DOCSLIB.ORG

Cita, Apropiación Y Montaje En La Obra De Grete Stern Paula Bertúa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cita, Apropiación Y Montaje En La Obra De Grete Stern Paula Bertúa Paula Bertúa. Poética de la reinvención. (Auto) cita, apropiación y montaje en la obra de Grete Stern. Papeles de Trabajo, Año 4, N° 7, abril 2011, pp. 74-92. Poética de la reinvención. (Auto) cita, apropiación y montaje en la obra de Grete Stern Paula Bertúa (UBA – CONICET) Resumen En este trabajo se analiza una serie de fotomontajes elaborados por la fotógrafa Grete Stern para ilustrar una columna psicológico-sentimental de la revista femenina Idilio. En ellos, Stern retomó, mediante la cita y la apropiación, fotografías ya concebidas, propias y ajenas, para intervenirlas en nuevas composiciones que resignifican sus efectos estéticos, redefiniendo, a su vez, el rol de la práctica artística en un medio de masas. Palabras clave: Fotografía – Cita – Apropiación – Montaje – Grete Stern. Keywords: Photography – Quote – Appropiation – Montage – Grete Stern. Grete Stern en Idilio En agosto de 1948 la fotógrafa Grete Stern comenzaba un trabajo en colaboración de largo aliento que significaría una intervención cultural singular y original en el campo de las publicaciones populares argentinas de mediados de siglo. Convocada por el sociólogo Gino Germani participaría en una columna de consultorio psicológico- sentimental llamada “El psicoanálisis le ayudará” en la revista femenina Idilio, de la Editorial Abril.46 La sección fue el producto de una intervención interdisciplinaria, que 46 Idilio se comenzó a publicar el 26 de octubre de 1948, por la editorial Abril, fundada por Césare Civita. En sus páginas convivían una serie de géneros discursivos habituales en las revistas dirigidas a la mujer: cartas de lectoras, columna de consultorio sentimental, artículos referidos a problemáticas hogareñas, moda y belleza, publicidades e historias de amor, y novelas por entregas. Combinaba, en iguales proporciones, la selección y recopilación de notas importadas con las de producción local. Algunas secciones fijas, como los noticiarios cinematográficos nacionales. A lo largo de los primeros cuatro años de existencia la revista mantuvo características visuales y de contenido relativamente homogéneas. Su formato era mediano y las secciones respondían a las exigencias del nuevo periodismo: artículos breves, información de fácil lectura, abundancia de fotografías e ilustraciones. Papeles de trabajo. Revista electrónica del Instituto de Altos Estudios Sociales de la Universidad Nacional de General San Martín. ISSN 1851-2577. Año 4, Nº 7, Buenos Aires, abril de 2011. Dossier: “Historia del Arte y Estudios Visuales en la UNSAM”. 74 Paula Bertúa. Poética de la reinvención. (Auto) cita, apropiación y montaje en la obra de Grete Stern. Papeles de Trabajo, Año 4, N° 7, abril 2011, pp. 74-92. conjugó saberes provenientes del psicoanálisis, la sociología y el arte de vanguardia y los transmitió, mediante diversas operaciones culturales y retóricas, en un registro adaptado al gran público, en un lenguaje que sintonizara con el imaginario medio y popular. “El psicoanálisis le ayudará” abonaba cierta idea de la self made woman, una mujer joven y moderna capaz de construirse a sí misma. Gracias a la ayuda del psicoanálisis -y del especialista encargado de administrar dicho dispositivo- se podían detectar y, con empeño y buena voluntad, resolver los “complejos del alma”. Se aseveraba que el bienestar en distintos órdenes de la vida (pareja, vínculos familiares y amistosos, trabajo) podía alcanzarse y dependía de la propia voluntad, del carácter. “Queremos ayudarle a conocerse a sí misma, a fortalecer su alma, a resolver sus problemas, a responder a sus dudas, a vencer sus complejos y a superarse” (Idilio Nro.2, 1948: 2) con la frase precedente, Idilio estimulaba a sus lectoras, a partir del segundo número, a enviar cartas en las cuales relataran sus sueños y expresaran sus preocupaciones y conflictos más íntimos. La sección se ofrecía como consultorio por correspondencia, un medio que vehiculizaba la