Emanuel Hoffmann Foundation List of Artists
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(The Avoidance of Everything) Bill Beckley—1968-1978 On
FOR IMMEDIATE RELEASE Albertz Benda Opens with the Inaugural Exhibition The Accidental Poet (The Avoidance of Everything) Bill Beckley—1968-1978 On view September 10 – October 3, 2015 Graphic for Myself as De Kooning’s Stove, 1974 Washington, 1969 Cibachrome and black and white Black and white photograph on photographs 30 x 60 inches (76.2 x paperboard 14 x 28 inches 152.4 cm) Edition of 3 (35.5 x 71 cm) When I did the piece crossing the Delaware River on foot, dripping paint as I went, the current took me under, and I lost not only the paint but also the camera I was using to document the work. I realized then that all I had left was the story. – Bill Beckley, 2007 New York, NY, June 11, 2015 – For its inaugural exhibition, Albertz Benda is pleased to present a solo show of rare, early works by Bill Beckley from 1968-1978, many of which have not been on view in four decades. A fundamental member of the ‘70s SoHo art community, Beckley’s work provides a crucial glimpse into one of the key New York art movements of the 20th century. The Accidental Poet (The Avoidance of Everything) features materials drawn from Beckley’s archives, shuttered since the 1970s, unveiling never before seen performance documentation, watercolors, and studies for his best-known work, among other materials. The exhibition will also feature the artist’s conceptual narrative work of typed fictions and framed photographs, previously shown at landmark exhibitions including the Whitney Biennial, Documenta and the Venice Biennale, which have not been on view in the United States since the 1970s. -
Alberto Giacometti and the Crisis of the Monument, 1935–45 A
UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures. -
It's Customary for Galleries to Display Their Artists' Newest Works. That Is
Installation view, “The Accidental Poet: Bill Beckley—1968-1978,” 2015, at Albertz Benda. It’s customary for galleries to display their artists’ newest works. That is understandable, for we want to see how these figures are developing; we usually leave it to museums to offer a broader historical perspective. But it can be very instructive, also, to study the origins of a now-celebrated artist. Bill Beckley started showing art in 1968, at the moment when change was in the air in New York. He was one of a group of now- Carrier, David. “Accidentally on Purpose: Bill Beckley at Albertz Benda, Artcritical, October 3, 2015. legendary artists associated with the pioneering Soho Gallery at 112 Greene Street — they included Louise Bourgeois, Suzanne Harris, Gordon Matta-Clark and Dennis Oppenheim. This densely packed exhibition provides a good overview of his first decade of artmaking. “The Accidental Poet” included Myself as Washington (1969), a photograph that anticipates Cindy Sherman’s playful studies of personal identity; and the text with photograph Joke About Elephants (1974), a precursor of Richard Prince’s joke paintings. There is Rooster, Bed, Lying (1971), a bed underneath a chicken wire cage housing the live rooster who was present at the opening. In Photo Document for Song for a Chin-up (1971), which was performed by a tenor at the opening, a tenor sings while doing a chin- up. Artists of the previous generation, the Pop painters and Minimalists, who came of age in the 1960s, defined the unity of their concerns by creating distinctive visual styles — a Warhol, like a Lichtenstein or a Donald Judd, is unmistakably their personal product. -
Press Release
