THE Contemporary Art Market REPORT 2015
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Restoring Subjectivity and Brazilian Identity: Lygia Clark's Therapeutic
Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Eleanor R. Harper June 2010 © 2010 Eleanor R. Harper. All Rights Reserved. 2 This thesis titled Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice by ELEANOR R. HARPER has been approved for the School of Art and the College of Fine Arts by Jaleh Mansoor Assistant Professor of Art History Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT HARPER, ELEANOR R., M.A., June 2010, Art History Restoring Subjectivity and Brazilian Identity: Lygia Clark’s Therapeutic Practice (125 pp.) Director of Thesis: Jaleh Mansoor This thesis examines the oeuvre of Brazilian artist Lygia Clark (1920-1988) with respect to her progressive interest in and inclusion of the viewing subject within the work of art. Responding to the legacy of Portuguese occupation in her home of Brazil, Clark sought out an art that embraced the viewing subject and contributed to their sense of subjectivity. Challenging traditional models of perception, participation, and objecthood, Clark created objects that exceeded the bounds of the autonomous transcendental picture plane. By fracturing the surfaces of her paintings, creating objects that possess an interior and exterior, and by requiring her participants to physically manipulate her work, Clark demonstrated an alternative model of the art object and experience. These experiments took her into the realm of therapy under the influence of psychoanalyst D. W. Winnicott’s work. -
Waiting for God by Simone Weil
WAITING FOR GOD Simone '111eil WAITING FOR GOD TRANSLATED BY EMMA CRAUFURD rwith an 1ntroduction by Leslie .A. 1iedler PERENNIAL LIBilAilY LIJ Harper & Row, Publishers, New York Grand Rapids, Philadelphia, St. Louis, San Francisco London, Singapore, Sydney, Tokyo, Toronto This book was originally published by G. P. Putnam's Sons and is here reprinted by arrangement. WAITING FOR GOD Copyright © 1951 by G. P. Putnam's Sons. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner without written per mission except in the case of brief quotations embodied in critical articles and reviews. For information address G. P. Putnam's Sons, 200 Madison Avenue, New York, N.Y.10016. First HARPER COLOPHON edition published in 1973 INTERNATIONAL STANDARD BOOK NUMBER: 0-06-{)90295-7 96 RRD H 40 39 38 37 36 35 34 33 32 31 Contents BIOGRAPHICAL NOTE Vll INTRODUCTION BY LESLIE A. FIEDLER 3 LETTERS LETTER I HESITATIONS CONCERNING BAPTISM 43 LETTER II SAME SUBJECT 52 LETTER III ABOUT HER DEPARTURE s8 LETTER IV SPIRITUAL AUTOBIOGRAPHY 61 LETTER v HER INTELLECTUAL VOCATION 84 LETTER VI LAST THOUGHTS 88 ESSAYS REFLECTIONS ON THE RIGHT USE OF SCHOOL STUDIES WITII A VIEW TO THE LOVE OF GOD 105 THE LOVE OF GOD AND AFFLICTION 117 FORMS OF THE IMPLICIT LOVE OF GOD 1 37 THE LOVE OF OUR NEIGHBOR 1 39 LOVE OF THE ORDER OF THE WORLD 158 THE LOVE OF RELIGIOUS PRACTICES 181 FRIENDSHIP 200 IMPLICIT AND EXPLICIT LOVE 208 CONCERNING THE OUR FATHER 216 v Biographical 7\lote• SIMONE WEIL was born in Paris on February 3, 1909. -
Damien Hirst Visual Candy and Natural History
G A G O S I A N 7 February 2018 DAMIEN HIRST VISUAL CANDY AND NATURAL HISTORY EXTENDED! Through Saturday, March 3, 2018 7/F Pedder Building, 12 Pedder Street Central, Hong Kong I had my stomach pumped as a child because I ate pills thinking they were sweets […] I can’t understand why some people believe completely in medicine and not in art, without questioning either. —Damien Hirst Gagosian is pleased to present “Visual Candy and Natural History,” a selection of paintings and sculptures by Damien Hirst from the early- to mid-1990s. The exhibition coincides with Hirst’s most ambitious and complex project to date, “Treasures from the Wreck of the Unbelievable,” on view at Palazzo Grassi and Punta della Dogana in Venice until December 3. Since emerging onto the international art scene in the late 1980s as the protagonist of a generation of British artists, Hirst has created installations, sculptures, paintings and drawings that examine the complex relationships between art, beauty, religion, science, life and death. Through series as diverse as the ‘Spot Paintings’, ‘Medicine Cabinets’, ‘Natural History’ and butterfly ‘Kaleidoscope Paintings,’ he has investigated and challenged contemporary belief systems, tracing the uncertainties that lie at the heart of human experience. This exhibition juxtaposes the joyful, colorful abstractions of his ‘Visual Candy’ paintings with the clinical forms of his ‘Natural History’ sculptures. Page 1 of 3 The ‘Visual Candy’ paintings allude to movements including Impressionism, Abstract Expressionism and Pop Art, while the ‘Natural History’ sculptures—glass tanks containing biological specimens preserved in formaldehyde—reflect the visceral realities of scientific investigation through minimalist design. -
THOMAS STRUTH Born in Geldern, Germany in 1954 Lives and Works in Berlin (Germany) and New York (United States)