enunciación de una demanda de atención de las problemáticas relacionadas con la psiquis y también con el dominio de las relaciones sociales (amorosas, familiares, laborales). La sección “El psicoanálisis te ayudará” fue el producto discursivo-visual de un colectivo, un trabajo en colaboración, de elaboración plural, una escritura con intervención de varias manos y miradas. Una clara división del trabajo y de las responsabilidades que atañían a cada integrante del grupo creativo operó desde el comienzo en una distribución amistosa de tareas: el editor y psicólogo Enrique Butelman seleccionaba la correspondencia enviada por las lectoras y contestaba a las problemáticas que allí se planteaban; Gino Germani analizaba los sueños tipo en una parte destacada de la sección. Grete Stern era la encargada de ilustrar con sus fotomontajes el apartado interpretativo de Germani. Una de las particularidades de la columna fue la elección, por parte de los responsables, de la fotografía para ilustrar los relatos de contenido onírico enviados por las lectoras. La fotografía parecería ser considerarada a priori una técnica con un grado de verosimilitud mayor que otros dispositivos de representación. Tiene la reputación de ser la más realista y verosímil de las artes. Tal afirmación, sin embargo, merece ser Papeles de trabajo. Revista electrónica del Instituto de Altos Estudios Sociales de la Universidad Nacional de General San Martín. ISSN 1851-2577. Año 4, Nº 7, Buenos Aires, abril de 2011. Dossier: “Historia del Arte y Estudios Visuales en la UNSAM”. 75 Paula Bertúa. Poética de la reinvención. (Auto) cita, apropiación y montaje en la obra de Grete Stern. Papeles de Trabajo, Año 4, N° 7, abril 2011, pp. 74-92. problematizada. Más aún en este caso particular en que el dispositivo fotográfico fue empleado como un medio que ayudaba a (re)construir una escena mental, un conjunto de imágenes plausibles de ser visibilizadas a partir de la puesta en discurso de las soñantes, una vez que el relato había sido atravesado e intervenido por la lectura del analista. Por otra parte, en virtud de la capacidad de captar el instante, ese momento fugaz, la fotografía vuelve aprehensibles aspectos frente a los cuales otros medios plásticos se revelan impotentes de suscitar. Según Walter Benjamin, la cámara fotográfica instaura un espacio no perceptible por el ojo humano, un “inconsciente óptico” únicamente por ella revelado, al igual que el “inconsciente pulsional” del cual sólo podemos saber gracias al psicoanálisis (Benjamin, 2007: 26-28). Es comprensible, pues, que los encargados del consultorio psicológico hayan avizorado en la técnica fotográfica un medio afín a su propia práctica interpretativa Archivera, arqueóloga y montadora de la imaginería moderna Con posterioridad a su colaboración en Idilio -y con motivo de la primera exhibición de la serie de los Sueños como obra autónoma en la ciudad de Buenos Aires, en el Foto Club Argentino en 1967- Grete Stern pronunció un discurso inaugural que opera como metatexto crítico de su producción visual (Stern en Priamo, 2003: 29-33).47 En él expone, entre otras cuestiones, aspectos relativos a las modalidades del trabajo en colaboración en el marco de la columna “El psicoanálisis le ayudará”. La rutina se desarrollaba del modo siguiente: Gino Germani entregaba semanalmente a Grete Stern el texto del sueño, copia fiel, en la mayoría de los casos, de una de las cartas que se habían dirigido a la Editorial Abril con pedido de análisis. Luego ambos conversaban acerca de la interpretación y habitualmente Germani planteaba sugerencias en cuanto a la diagramación para destacar algún elemento del sueño que adquiría relevancia en la interpretación del consultor psicológico. Grete Stern comenzaba el proceso de composición de las imágenes con la diagramación de un boceto previo, en dibujo a lápiz, que organizaba los elementos que integrarían la imagen final; continuaba con la búsqueda de fondos adecuados, cuyos 47 El texto titulado “Apuntes sobre fotomontaje” fue leído en el Foto Club Argentino, Buenos Aires, septiembre de 1967 y publicado en la revista Fotomundo n° 310 en Buenos Aires, febrero de 1994. Papeles de trabajo. Revista electrónica del Instituto de Altos Estudios Sociales de la Universidad Nacional de General San Martín. ISSN 1851-2577. Año 4, Nº 7, Buenos Aires, abril de 2011. Dossier: “Historia del Arte y Estudios Visuales en la UNSAM”. 