ROGER WELCH: EXHIBITION DATES: Expressions of Memory March 2 – April 24, 2021 WESTWOOD GALLERY NYC presents a solo exhibition by New York artist, Roger Welch, entitled Expressions of Memory. This is his first solo show with the gallery and the first solo show of Welch’s work in fifteen years. The exhibition will be on view March 2 - April 24, 2021. Expressions of Memory highlights twenty works from Roger Welch’s narrative art movement founded in the 1970s, along with artists John Baldessari, William Wegman, and Bill Beckley. The aim of narrative art is to tell a sequential story, often based on personal memories. Welch works in a variety of media including sculpture, photography, video, painting, and performance. This exhibition features four main bodies of work produced from the 1970s through the 1990s: the autobiographic ‘Welch Family’ series, ‘Woven Narratives’ series, ‘Photo Perception’ series, and ‘Austin, Texas Children’ series. Included in the exhibition is a video installation, “Welch”, 16mm motion picture with sound, 1:27:00, first exhibited in 1972 at the Ileana Sonnabend Gallery in SoHo. The film was edited from family home movies dating back to 1927, to show the cyclical nature of a middle-class family in the suburbs, overlaid with Welch’s own recollections of his family’s life through his relatives’ stories. Coupled with the video are photo diptychs and triptychs utilizing vintage photographs sourced from his family’s archive with participatory hand scripted memories of events by his father, mother, grandfather, and grandmother. The shared memories exemplify the quest of a middle-class family in pursuit of the American Dream in the 1970s as they operated their paint and wallpaper shop in Westfield, New Jersey, family-owned for over three generations. -
Schweizerische Kunstausstellung Basel 1956
1 A 1 Schweizerische 7815 Kunstausstellung Basel 1956 H Bazaine-Bertholle-Bissière- Eble Abstrakte Maler Estève-Hartung-Lanskoy- Loutre Manessier-Le Moal-Nallard Reichel-Singier-Vieira da Silva Spiller-de Staël Ausstellung Juni, Juli Maîtres de l'art moderne Delacroix-Renoir-van Gogh Cézanne -Braque-Rouault Picasso etc. Ausstellung August, September, Oktober Illustrierte Kataloge Galerie Beyeler Basel/Bäumleingasse 9 täglich (sonntags nur 10-12 Uhr) ETHICS SIK Telephon 222558 02000001352510 Schweizerische Kunstausstellung Basel 1956 A/\ r- vf Schweizerisches Institut WlU . W für Kunstwissenschaft Zürich Schweizer Mustermesse, Halle 8, «Baslerhalle» 2. Juni bis 15. Juli 1956 (ö ö ~t s \~2-~ Dauer der Ausstellung 2. Juni bis 15. Juli 1956 Besuchszeiten Täglich 10-12 und 14-17 Uhr Sonntags durchgehend von 10-17 Uhr Eintrittspreise Einmaliger Eintritt (inkl. Billettsteuer) Fr. 1.50 Schüler und Studenten Fr.I.¬ Schüler in geführten Gruppen Fr.-.50 Tageskarte Fr. 2.50 Illustrierter Katalog Fr. 2.50 Verkäufe Alle Verkäufe haben durch Vermittlung der Kasse zu erfolgen. Fürdie ausdem Ausland eingesandten Werke hat der Käufer den Zoll zu tragen. Die Abgabe der gekauften Werke erfolgt nach Schluß der Ausstellung. Prof. Dr. Max Huggler, Bern, Präsident Walter Bodmer, Basel Serge Brignoni, Bern Charles Chinet, Rolle Charles-François Philippe, Genf Hans Stocker, Basel Frau Janebé, Boudry Frau Elsa Burckhardt-Blum, Küsnacht, Ersatz Max von Mühlenen, Bern, Ersatz Rudolf Zender, Winterthur, Ersatz Werner Bär, Zürich, Präsident Bruno Giacometti, Zürich Otto Charles Bänninger, Zürich Hermann Hubacher, Zürich Remo Rossi, Locarno Max Weber, Genf Fräulein Hildi Hess, Zürich Paul Baud, Genf, Ersatz Casimir Reymond, Lutry, Ersatz Fräulein Hedwig Frei, Basel, Ersatz Architektonische Gestaltung E. -
The Museum of Modern Art: the Mainstream Assimilating New Art
AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions. -
Albertz Benda Opens with the Inaugural Exhibition the Accidental Poet (The Avoidance of Everything) Bill Beckley—1968-1978
FOR IMMEDIATE RELEASE Albertz Benda Opens with the Inaugural Exhibition The Accidental Poet (The Avoidance of Everything) Bill Beckley—1968-1978 On View September 10 – October 3, 2015 De Kooning’s Stove, 1974 Graphic for Myself as Washington, 1969 Cibachrome and black and white photographs Black and white photograph on paperboard 30 x 60 inches (76.2 x 152.4 cm) 14 x 28 inches (35.5 x 71 cm) Edition of 3 When I did the piece crossing the Delaware River on foot, dripping paint as I went, the current took me under, and I lost not only the paint but also the camera I was using to document the work. I realized then that all I had left was the story. – Bill Beckley, 2007 New York, NY – For its inaugural exhibition, Albertz Benda is pleased to present a solo show of rare, early works by Bill Beckley from 1968-1978, many of which have not been on view in four decades. A fundamental member of the ‘70s SoHo art