approaches, and materials that have a number of other artists from Argentina, Brazil, evolved across the legacy of the field of Kinetic Art. Venezuela, and Uruguay, who exhibited at the Salon des Réalités Nouvelles. -
DIE KÜNSTLER DES Di DANIEL SPOERRI
FONDAZIONE »HIC TERMINUS HAERET« Il Giardino di Daniel Spoerri ONLUS Loc. Il Giardino I - 58038 Seggiano GR L I E fon 0039 0564 950 026 W www.danielspoerri.org T T [email protected] O R T S DIE KÜNSTLER DES N U K M U R O F m i GIARDINO « i r r e o p S l di DANIEL SPOERRI e i n a D GLI ARTISTI DEL GIARDINO DI DANIEL SPOERRI i d o n i d r a i G s e d r e l t s n ̈ u K e i D » g n u l l e t s s u A r e d h c i l s s ä l n a t n i e h c s r e t f e H s e s e i D LOC. IL GIARDINO | I - 58038 SEGGIANO (GR) www.danielspoerri.org Impressum FORUM KUNST ROTTWEIL Dieses Heft erscheint anlässlich de r Ausstellung Friedrichsplatz Die Künsetrl des Giardino di Daniel Spoerri D - 78628 Rottweil im FORUM KUNST ROTTWEIL fon 0049 (0)741 494 320 Herausgeber fax 0049 (0)741 942 22 92 Jürgen Knubben www.forumkunstrottweil.de Forum Kunst Rottweil [email protected] Kuratoren Jürgen Knubben ÖFFNUNGSZEITEN / ORARIO Barbara Räderscheidt Dienstag, Mittwoch, Freitag / martedi, mercoledi, venerdi Daniel Spoerri 14:00 – 17:00 Susanne Neumann Donnerstag / giovedi Texte 17:00 – 20:00 Leda Cempellin Samstag und Sonntag / sabato e domenica Jürgen Knubben 10:00 – 13:00 Anna Mazzanti (A.M.) 14:00 – 17:00 Barbara Räderscheidt (B.R.) Daniel Spoerri IL GIARDINO DI DANIEL SPOERRI Übersetzungen »HIC TERMINUS HAERET« NTL, Florenz Il Giardino di Daniel Spoerri ONLUS Katalog & Fotos Loc. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Tracing the Interactive Relationship Between Iceland and Dieter Roth
Exile, Correspondence, Rebellion – Tracing the Interactive Relationship between Iceland and Dieter Roth Anna Jóhannsdóttir Abstract The Swiss-German artist Dieter Roth (1930–1998) lived in Iceland for a long time and maintained a close relationship with the country throughout his life. Much of his early experimental book art was produced in Iceland between 1957 and 1964, at first under the influence of concrete art, until he shifted towards more radical avant-garde ideas and methods linked with the Fluxus movement – ideas he continued to develop through correspondence with important European artists and which he imported into the local art scene, where he was a shaping force in the 1960s and ’70s. It was love that brought Dieter Roth (1930–1998) to Iceland in 1957. Following his wife-to-be, he embarked Gullfoss, a ship named after the majestic Icelandic “golden waterfall”, and sailed from Copenhagen to Reykjavík. The young artist would eventually develop a strong and lasting relationship with the country. In fact, it is tempting to compare his impact in Iceland to a golden waterfall: Dieter, as he is usually referred to in Iceland, certainly was a fascinating flux of creative energy; a goldmine of artistic ideas and improvisational talent. When considering this relationship and exploring its interactivity, two main questions arise: how Roth’s stay in the country may have shaped his artistic work, and how his presence influenced the local art scene, in particu- lar Iceland as an arena of avant-garde cultural activity, a melting pot of experimentation. Without Dieter, contemporary avant-garde activity in the visual arts “would perhaps all have gone by unnoticed”, the artist, stage designer and influential teacher Magnús Pálsson (b. -
The Body in Art
THE BODY IN ART MEDIATION FORM INTRODUCTION First subjected to aesthetic canons, the represented body gradually freed itself from classical values. The modern era marks a challenge to the ideal of beauty, even freeing itself from representation. From then on, the body was distorted, dislocated, stylized, transformed, shaking up the pictorial and sculptural representation of the 20th century. Beyond the representation itself, the body becomes a tool, a trace and an imprint, the artist puts his own body into play. This visit through the works in the permanent collection allows us to follow the changes in this major subject of 20th century art. Duration of the tour • Primary School 1H • Middle School 1H • High School / College 1H Objectives • To discover the different representations of the human body • Discover color as a component of the 2 artwork • Learn to understand an artwork • Familiarization with the specific vocabulary of art A STEPSA OF THE VISIT Based on this information, the teacher will have to make a choice of steps according to the level of the class and the availability of the artworks in the room. The stages can be adjusted at the convenience of the teachers. The arrival preparation form must be completed. Step 1: Representation of the body Step 2: emancipation of the body Step 3: the body at work B RELATEDA KNOWLEDGE A STEPSA OF THE VISIT STEP 1: REPRESENTATION OF THE BODY With modernity, artists are trying to shake up the traditional codes of representation of the body. Attacking figurative codes, beauty, proportion and ideas of likelihood, the artists propose a completely different range of images based on industrial and modern production techniques. -
La Collaboration Artistique Atypique Entre Niki De Saint Phalle Et Jean Tinguely: Monumentalité, Mise En Scène Et Revendication Féministe
UNIVERSITÉ DU QUÉBEC À MONTRÉAL LA COLLABORATION ARTISTIQUE ATYPIQUE ENTRE NIKI DE SAINT PHALLE ET JEAN TINGUELY: MONUMENTALITÉ, MISE EN SCÈNE ET REVENDICATION FÉMINISTE MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN HISTOIRE DE L'ART PAR CARLYNE SPAHR JANVIER 2017 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.10 -2015). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire , diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire .» REMERCIEMENTS Ce mémoire est le résultat de plus de deux années de travail durant lesquelles ma passion pour l'histoire de l'art et ma fascination pour les deux artistes que sont Niki de Saint Phalle et Jean Tinguely se sont entremêlées. -
PRESS Basel, September 2016 INFO
PRESS Basel, September 2016 INFO 20 Years of Museum Tinguely “Out of Order Day” Anniversary Celebration Museum Tinguely, Basel: September 25, 2016, 11 a.m. – 6 p.m. On Sunday, September 25, 2016, Museum Tinguely is celebrating its 20th anniversary with a big party. On the final day of the temporary exhibition “Michael Landy. Out of Order” the Museum is inviting guests to a wide variety of attractions all about Jean Tinguely and Michael Landy in the Museum and in Solitude Park. In crowning conclusion, the EepyBirds will bring the day to a close with one of their spectacular Mentos & Coke Experiments. Since its opening in October 1996, Museum Tinguely has recorded more than 2.5 million visitors and put on more than eighty exhibitions. With an alternating focus, the permanent exhibition presents a comprehensive overview of Tinguely’s diverse creative activity. Temporary exhibitions take place alongside this, showcasing a broad spectrum of 20th and 21st-century artists and themes based on Tinguely’s “ideas universe”: Inspirations such as Marcel Duchamp and Kurt Schwitters, Tinguely’s contemporaries such as Arman, Niki de Saint Phalle, and Yves Klein, just as much as current themes, such as sensory perceptions in art, and contemporary artists. Museum Tinguely has established itself as an institution for interdisciplinary co-operations, among others in the fields of music, dance, and education, and, in collaboration with both local and international partners, offers art projects a platform that is open to an extensive public. Museum Tinguely’s program is known beyond Basel for promising the surprising, the unconventional, and plenty of interactivity.