76 Paula Bertúa. Poética de la reinvención. (Auto) cita, apropiación y montaje en la obra de Grete Stern. Papeles de Trabajo, Año 4, N° 7, abril 2011, pp. 74-92. tonos y texturas manipulaba, para lograr el acabado deseado. Por último, tomaba las fotografías de los objetos o personajes que necesitaba para armar la escena, fotografiaba el conjunto y lo recortaba para disponerlo sobre el fondo preparado. La operatoria puesta en juego en el armado de las composiciones, propia del montaje, devela el sesgo de construcción y artificio (“montar” como sinónimo de armar con habilidad algo para lograr algún fin se vincula a las antiguas palabras techné y mechané que se atribuían en el mundo griego a todo lo realizado con astucia y habilidad). Stern colocaba distintas fotografías entre vidrios, sostenidas por cartones, jugaba con efectos de sombras y contrastes, primeros y segundos planos, como en un “escenario”, en sus propias palabras (Stern en Priamo, 2003: 30). Combinaba elementos gráficos y fotográficos ya que retocaba manualmente las composiciones con sombras, subrayados y bordes, procedimiento habitual en la prensa gráfica de la época. Los Sueños incorporaron fotografías previas de Stern, también ciertas obras de su marido, Horacio Coppola. En la serie de fotomontajes es posible hallar desde citas autorreferenciales hasta sutiles homenajes a tomas ajenas. Las imágenes son de procedencia y datación variadas. Desde este punto de vista, la serie de los Sueños puede ser leída como una galería retrospectiva imaginada que recupera e integra algunas instancias o hitos significativos de su propia trayectoria y del que fuera su compañero en lo profesional y en lo personal: Stern tomó trabajos individuales, en colaboración y ajenos, procedentes de la etapa de formación en Berlín y de las primeras décadas en Buenos Aires y los incluyó en nuevas composiciones, resemantizándolos.
Load more

Recommended publications
  • Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
    This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education.
    [Show full text]
  • VISITOR FIGURES 2015 the Grand Totals: Exhibition and Museum Attendance Numbers Worldwide
    SPECIAL REPORT VISITOR FIGURES2015 The grand totals: exhibition and museum attendance numbers worldwide VISITOR FIGURES 2015 The grand totals: exhibition and museum attendance numbers worldwide THE DIRECTORS THE ARTISTS They tell us about their unlikely Six artists on the exhibitions blockbusters and surprise flops that made their careers U. ALLEMANDI & CO. PUBLISHING LTD. EVENTS, POLITICS AND ECONOMICS MONTHLY. EST. 1983, VOL. XXV, NO. 278, APRIL 2016 II THE ART NEWSPAPER SPECIAL REPORT Number 278, April 2016 SPECIAL REPORT VISITOR FIGURES 2015 Exhibition & museum attendance survey JEFF KOONS is the toast of Paris and Bilbao But Taipei tops our annual attendance survey, with a show of works by the 20th-century artist Chen Cheng-po atisse cut-outs in New attracted more than 9,500 visitors a day to Rio de York, Monet land- Janeiro’s Centro Cultural Banco do Brasil. Despite scapes in Tokyo and Brazil’s economic crisis, the deep-pocketed bank’s Picasso paintings in foundation continued to organise high-profile, free Rio de Janeiro were exhibitions. Works by Kandinsky from the State overshadowed in 2015 Russian Museum in St Petersburg also packed the by attendance at nine punters in Brasilia, Rio, São Paulo and Belo Hori- shows organised by the zonte; more than one million people saw the show National Palace Museum in Taipei. The eclectic on its Brazilian tour. Mgroup of exhibitions topped our annual survey Bernard Arnault’s new Fondation Louis Vuitton despite the fact that the Taiwanese national muse- used its ample resources to organise a loan show um’s total attendance fell slightly during its 90th that any public museum would envy.
