DOCSLIB.ORG

826 Schermerhorn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
826 Schermerhorn 826 schermerhorn COLUMBIA UNIVERSITY DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY MIRIAM AND IRA D. WALLACH FINE ARTS CENTER FALL 2019 Dear students, colleagues, and friends, The last academic year was a particularly exciting one for the department. Zeynep Çelik Alexander’s book Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design won the College Art Association’s 2019 Charles Rufus Morey Book Award, a distinction given to just a single author across all fields of art history. Branden Joseph spent the year on leave as a Guggenheim Fellow and as the Paul Mellon Visiting Senior Fellow at CASVA, and Michael Waters was a fellow at Harvard’s Center for Italian Renaissance Studies in Florence. One exciting development that will benefit our faculty and students is the inauguration of a new fellowship program at Columbia’s growing Center for Study in Venice at Casa Muraro, currently directed by Holger Klein. Renovations of the house itself are making great headway. This past year, our faculty hosted a number of remarkable conferences. Here on campus, Meredith Gamer and Eleonora Pistis collaborated in organizing an event on British art and architecture, and a conference organized by Elizabeth Hutchinson on the ways that Native North Americans engage with cultural heritage at American museums packed the house at the Italian Academy. In Pictured from left to right: Avinoam Paris, Zoë Strother co-organized an important symposium on the persistence of the idea Shalem, Stefaan Van Liefferinge, Zeynep Çelik Alexander, Holger of “Primitivism” through much of the twentieth century. A. Klein, Gregory Bryda, Matthew Our close interaction with museums and the engagement of our students and faculty McKelway, Michael J. Waters, Elizabeth Hutchinson, Branden in curatorial projects has long been a distinction of the department, and this year was no W. Joseph, Meredith Gamer, Janet Kraynak, Jonathan Reynolds, Kellie exception. Matthew McKelway curated a major exhibition on the painter Nagasawa Rosetsu Jones, Ioannis Mylonopoulos, at the Museum Rietberg in Switzerland. Barry Bergdoll invited contemporary architects Alexander Alberro, Michael Cole. to exhibit projects at Olana. One of our MODA students curated a monographic show on Full-time faculty not pictured: Zainab Bahrani, Frédérique Alice Creischer, and the students in our MA program mounted an exhibition at Avery Library Baumgartner, Barry Bergdoll, around Clodion and Clodion forgeries that should still be on view when you receive this Diane Bodart, Jonathan Crary, Francesco de Angelis, Vidya magazine. We hope you will come to see that, as well as the exhibition our student Natasha Rosetsu: Ferocious Brush by the Agency for Cultural Affairs of the Dehejia, Rosalyn Deutsche, September 6–November 4, 2018 Government of Japan, the exhibit drew Noam M. Elcott, David Freedberg, Marie Llorens curated on Algerian contemporary art, which is on view until March 15 at the from collections in Japan, Europe, and the Anne Higonnet, Rosalind Krauss, Wallach Art Gallery. Eleonora Pistis, Simon Schama, The first retrospective exhibition of United States. Most notably, it included Z. S. Strother, Lisa Trever. Nagasawa Rosetsu’s painting outside a full-scale reconstruction of the interior Wishing you all a happy holiday season, Japan was held last fall at the Museum of the Main Hall (Hondo¯) of the temple Rietberg in Zürich. Curated by Professor Muryo¯ji, the best preserved of a group Matthew McKelway and Dr. Khanh Trinh of temples for which Rosetsu produced (Museum Rietberg), and co-sponsored interior paintings in 1786–1787. Michael Cole Inside front and back cover: Nagasawa Rosetsu, Dragon, 1786, detail from a set of six sliding Professor and Department Chair door panels. Ink on paper. Muryo¯ji, Kushimoto. Front cover: Art Humanities student Paige Hinkley at the Musée d’Orsay. 