community, Beckley’s work provides a crucial glimpse into one of the key New York art movements of the 20th century. The Accidental Poet (The Avoidance of Everything) features materials drawn from Beckley’s archives, shuttered since the 1970s, unveiling never before seen performance documentation, watercolors, and studies for his best-known work, among other materials. The exhibition will also feature the artist’s conceptual narrative work of typed fictions and framed photographs, previously shown at landmark exhibitions including the Whitney Biennial, Documenta and the Venice Biennale, which have not been on view in the United States since the 1970s. -
"Un Moderno Edificio Amministrativo" : Il Nuovo Complesso Architettonico Adibito a Uffici Dello Stato a Bellinzona
"Un moderno edificio amministrativo" : il nuovo complesso architettonico adibito a Uffici dello Stato a Bellinzona Autor(en): Cavadini, Nicoletta Ossanna Objekttyp: Article Zeitschrift: Kunst + Architektur in der Schweiz = Art + architecture en Suisse = Arte + architettura in Svizzera Band (Jahr): 58 (2007) Heft 1: Im Büro = Au bureau = In ufficio PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-394356 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot -
Harry Anderson Audio Transcript Invisible City Sid: So We're at Harry
Harry Anderson Audio Transcript Invisible City Sid: So we’re at Harry Anderson's house on West Oak Lane on July 1... Harry: …East Oak Lane. S: We are doing an interview for the project Invisible City Philadelphia and the Vernacular Avant-Garde, funded by Pew Center for the Arts and Heritage. So I've known Harry for a long time, going back to 1970. Where were you born? H: Highland Park, Illinois. S: What your parents do? H: My father was a painting contractor and my mother was a housewife. S: Is Highland Park where the Frank Lloyd Wright's are? H: There some there but that's Oak Park. There was, but I don’t want to get into that too much but there were a lot of people that did Frank Lloyd Wright type houses, his disciples. What was that called? S: Prairie Schools. H: So there were a lot of really nice houses in Highland Park that were from that era but I don't know if any were definitely Frank Lloyd Wright houses. S: Did your home have any inkling of culture or art in it? H: No, no. My parents were both immigrants. S: Oh where were they from? H: My father was born in Sweden in 1900 and my mother was born in Oslo about five, six years later. S: So what was your first art experience? H: Oh boy, well I don't know if you want to get too personal. When I was in school like third, fourth grade I started doing these drawings of houses and buildings more mechanical stuff and the teachers just loved them. -
On the Subject of the Ready-Made Or Using a Rembrandt As an Ironing Board
On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Daimler Art Collection On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Max Ackermann John McLaughlin Josef Albers Albert Mertz Ian Anüll Gerold Miller John M. Armleder Olivier Mosset Hans/Jean Arp Horst Münch Richard Artschwager John Nixon Willi Baumeister Blinky Palermo Bill Beckley Patrick Fabian Panetta Max Bill Esteban Pastorino Julius Heinrich Bissier Lothar Quinte Dieter Blum Timm Rautert Hartmut Böhm Joseph Francis Charles Rock Greg Bogin Peter Roehr Monika Brandmeier Ulrike Rosenbach Andreas Brandt Tom Sachs Sarah Browne Kiyoshi Sakamoto Max Burchartz Pietro Sanguineti Daniel Buren Viviane Sassen André Cadere Jürgen Schadeberg Siegfried Cremer Andreas Schmid Gia Edzgveradze Leonhard Schmidt Sergio Fermariello Jan J. Schoonhoven Roland Fischer Dayanita Singh Adolf Richard Fleischmann Anton Stankowski Günter Fruhtrunk Elaine Sturtevant Poul Gernes Guy Tillim Hermann Glöckner Hayley Tompkins David Goldblatt Rosemarie Trockel Camille Graeser Timm Ulrichs Konstantin Grcic Dieter Villinger George Grosz Andy Warhol Isabell Heimerdinger Franz West Jan Henderikse Christa Winter Adolf Hölzel Zheng Guogu Johannes Itten Heimo Zobernig Donald Judd Franklin Prince Knott Tadaaki Kuwayama Liu Zheng Robert Mapplethorpe FOREWORD The exhibition On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board – featuring 130 works from the Daimler Art Collection selected by Welsh conceptual artist Bethan Huws – strad- dles the years 2016 and 2017, thus referencing the ‘double’ birthday of the ready-made as a concept and as an artistic praxis. -