    [Show full text]
  • Argentinian Photography During the Military Dictatorship (1976-1983)
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 A Light in the Darkness: Argentinian Photography During the Military Dictatorship (1976-1983) Ana Tallone 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/1152 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] A LIGHT IN THE DARKNESS: ARGENTINIAN PHOTOGRAPHY DURING THE MILITARY DICTATORSHIP (1976-1983) by Ana Tallone 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 2015 © 2015 Ana Tallone 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. Katherine Manthorne _____________________ ______________________________ Date Chair of Examining Committee Rachel Kousser ______________________ ______________________________ Date Executive Officer Geoffrey Batchen Anna Indych-López Jordana Mendelson Supervisory Committee ! iii! ABSTRACT A Light in the Darkness: Argentinian Photography During the Military Dictatorship (1976-1983) by Ana Tallone Adviser: Katherine Manthorne In 2006, on the thirtieth anniversary of the military coup that brought Argentinian democracy to a halt, a group of photojournalists put together an outstanding exhibition of images from the dictatorship.1 This dissertation critically engages with the most enduring photojournalistic works produced during this period and featured in the landmark retrospective.
    [Show full text]
  • Short Article from Hands That Talk
    Hands that Talk, Eyes that Listen By Lou Gemunden Spitta Figure 1. Ellen Auerbach and Grete Stern, Petrole Hahn, 1931, Berlin. Grete Stern’s Petrole Hahn does more than establish a new way of seeing; it also creates new ways of thinking. The mannequin’s head marks the center of the image spatially; it is also the site of the advertisement’s explicit message: Pétrole Hahn oil leads to clean, bright, and elegantly wavy hair. Stern’s composition of the image owes a great deal to two influential figures in her career, Walter Peterhans and Ellen Auerbach. Stern learned about the importance of technical precision and how to “see photographically”1 from Peterhans; she later experimented with these techniques in collaboration with Auerbach, a fellow student of Peterhans’ private class. Stern, Peterhans, and Auerbach met in Berlin in the late 1920s, after Stern had decided to leave her hometown of Wuppertal to pursue a career in photography. With the help of her brother, who worked in the film industry, Stern became Peterhans’ only photography student for over a year, 1 Translated by the author from Walter Peterhans’ notion “ver fotográficamente.” until Auerbach’s arrival in 1928.2 Although numerous publications have credited Stern with Petrole Hahn, the image was originally a collaborative work between the two female photographers.3 The composition of the image, a single figure in front of a simple background, directs the viewer’s eyes from the hair to the hair product. The photograph’s exact focus on the hair, and on the bright and shiny bottle of hair oil, gives the viewer a central starting point to begin reading the image—namely the hair—and a second focal point—the hair product—so that viewer’s eyes shift from one point to the next.
    [Show full text]
  • Grete Stern and the Administration of the Unconscious
    Psicofotografía : Grete Stern and the Administration of the Unconscious Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00392/1868530/octo_a_00392.pdf by guest on 30 September 2021 SUSAN LAxTON Between 1948 and 1951, Grete Stern, a German photographer best known during her lifetime for her geometrically ordered, realist approach to photogra - phy, worked intensively on a heavily manipulated typology of dreams, creating more than 140 photomontages constructed in a style that can only be character - ized as Surrealist: figurative, illusionistic, narrative, and irrational. Stern was living in Buenos Aires by then, so the images have been exhibited repeatedly under the name “ Sueños ” (dreams)—and in spite of their anomalous appearance in her overall range of production, they have become the most frequently examined examples of her work. 1 Visually, they are nothing if not arresting—not least because they seem to indicate a pivot away from both schools of photography to which Stern has been linked: the “New Vision” model associated with Moholy- Nagy’s Bauhaus experiments and, more dramatically, the sober Neue Sachlichkeit, a photographic direction supported in the late Bauhaus by Walter Peterhans, Stern’s teacher, who came on at the school as master of photography in 1929. 2 The Sueños images first appeared as a commission for the fotonovela magazine Idilio , where they illustrated “Psychoanalysis Can Help You,” a weekly advice column written by sociologist Gino Germani and psychoanalyst Enrique Butelman under the 1. Awareness of Stern’s Sueños series came late, when in 1967 the artist reprinted and retitled certain of the photomontages from negatives in her archive, reclaiming them as art.