2 826 schermerhorn Photograph by Joanne Wang. ART HUMANITIES ART HUMANITIES Studying Art and Music Humanities in ART HUMANITIES Paris taught me, above all, the impor- tance of directly experiencing works of art and the places in which they were made. It’s one thing to look at photographs of Monet’s Water Lilies; it's something very different to see these paintings in the PARIS Musée de l'Orangerie on one day and on the next to wander in Monet's gardens at Giverny, looking at the scenes he For the fifth consecutive summer, the Department museums, as well as an excursion to Amiens painted, smelling the same air, touching of Art History and Archaeology participated in and an overnight trip to Amsterdam, were at the the same trees, and hearing the same the Art and Music Humanities program in Paris, heart of students’ experience. Without a doubt, sounds. Memories of these experiences based at Reid Hall and sponsored by the Center the most memorable of our museum visits were will stay with me forever. for Undergraduate Global Engagement. Taught tours of the Musée d’Orsay exhibitions Le modèle by art history professors Robert E. Harrist, Jr. and noir, given by curator Denise Murrell, and Berthe SOPHIE HECHT, ’22 Lindsay Cook and music professors Magdalena Morisot, given by Professor Anne Higonnet, a Columbia College Baczewska and Elaine Sisman—along with the foremost authority on the artist. Both visits took assistance of PhD candidates Audrey Amsellem place on Mondays, when the museum is closed and Barthélemy Glama—thirty-four of Columbia’s to the public. The privilege of this special access very best undergraduates took part in a dozen with the guidance of such eminent scholars was hours of class weekly, visited numerous museums not lost on the students: one is said to have and historical sites, and attended several musical broken out in tears of joy. The exhilaration and events, including an opera and an evening at an intellectual excitement we all felt throughout the iconic jazz club. summer is best expressed by the magazine’s cover photograph showing General Studies The success of the joint program lies in the undergraduate Paige Hinkley extemporaneously pedagogical integration of Art and Music performing a grand jeté against the backdrop of Humanities, creating an ideal environment for one of the great clock faces of the Musée d’Orsay. the Core Curriculum philosophy to flourish—one CLOCKWISE FROM LEFT: Claude Monet’s in which ideas, discussion, and argument fuel garden at Giverny; students exploring Le ROBERT E. HARRIST, JR. continuous intellectual excitement. Students Corbusier’s Villa Savoye; Denise Murrell Chinese Art and Robert E. Harrist, Jr. in front of Édouard benefited profoundly from the unique position Manet’s Olympia; students drawing Greek of Paris in the history of art. Visits to the Louvre, LINDSAY COOK, ’18 PhD kouroi at the Musée du Louvre. Photographs Musée d’Orsay, Centre Pompidou, and other Visiting Assistant Professor, Vassar College by Joanne Wang and Robert E. Harrist, Jr. As a biomedical engineering student with a star-crossed love for the humanities, I found studying Art and Music Humanities in Paris this past summer to be a dream. I delighted in how our conversations of art and music blended into each other like the boundless colors of a Matisse painting. Our six summer weeks now live within us like a melody incorporated into the polyphony of our memories. JOANNE WANG, ’22 School of Engineering and Applied Science 4 826 schermerhorn 5 FIELDWORK: Pañamarca FIELDWORK: Pañamarca EXCAVATING ART, ARCHITECTURE, AND THE ENVIRONMENT PERU In July 2019, Lisa Trever and her research team Museum of Nature and Science), and with the carried out the second of three planned seasons assistance of Classical Studies PhD candidate of archaeological and paleoclimatological field- Mary-Evelyn Farrior, Trever has also been examin- work within and around the ancient Moche center ing the paleoclimatic history of the Nepeña Valley, of Pañamarca. Located on Peru’s north coast, this where Pañamarca is situated, in order to chroni- Above: Ceramic fragments, maize cobs, and yuca from city was home to a lively tradition of wall painting cle the changing landscape, the dynamic path of the excavations. Right: Excavation of a mural painting at Pañamarca in 2010. Photographs by Lisa Trever. Below: A from the sixth to eighth centuries CE, as seen in the river, and the effects of climatic disturbances test pit within the agricultural fields surrounding Pañamarca. murals first documented in the 1950s and those within the valley. Ice core data has revealed that Photograph by Hugo Ikehara. uncovered by Trever in her prior excavations. Pañamarca’s founding occurred in a time of Painters brought to life scenes of hand-to-hand climatic crisis with sustained droughts followed combat between a mythological culture-hero (now by intense flooding. Data from more than sixty known as Ai-Apaec) and a series of monsters new radiocarbon accelerator mass spectrometry from the sea, as well as religious ceremonies and dates coupled with ongoing analyses of pollen, martial pageantry, including a procession of war- phytoliths, and soil characterization from the riors dancing in elite regalia. Without texts and environs of Pañamarca will enable the team to inscriptions, ancient