Untitled, Miami Beach, 2015 Raises the Bar with Increased Attendance and Robust Sales
Untitled, Miami Beach, 2015 raises the bar with increased attendance and robust sales This year, despite uncooperative weather, the fair achieved a 35% increase in daily attendance. MIAMI, FLA.- On Sunday, December 6, Untitled, Miami Beach, the international art fair, closed its fourth edition. Comprised of 127 international exhibitors - that included non-profit organizations and artist-run exhibition spaces - and an innovative program of events including performances and talks, the fair received top accolades from visitors and exhibitors, securing its place as a must-attend event during Miami Art Week. This year, despite uncooperative weather, the fair achieved a 35% increase in daily attendance, bringing in a total of over 36,000 visitors. Collectors and art world professionals from around the globe braved the elements and flooded the fair’s airy aisles to view and acquire works from an exceptional selection of emerging and established exhibitors. “This year, our team put together an outstanding fair,” stated Jeff Lawson, Untitled’s Founder, “Our exhibitors, returning and new, helped us make this fair a great success! We are looking forward to 2016.” Untitled, Miami Beach’s VIP Preview was held on Tuesday, December 1 - a change from previous year’s Monday night event – and brought over 5,000 of the world’s top-tier collectors, and kept them coming for the duration of the fair. Notable collectors include Anita Zabludowicz, Catriona and Simon Mordant, Gil Bronner, Lawrence Benenson, Dennis Scholl, Jorge Perez, Isabel and Agustin Coppel, Mera and Don Rubell, Aryn Drake-Lee and Jesse Williams, Linda and Paul Gotskind, Beth Rudin DeWoody, Paul Leong, Zoe and Joel Dictrow, Brooke Garber Neidich, Monique and Max Burger, Nion McEvoy, Richard Massey, Charlotte Ford, Thomas Olbricht, Susan Goodman and Rod Lubeznik, Mirella and Dani Levinas, Susan Swig, Alain Servais, Rosella Fimbres, Susana Steinbruch, Larry and Marilyn Fields, Anne Tannenbaum, Michael and Eileen Cohen, Helen and Charles Schwab, Laura and John Arnold, and Susan and Michael Hort. -
La Poesia È Una Pipa…»
Giorgio Zanchetti «La poesia è una pipa…» L’unità complessa del linguaggio nelle ricerche artistiche verbo- visuali delle seconde avanguardie ◊ CUEM Milano 2004 Sommario Premessa 7 «La poésie est une pipe». L’unità complessa del linguaggio nelle ricerche artistiche verbovisuali 11 Parola e comportamento in Fluxus. Questioni di metodo e aspetti problematici 47 Quattro piccole prefazioni per Dick Higgins 65 Dick Higgins: l’intermedialità. 79 Il caso come tradizione in George Brecht. 93 Terry Atkinson. Mind the gap! (Attenti allo scarto!) 107 Frammento di un dialogo con Haroldo De Campos 117 L’anamorfosi del linguaggio. Alcune ipotesi Premessa intorno alla scrittura di Martino Oberto. 121 Dialogo con Martino Oberto 136 Per Luciano Caruso. Una mano di scrittura? 149 Irma Blank: il corpo trasparente della scrittura 153 Una nuova logica ludica. Gli oggetti Ho raccolto in questo volume, per metterle a di- “spiazzati” di Guglielmo Achille Cavellini 159 sposizione degli studenti e degli studiosi che si dedicano a questi temi, alcune considerazioni intorno alle ragioni e «Mon vrai repertoire, c’est la vie». Qualche all’interesse delle ricerche artistiche verbovisuali, che mi è coordinata per un accostamento a Rudolf accaduto di esprimere nel corso di poco più di un decen- Muprecht 169 nio e che, ora, possono risultare in parte di difficile repe- ribilità, perché spesso pubblicate in volumi collettivi o in cataloghi di mostre. Non c’é musica nel Texas. Incursioni tra arte, Alcuni dei testi originali sono stati, anche sostan- video e televisione. 179 zialmente, integrati con materiali inediti, rimaneggiati o rifusi, in una stesura più ampia. Nel saggio iniziale che «Tutto ciò a cui rinuncio diventa dà il titolo alla raccolta sono confluiti, in particolare: Sala linguaggio…» Parola e immagine nelle fumatori.