    [Show full text]
  • From Bauhaus to Buenos Aires Press Release
    THE MUSEUM OF MODERN ART PRESENTS THE FIRST MUSEUM SURVEY OF GRETE STERN AND HORACIO COPPOLA, INFLUENTIAL AVANT-GARDE ARTISTS AND FOUNDERS OF MODERN LATIN AMERICAN PHOTOGRAPHY From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola May 17–October 4, 2015 The Edward Steichen Photography Galleries, Third Floor Press Preview: Thursday, May 14, 2015, 9:30–11:30 a.m. NEW YORK, February 3, 2015—The Museum of Modern Art has organized the first major exhibition to examine the individual accomplishments and parallel developments of two of the foremost practitioners of avant-garde photography, film, advertising, and graphic design in the first half of the 20th century: Grete Stern (German, 1904–1999) and Horacio Coppola (Argentine, 1906–2012). From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola will be on view May 17 through October 4, 2015, and features more than 300 works gathered from museums and private collection across Europe and the Americas—many of which have never before been exhibited in the United States. These include more than 250 vintage photographs and photomontages, 40 works of original typographic design and award-winning advertising materials, 26 photobooks and periodicals, and four experimental 16mm films. From Bauhaus to Buenos Aires is organized by Roxana Marcoci, Senior Curator, and Sarah Meister, Curator; with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography. Stern and Coppola were united in their exploration of a modernist idiom, yet despite their relationship as husband and wife (from 1935 to 1943) they pursued this goal along remarkably original paths. Having started their artistic careers within the European avant-garde of the late 1920s and early 1930s, Stern and Coppola produced their major body of works in Argentina, where they thrived amid a vibrant milieu of Argentine and émigré artists and intellectuals.
    [Show full text]
  • A New Woman's Exile in Buenos Aires Grete Stern's Photomontages Between Feminism and Popular Culture Christina Wieder
    A New Woman’s Exile in Buenos Aires Grete Stern’s Photomontages between Feminism and Popular Culture Christina Wieder The focus of this article will rely on the work of the photographer Grete Stern, who had to flee Germany in 1933 due to her Jewish background, and later emigrated to Argentina. Special attention will be given to her photomontage series Sueños (Dreams) for the women’s magazine Idilio, which the artist produced between 1948 and 1951, and which played an essential role in the modernization of Argentinean photography. Moreover, today these photomontages are known for having had a fundamental influence on the dissemination of psychoanalysis in Argentina, as well as on feminist art in general. As these photomontages were published together with the psychoanalytic column “El psicoanálisis te ayudará” and negotiated different aspects of psychoanalytic theory, they were often interpreted within the tradition of surrealist photography.1 In this article, however, I would like to propose an alternative, perhaps complementary reading of these images and embed Stern’s Dreams in a broader context—the context of her experience as an exile in Argentina, the context of the magazine, and the context of Peronist visual culture. As I will argue, this allows these photomontages to be read as multilayered aesthetic, political, and feminist interventions in a time when more and more restrictions dominated artistic practices in Argentina. In the following, I will provide an insight into Stern’s formation and work in Germany, and the ideas of femininity that influenced her art before and after emigration. After that, I will discuss the politically enforced changes in the field of Argentinean visual culture.
    [Show full text]
  • Grete-Stern Sueños.Pdf
    CONSORCIO DEL CÍRCULO DE BELLAS ARTES CÍRCULO DE BELLAS ARTES Presidente Juan Miguel Hernández León Director Juan Barja Directora de Proyectos y Relaciones Externas Pilar García Velasco Directora de Organización y Desarrollo Corporativo Lidija S ˇircelj EXPOSICIÓN Directoras de Cultura Área de Artes Plásticas del CBA Carolina del Olmo Laura Manzano Laura Manzano Montaje Directora Económico-Financiera Departamento Técnico del CBA Isabel Pozo Transporte Dobel Art Seguro AON CATÁLOGO Área de Edición del CBA Carolina del Olmo Ignacio Salcedo Elena Iglesias Serna Javier Abellán Diseño Estudio Joaquín Gallego Impresión Brizzolis, arte en gráficas © Círculo de Bellas Artes, 2015 Alcalá, 42. 28014 Madrid www.circulobellasartes.com © de los textos: sus autores © de las fotografías: Archivo Grete Stern El Círculo de Bellas Artes quiere agradecer la valiosa colaboración de María Marsans y de la Galería Jorge Mara-La Ruche. ISBN: 978-84-939928-9-7 Depósito Legal: M-29382-2015 En su compromiso con la difusión cultural y artística, el Círculo de Bellas Artes tiene el honor de presen- tar la exposición Sueños de la fotógrafa argentina, Grete Stern, precursora del fotomontaje en el país. Del potente conjunto de fotografías de esta alemana de nacimiento emigrada en los albores del nazismo, la exposición se centra en los fotomontajes que vinieron a ilustrar la sección El psicoaná- lisis le ayudará de la revista semanal Idilio, en total 140 trabajos de 1948 en adelante, que vienen a componer como proyecto su obra más viva y más original. Previamente, Grete Stern había entrado en contacto con algunos de los exponentes del fotomontaje alemán durante su etapa de estudiante, iniciándose luego dentro de la fotografía comercial en la agencia ringl + pit, fundada por ella misma y su amiga Ellen Auerbach, y retratando a la élite cultural, tanto a su paso por Londres una vez exiliada, como en Buenos Aires, donde recaló finalmente llevada por su matrimonio con el también fotógrafo argentino Horacio Coppola.