Peruvian art history must be test this scenario at the local level. This research, written through this evocative material as well as which has been supported by a grant from the through archaeological and scientific methods, Provost’s office and a gift to the department which are establishing a more comprehensive from the Rubin-Ladd Foundation, will allow for chronology for the site, its architecture, and its a better understanding of the ancient history of painting tradition. Pañamarca and its surroundings, as well as new insights into how cultural and environmental In partnership with archaeologist Hugo Ikehara history were intertwined. (Pontificia Universidad Católica de Chile), soils scientist Marco Pfeiffer (Universidad de Chile), LISA TREVER and archaeologist Michele Koons (Denver Pre-Columbian Art and Archaeology The Pañamarca team at the end of the 2019 field season.
Load more

Recommended publications
  • Michaelangelo's Sistine Chapel: the Exhibition
    2018- 2019 © TACOMA'S HISTORIC THEATER DISTRICT PANTAGES THEATER • RIALTO THEATER THEATER ON THE SQUARE •TACOMA ARMORY My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 415-705-7159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2018 MUFG Union Bank, N.A. All rights reserved.Member FDIC. Equal Housing Lender. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. unionbank.com Welcome to the 2018–19 Season The Broadway Center’s mission is to energize community through live performance. The performing arts, as the pulse of the city, radiate a vital and joyful energy and engage in the momentum of social change. With 35+ events to choose from in the 2018-19 season, we hope you’ll connect and discover remarkable and transformative experiences in the year ahead. For all upcoming events, visit www.BroadwayCenter.org. My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes.
    [Show full text]
  • Oral History Interview with Regina Vater, 2004 February 23-25
    Oral history interview with Regina Vater, 2004 February 23-25 This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives. The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Regina Vater on February 23 and 25, 2004. The interview took place in Austin, Texas and was conducted by Cary Cordova for the Archives of American Art, Smithsonian Institution. This interview is part of the Recuerdos Orales: Interviews of the Latino Art Community in Texas. Regina Vater and Cary Cordova have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview CARY CORDOVA: This is Cary Cordova for the Archives of American Art, Smithsonian Institution. This is an oral history interview of Regina Vater on February 23, 2004, at her home at 4901 Caswell Avenue in Austin, Texas. And this is session one and disc one. And as I mentioned, Regina, I’m just going to ask if you could tell us a little bit about where you were born and where your family is from originally, and when you were born. REGINA VATER: Okay.
    [Show full text]
  • Press Pia Camil
    Press Pia Camil Galerie Sultana, 10 rue ramponeau, 75020 Paris, + 33 1 44 54 08 90, [email protected], www.galeriesultana.com Gaby Cepeda, «In the Studio: Pia Camil», Art in America Magazine, 01 April 2019 In the Studio: Pia Camil PIA CAMIL’S STUDIO in Mexico City is an expansive, windowless room on the ground floor of an old building tucked away between a wide arterial road and the city’s Parque de Chapultepec. She keeps the basement-like space orderly, and during the workday it is almost impos- sible to imagine it moonlighting as El Cisne (The Swan), a lively cabaret Camil stages there a few nights a year. Word-of-mouth invitations draw a queer-friendly crowd for raucous performances and dancing that continues until the early morning. That Camil envisioned her studio doubling as a nightspot is true to form: her ability to ima- gine new possibilities for architectural spaces and found objects is at the heart of her practice. Disused billboards, outdoor markets, and abandoned construction sites have yielded raw materials Camil transforms into paintings, sculptures, ceramics, and installations that retain the chaotic energy of their urban origins. Trained at the Rhode Island School of Design in Pro- vidence and at the Slade School of Fine Art in London, Camil was initially drawn to painting but grew tired of its rigidity early in her career. Textiles offered more flexible supports for her experimental vision. She designed cos- tumes for her art-noise band El Resplandor; created huge curtains, dyed in patterns inspired by decaying billboards, Portrait of Pia Camil that enveloped entire rooms; and eventually discovered by Janet Jarman.
    [Show full text]
  • The Life of Michelangelo Buonarroti by John Addington Symonds</H1>
    The Life of Michelangelo Buonarroti by John Addington Symonds The Life of Michelangelo Buonarroti by John Addington Symonds Produced by Ted Garvin, Keith M. Eckrich and PG Distributed Proofreaders THE LIFE OF MICHELANGELO BUONARROTI By JOHN ADDINGTON SYMONDS TO THE CAVALIERE GUIDO BIAGI, DOCTOR IN LETTERS, PREFECT OF THE MEDICEO-LAURENTIAN LIBRARY, ETC., ETC. I DEDICATE THIS WORK ON MICHELANGELO IN RESPECT FOR HIS SCHOLARSHIP AND LEARNING ADMIRATION OF HIS TUSCAN STYLE AND GRATEFUL ACKNOWLEDGMENT OF HIS GENEROUS ASSISTANCE CONTENTS CHAPTER page 1 / 658 I. BIRTH, BOYHOOD, YOUTH AT FLORENCE, DOWN TO LORENZO DE' MEDICI'S DEATH. 1475-1492. II. FIRST VISITS TO BOLOGNA AND ROME--THE MADONNA DELLA FEBBRE AND OTHER WORKS IN MARBLE. 1492-1501. III. RESIDENCE IN FLORENCE--THE DAVID. 1501-1505. IV. JULIUS II. CALLS MICHELANGELO TO ROME--PROJECT FOR THE POPE'S TOMB--THE REBUILDING OF S. PETER'S--FLIGHT FROM ROME--CARTOON FOR THE BATTLE OF PISA. 1505, 1506. V. SECOND VISIT TO BOLOGNA--THE BRONZE STATUE OF JULIUS II--PAINTING OF THE SISTINE VAULT. 1506-1512. VI. ON MICHELANGELO AS DRAUGHTSMAN, PAINTER, SCULPTOR. VII. LEO X. PLANS FOR THE CHURCH OF S. LORENZO AT FLORENCE--MICHELANGELO'S LIFE AT CARRARA. 1513-1521. VIII. ADRIAN VI AND CLEMENT VII--THE SACRISTY AND LIBRARY OF S. LORENZO. 1521-1526. page 2 / 658 IX. SACK OF ROME AND SIEGE OF FLORENCE--MICHELANGELO'S FLIGHT TO VENICE--HIS RELATIONS TO THE MEDICI. 1527-1534. X. ON MICHELANGELO AS ARCHITECT. XI. FINAL SETTLEMENT IN ROME--PAUL III.--THE LAST JUDGMENT AND THE PAOLINE CHAPEL--THE TOMB OF JULIUS.
    [Show full text]
  • Dear Reader. Don't Read
    1 Guy Schraenen Ulises Carrión Dear reader. Don’t read. The revolution engendered by access to knowledge on the Internet brings to the fore certain artistic projects of the past that seem to resonate with the present, as a kind of wake-up call or an invitation to reflect. This is the case, for instance, of the heterodox, multiform oeuvre of the artist, writer, and publisher Ulises Carrión. Right from its title, the exhibition Dear reader. Don’t read raises a paradox in the form of a negative imperative: it reminds us of the need to approach written text, literature, and hence culture as an ambiguous and contra- dictory field full of latent meanings that may perhaps even surface through their negation. The exhibition, which takes the thought-provoking form of a large exhibited—or “published”—archive, inquires into what a museum can contain, beyond traditional formats. It also explores what an art institution can do in the sense of giving voice to groups of thoughts that have been hidden by the veil of time and by the material complexity of the media in which they are expressed. The Ulises Carrión exhibition and publication are presented at a time when both the Museo Reina Sofía and its foundation are paying close attention to archives, particularly those related to Latin America’s cultural scene. Due to their very nature, these groups of units of knowledge are at risk of disappearing, either literally in the physical sense or by succumbing to oblivion and neglect, to the point where they can no longer be read or interpreted.