    [Show full text]
  • Art and Performances
    museumVIEWS A quarterly newsletter for small and mid-sized art museums July 2014 Cara Barer, Tie-dye, (detail) 2013, altered book: sculpted, dyed, and photographed. In “Adaptation,” Kalamazoo Institute of Arts, MI 1 Echoes of Black Mountain College In the year 1933, the Nazis forced the closing of Ger- many’s Bauhaus school. That same year, in Black Moun- tain, a small town in North Carolina, the Black Mountain College was founded by a classics scholar, John Andre Rice, and an engineer, Theodore Dreiser, with the intent of placing art-making at the heart of a liberal arts educa- tion. Expatriated teachers from the Bauhaus migrating to the U.S. were drawn to the progressive ideas put forward in Black Mountain. Among them was Josef Albers and his wife Anni. Josef became the leader of the art program; Anni taught textile design and weaving. Thus, the birth of Black Mountain as the “Shangri La” for avant-garde art. Other instructors from the defunct Bauhaus such as architect Walter Gropius and stage Katsushika Hokusai, Under the Wave off Kanagawa also known as the Great Wave, designer Xanti Schawinsky filtered South. American artists attracted Woodblock print; ink and color on paper. In “Hokusai,” Museum of Fine Art, Boston. MA included Jacob Lawrence and Robert Motherwell. And in the student body at some point were Cy Twombly and Robert Rauschenberg. Merce Cunningham’s dance company Say “Hi” to the Digital was formed here, and faculty member Buckminster Fuller made his first geodesic dome here. Docent Years passed successfully, Albers left to go to Yale as So now, to attract the millenials, we need interactive apps in museums.
    [Show full text]
  • WASHINGTON, DC WASHINGTON, 104Th ANNUAL CONFERENCE 104Th ANNUAL
    CONFERENCE PROGRAM COLLEGE ART ASSOCIATION 104th ANNUAL CONFERENCE WASHINGTON, DC 2016 WASHINGTON, CONFERENCE 104th ANNUAL ART ASSOCIATION PROGRAM COLLEGE CONFERENCE 104th ANNUAL CONFERENCE WASHINGTON, DC FEBRUARY 3–6, 2016 CONFERENCE PROGRAM 104th Annual Conference in Washington, DC Wednesday, February 3–Saturday, February 6, 2016 CONTENTS 5 Social Media Map 9 CONFERENCE AT A GLANCE 10 SESSIONS AT A GLANCE 22 CAA MEMBERSHIP 22 CHECK-IN AND ONSITE REgisTRATION 23 Badges, Program, Abstracts 2015, Directory of Attendees 24 LOdgiNG AND TRAVEL 24 Conference Hotels 24 Travel and Transportation 25 Services 25 Business Center 25 Child Care 25 Special Accommodations 26 CAREER SERVicES 26 Orientation 26 Candidate Center 26 Interview Hall: Booths and Tables 27 Professional-Development Workshops 29 Mentoring Sessions 29 Professional-Development Roundtables 29 STUDENT AND EmERgiNG PROFEssiONALS LOUNGE 31 BOOK AND TRadE FaiR 31 Exhibitor Sessions 32 CAA BUSINEss 32 Annual Members’ Business Meeting 32 CAA Committee Meetings 34 ARTsPacE 35 ARTexchange 36 MEDIA LOUNGE 39 PROGRAM SESSIONS 52, 63 Poster Sessions 76 SPEciaL EVENTS 81 Museums and Galleries 83 REUNIONS AND RECEPTIONS 85 CAA BOARD AND STAFF 86 PAST CAA PREsidENTS 87 CAA COMMITTEE MEMBERS 90 CONFERENCE FLOOR PLANS 94 INDEX OF EXHIBITORS 96 INDEX OF ADVERTisERS 97 INDEX OF PaRTiciPANTS SAVE THE DATE! NEW YORK, NY 105th ANNUAL CONFERENCE FEBRUARY 15–18, 2017 The Conference Program is published in conjunction A special thanks to our conference sponsors: with the 104th Annual Conference of the College Art Welcome to Washington DC! Association. For the detailed, chronological listing of sessions, meetings, and events, see the conference website at www.conference.collegeart.org.