    [Show full text]
  • I CURATING PUBLICS in BRAZIL: EXPERIMENT, CONSTRUCT, CARE
    CURATING PUBLICS IN BRAZIL: EXPERIMENT, CONSTRUCT, CARE by Jessica Gogan BA. in French and Philosophy, Trinity College Dublin, 1989 MPhil. in Textual and Visual Studies, Trinity College Dublin, 1991 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 i UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jessica Gogan It was defended on April 13th, 2016 and approved by John Beverley, Distinguished Professor, Hispanic Languages and Literatures Jennifer Josten, Assistant Professor, Art History Barbara McCloskey, Department Chair and Professor, Art History Kirk Savage, Professor, Art History Dissertation Advisor: Terence Smith, Andrew W.Mellon Professor, Art History ii Copyright © by Jessica Gogan 2016 iii CURATING PUBLICS IN BRAZIL: EXPERIMENT, CONSTRUCT, CARE Jessica Gogan, MPhil/PhD University of Pittsburgh, 2016 Grounded in case studies at the nexus of socially engaged art, curatorship and education, each anchored in a Brazilian art institution and framework/practice pairing – lab/experiment, school/construct, clinic/care – this dissertation explores the artist-work-public relation as a complex and generative site requiring multifaceted and complicit curatorial approaches. Lab/experiment explores the mythic participatory happenings Domingos da Criação (Creation Sundays) organized by Frederico Morais at the Museum of Modern Art, Rio de Janeiro in 1971 at the height of the military dictatorship and their legacy via the minor work of the Experimental Nucleus of Education and Art (2010 – 2013). School/construct examines modalities of social learning via the 8th Mercosul Biennial Ensaios de Geopoetica (Geopoetic Essays), 2011.
    [Show full text]
  • Modern Abstraction in Latin America Cecilia Fajardo-Hill
    Modern Abstraction in Latin America Cecilia Fajardo-Hill The history of abstraction in Latin America is dense and multilayered; its beginnings can be traced back to Emilio Pettoruti’s (Argentina, 1892–1971) early abstract works, which were in- spired by Futurism and produced in Italy during the second decade of the 20th century. Nev- ertheless, the two more widely recognized pioneers of abstraction are Joaquín Torres-García (Uruguay, 1874–1949) and Juan del Prete (Italy/Argentina, 1897–1987), and more recently Esteban Lisa (Spain/Argentina 1895–1983) for their abstract work in the 1930s. Modern abstract art in Latin America has been circumscribed between the early 1930s to the late 1970s in Argentina, Brazil, Uruguay and Venezuela, and in more recent years Colombia, Cuba and Mexico have also been incorporated into the historiography of abstraction. Fur- thermore, it is only recently that interest in exploring beyond geometric abstraction, to in- clude Informalist tendencies is beginning to emerge. Abstract art in Latin America developed through painting, sculpture, installation, architecture, printing techniques and photography, and it is characterized by its experimentalism, plurality, the challenging of canonical ideas re- lated to art, and particular ways of dialoguing, coexisting in tension or participation within the complex process of modernity—and modernization—in the context of the political regimes of the time. Certain complex and often contradictory forms of utopianism were pervasive in some of these abstract movements that have led to the creation of exhibitions with titles such as Geometry of Hope (The Blanton Museum of Art, Austin, 2007) or Inverted Utopias: Avant Garde Art in Latin America (The Museum of Fine Arts, Houston, 2004).