    [Show full text]
  • AÑO XXIV - Nº46 - 2017 Declarada De Interés Legislativo Por La Honorable Cámara De Diputados De La Provincia De Buenos Aires
    ISSN 0329871X - AÑO XXIV - Nº46 - 2017 Declarada de interés legislativo por la Honorable Cámara de Diputados de la Provincia de Buenos Aires. Premiada por el Instituto Cultural de la Provincia de Buenos Aires como mejor publicación en Ciencias Sociales, 2004. Es una publicación del Instituto y Archivo Histórico Municipal de Morón Estrada 17 - Haedo - C.P. 1706 / Tel. 4650-2580 [email protected] [email protected] [email protected] AUTORIDADES Intendente Municipal Lic. Ramiro Tagliaferro Jefe de Gabinete Cdor. Carlos Rebagliati Directora de Arte y Cultura Rita Alexandra Stivala Coordinadora de Patrimonio y Artes Visuales Rosana Simonassi STAFF Dirección Prof. Graciela Saez Secretaria de Redacción Prof. Mariela Canali Asistente de Edición Prof. Agustín Algaze 1 CONSEJO ASESOR Arq. Jorge Tartarini (CNMMLH) Prof. Marta Goldberg (UNLu) Arq. Carlos Moreno (CNMMLH) Dr. Claudio Panella (UNLP- AHPBA) Dr. Carlos Birocco (UM) Dr. Emir Reitano (UNLP- UTDT) Dra. Noemí Girbal Blacha (UNQ- CEAR-CONICET) Prof. Abel Alexander (Biblioteca Nacional- SIHF) Dr. José Garriga Zucal (IDAES-UNSAM-CONICET) Dra. Mirta Zaida Lobato (UBA) Equipo de Trabajo del Instituto y Archivo Histórico Graciela Saez, Mariela Canali, Mariela Rametta, Agustín Algaze, Diego Ferrante, Lucas Georgieff, Andrea Giraffa, Romina Olivari y Franco Barrios. Los artículos firmados son responsabilidad de sus autores. Queda prohibida la reproducción total o parcial del con- tenido de la revista, salvo autorización de la Dirección Reg. Nac. de la Propiedad Intelectual Nº 686.295. La Revista de Historia Bonaerense es una publicación semestral, interdiscipli- naria y temática que difunde la historia y el patrimonio moronense y de toda la provincia de Buenos Aires.
    [Show full text]
  • Horacio Coppola: Towards an Aesthetic Genealogy
    Horacio Coppola: Towards an Aesthetic Genealogy Eleni Kefala University of St Andrews This is an Accepted Manuscript of an article published by Taylor & Francis in the journal History of Photography 40:4 (November 2016), available online: http://dx.doi.org/10.1080/03087298.2016.1236887 Although a milestone in the history of Latin American photography, the work of Horacio Coppola is little known outside Argentina. His unorthodox angles and tilting frames, his attention to industrial and urban themes, and his experimentation with different lenses in the period between 1927 and 1931 were in absolute synchrony with the precepts of European New Vision and New Objectivity photography, and with American straight photography. That Coppola’s visual idiom was in tune with the latest photographic developments in interwar Europe is obvious. What remains unclear is how exactly he achieved that synchrony. Several scholars have wrestled with this question, which nevertheless remains elusive due to lack of evidence of direct contact with European photography prior to his studies at the Berlin Bauhaus in 1932 and his repeated attempts to downplay the influence contemporary photographers had on his work. The article provides a systematic study of Coppola’s aesthetic genealogy and his photographic borrowings through a critical examination of his early pictures and theoretical writings. It teases out possible direct and indirect channels of dialogue with the New Vision, New History of Photography 40:4 (November 2016) 1 Objectivity, and straight photography in the second half of the 1920s, and probes the reasons behind Coppola’s reluctance to admit a connection with contemporary European photography in particular.
    [Show full text]