    [Show full text]
  • Colección Patricia Phelps De Cisneros
    Concrete Invention: Colección Patricia Phelps de Cisneros DATES: 22th January – 16th September 2013 PLACE: Museo Nacional Centro de Arte Reina Sofía (Madrid) Nouvel building. Floor 0 ORGANISATION: Museo Nacional Centro de Arte Reina Sofía and Fundación Cisneros / Colección Patricia Phelps de Cisneros CURATED BY: Gabriel Pérez-Barreiro and Manuel Borja-Villel COORDINATED BY: Belén Díaz de Rábago RELATED ACTIVITIES: International Congress. Encuentros Transatlánticos: Discursos vanguardistas en España y Latinoamérica. From 11th until 13th July 2013 Guided visits. A propósito de... Concrete Invention: Colección Patricia Phelps de Cisneros Thursdays from 7 th February until 18th April 2013 This is the first exhibition organised in Europe on the important Colección Patricia Phelps de Cisneros (CPPC) and the most comprehensive to date as well. The project belongs to the collaboration agreement between Museo Reina Sofía and Fundación Cisneros / Colección Patricia Phelps de Cisneros. Its main aim is to enhance interest and knowledge on the importance of Latin America in the history of Modern and Contemporary art, through developing a number of jointly organised cultural initiatives. Curated by Manuel Borja-Villel, director of Museo Reina Sofía, and Gabriel Pérez- Barreiro, director of Colección Patricia Phelps de Cisneros, the show is composed by approximately two hundred works —painting, sculpture, installation, collage and graphic work— that grows awareness on a key period of Latin American modernism (from the ‘30s to the ‘70s), many previously unseen in Spain. This thus confirms Museo Reina Sofía’s growing interest in Latin America’s cultural scene, as well as its vocation of taking an outstanding position as a museo del sur (“southern museum”).
    [Show full text]
  • Brochure of Lygia Pape. Magnetized Space
    25 May - 3 October 2011 Museo Nacional Lygia Pape Centro de Arte Reina Sofía Magnetized Space Lygia Pape 25 May - 3 October 2011 the work of other artists. In Ovos, three Sabatini building individuals tear open the membranes/ Santa Isabel, 52 Exhibition organized by MNCARS in shells of three cubes and emerge from 28012 Madrid Magnetized Space inside them in a gesture that is at once collaboration with the Projeto Lygia Pape transgressive and liberating. Also dating Tel. 91 774 10 00 from that period is Divisor, her fi rst Fax 91 774 10 56 In the 1950s, Brazil underwent a whirlwind process of modernization collective experiment, whose choral and that found energetic and constructively determined expression in poetic dimension made it one of the most Museum hours www.museoreinasofi a.es architecture, city planning, art and literature. Initiatives like the signifi cant pieces of the period. The heads Monday to Saturday Legal deposit: M-22287-2011 construction of Brasilia, the urban development of Rio de Janeiro, of the participants appear through the from 10:00 a.m. to 9:00 p.m. NIPO: 553-11-006-9 the opening of museums of modern art in São Paulo and Rio and the holes in a vast sheet of cloth that links Sundays from 10:00 a.m. to 2:30 p.m. them together while separating them inauguration of the São Paulo Biennial were among the landmarks of Closed Tuesdays Eat me, 1975 from their bodies. The ludic nature of the experiment, open to the that exceptionally luminous decade, when the country felt modern 16 mm/ 35 mm, vagaries of casuistry, transforms the individual motor force into a color, sound, 6’41’’ Galleries close 15 minutes for the fi rst time.
    [Show full text]
  • Lygia Pape Magnetized Space Comprehensive Monograph
    Lygia Pape Comprehensive monograph Magnetized Space Brazilian artist Lygia Pape was a founding member of the Neo-Concrete movement, which was dedicated to the inclusion of art into everyday life. Program Her early work developed out of an interest in European abstraction; Monographs & Artists’ Books however, she and her contemporaries went beyond simply adopting an ______________________________________ international style, and started to draw on their own local situation. Edited by Neo-Concretism is often seen as the beginning of contemporary art in María Luisa Blanco Brazil, and Pape's work—which focus on the coming together of Manuel J. Borja-Villel aesthetic, ethical, and political ideas—has formed an important part of Teresa Velásquez Brazil's artistic identity. ______________________________________ Linked to Grupo Frente’s Concretism, the artist aligned herself with Authors other artists such as Lygia Clark and Hélio Oiticica, and poets such as Ivana Bentes Ferreira Gullar. However, Pape’s work, with its focus on poetry, writing, Guy Brett and experience, did not receive the same critical attention as that of her Lauro Cavalcanti contemporaries. The texts in this monograph explore the artist’s efforts Paulo Herkenhoff to create a language that echoes a new order of sensation and Reynaldo Jardim sensibility. Luiz Camillo Osorio Paula Pape Revised and expanded edition, published with Projeto Lygia Pape and Lygia Pape Museo Nacional Centro de Arte Reina Sofia. Teresa Velásquez Paulo Venancio Filho ______________________________________ Edition English January 2015 ISBN: 978-3-03764-393-8 Softcover, 205 x 262 mm 424 pages Images 239 color / 108 b/w CHF 60 / EUR 40 / £ 30 / US 55 ______________________________________ jrp|ringier.
    [Show full text]
  • MUNICH (May, 2021) – Luxury Fashion Online Retailer Mytheresa Is
    MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 L’artiste américaine Lynda Benglis réalisant un projet commande par l’Université de Rhode Island, Kingston, Rhode Island, 1969. © Adagp, Paris 2021. Photo by Henry Groskinsky /The LIFE Picture Collection via Getty Images MUNICH (May, 2021) – Luxury fashion online retailer Mytheresa is honored to be a sponsor of the “Women in Abstraction” exhibition, to support and give recognition to female artists around the globe. The “Women in Abstraction” exhibition, which should be presented at the Centre Pompidou from May 19th to August 23th 2021, offers a new take on the history of abstraction - from its origins to the 1980s - and brings together the specific contributions of around one hundred and ten “women artists”. FOR FURTHER INFORMATION PLEASE CONTACT: MYTHERESA SANDRA ROMANO PHONE: +49 89 12 76 95-236 EMAIL: [email protected] MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 “Les amis du Centre Pompidou and the Centre Pompidou express their warmest thanks to Mytheresa and to its CEO, Michael Kliger, for their so generous support and positive commitment to the pivotal Women in Abstrac- tion exhibition, which opens in May at the Centre Pompidou”, commented Floriane de Saint Pierre, Chair of the Board of the amis du Centre Pompidou and Serge Lasvignes, President of the Centre Pompidou. “We are very proud and excited to sponsor this outstanding exhibition, in the globally renowned museum such as Le Centre Pompidou. Empowering women is a mission truly close to our heart at Mytheresa and this exhibition shows the importance and impact at women's art work and gives them the recognition they deserve within the Abstract movement on a global scale”, says Michael Kliger, CEO of Mytheresa.
    [Show full text]
  • In the Art of Sandro Botticelli And
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ANTIQUITY AND THE SISTINE SOJOURN (1481-1482) IN THE ART OF SANDRO BOTTICELLI AND DOMENICO GHIRLANDAIO Volume 1 A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Max Calvin Marmor May, 1982 ~ • I The Thesis of Max Calvin Marmor is approved: anne L. Trabold, Ph.D. California State University, Northridge i i This thesis is dedicated to the immortal words of Ibn Abad Sina "Seek not gold in shallow vessels!" (Contra Alchemia, Praefatio) iii ACKNOWLEDGEMENTS Thanks are due my thesis committee for allowing a maverick to go his own way. Without their contributions, this experience would not have been what it has been. More could be said on this score but, to quote the Devil (whose advice I should have followed from the outset): "Mach es kurz! Am Juengsten Tag ist's nur ein F--z!" So I'll "make it short." I owe special thanks to Dr. Birgitta Wohl, who initially persuaded me that higher education is worthwhile; who expressed unfailing interest in my ideas and progress; and who, throughout, has provided a unique living example of wide learning and humanistic scholarship. Finally, this thesis could not have been written without the ever prompt, ever courteous services of the CSUN Library Inter-Library Loan Department. Thanks to Charlotte (in her many roles}, to Misha and their myriad elves, who, for an unconscionably long time, made every day Christmas! iv CONTENTS Page LIST 01'' FIGURES . vii ABSTRACT . ix Chapter INTRODUCTION: CONTEXT AND CRISIS IN THE REVIVAL OF ANTIQUITY.
    [Show full text]