THOMAS STRUTH Born in Geldern, Germany in 1954 Lives and works in Berlin (Germany) and New York (United States) Thomas Struth is regarded as one of the world’s foremost contemporary artists. From 1973 to 1980, Struth studied at the State Academy of Art in Düsseldorf. In 1977 he was the first student to receive a scholarship from the Düs- seldorf Academy to live and work in New York. There he created a series of black-and-white urban landscapes, which he showed in his first solo exhibition at P.S.1, New York, in 1978. In the mid-1980s, he started on a series of portraits of individuals and families illustrating his vision of photography as a science-derived tool for psychological investigation. This continuing work examines the personal and cultural dynamics that condition our self-image, exploring how this self-image will influence our individual and collective identities. From 1989 to 2005, Struth developed his best-known series, the Museum Photographs, in which he captures individuals and crowds looking at iconic works of Western art in the great museums of the world. Over the last fifteen years, Struth has steadily expanded his repertoire with other themes. These include New Pictures from Paradise (1998–2007), gathering places for religious believers or tourists (from 1998), and, beginning in 2007, images from the fields of science and research, industrial production and technology, which show how our faith in progress can be visually represented as a process of group dynamics. SELECTED SOLO EXHIBITIONS 2013 Thomas Struth, Stiftung zur Förderung zeitgenössischer Kunst in Weidingen, Weidingen, Germany 2012 St. -
THBT Social Disgust Is Legitimate Grounds for Restriction of Artistic Expression
Published on idebate.org (http://idebate.org) Home > THBT social disgust is legitimate grounds for restriction of artistic expression THBT social disgust is legitimate grounds for restriction of artistic expression The history of art is full of pieces which, at various points in time, have caused controversy, or sparked social disgust. The works most likely to provoke disgust are those that break taboos surrounding death, religion and sexual norms. Often, the debate around whether a piece is too ‘disgusting’ is interwoven with debate about whether that piece actually constitutes a work of art: people seem more willing to accept taboo-breaking pieces if they are within a clearly ‘artistic’ context (compare, for example, reactions to Michelangelo’s David with reactions to nudity elsewhere in society). As a consequence, the debate on the acceptability of shocking pieces has been tied up, at least in recent times, with the debate surrounding the acceptability of ‘conceptual art’ as art at all. Conceptual art1 is that which places an idea or concept (rather than visual effect) at the centre of the work. Marchel Duchamp is ordinarily considered to have begun the march towards acceptance of conceptual art, with his most famous piece, Fountain, a urinal signed with the pseudonym “R. Mutt”. It is popularly associated with the Turner Prize and the Young British Artists. This debate has a degree of scope with regards to the extent of the restriction of artistic expression that might be being considered here. Possible restrictions include: limiting display of some pieces of art to private collections only; withdrawing public funding (e.g. -
The Theory and Practice of Visual Arts Marketing
The Tension Between Artistic and Market Orientation in Visual Art Dr Ian Fillis Department of Marketing University of Stirling Stirling Scotland FK9 4LA Email: [email protected] Introduction For centuries, artists have existed in a world which has been shaped in part by their own attitudes towards art but which also co-exists within the confines of a market structure. Many artists have thrived under the conventional notion of a market with its origins in economics and supply and demand, while others have created a market for their work through their own entrepreneurial endeavours. This chapter will explore the options open to the visual artist and examine how existing marketing theory often fails to explain how and why the artist develops an individualistic form of marketing where the self and the artwork are just as important as the audience and the customer. It builds on previous work which examines the theory and practice of visual arts marketing, noting that there has been little account taken of the philosophical clashes of art for art’s sake versus business sake (Fillis 2004a). Market orientation has received a large amount of attention in the marketing literature but product centred marketing has largely been ignored. Visual art has long been a domain where product and artist centred marketing have been practiced successfully and yet relatively little has been written about its critical importance to arts marketing theory. The merits and implications of being prepared to ignore market demand and customer wishes are considered here. 1 Slater (2007) carries out an investigation into understanding the motivations of visitors to galleries and concludes that, rather than focusing on personal and social factors alone, recognition of the role of psychological factors such as beliefs, values and motivations is also important. -
Photographs Gathered by William T. Hillman
PRESS RELEASE | NEW YORK | 9 MARCH 2015 | FOR IMMEDIATE RELEASE CHRISTIE’S PRESENTS LEAVES OF LIGHT AND SHADOW: PHOTOGRAPHS GATHERED BY WILLIAM T. HILLMAN FREDERICK SOMMER, Livia, 1948. gelatin silver print, $80,000 - 120,000 RINEKE DIJKSTRA, Nicky, The Krazyhouse, Liverpool, England, January 19, 2009, $15,000 - 25,000 New York – On March 31, Christie’s will present the sale of Leaves Of Light And Shadow: Photographs Gathered By William T. Hillman, comprising 117 works judiciously acquired by William Hillman over the past three decades. With a sophisticated eye and tremendous dedication to photography, Mr. Hillman has built a comprehensive collection by pursuing consummate examples from top photographers spanning the history of the medium. In Hillman’s dedication to both photography and his hometown of Pittsburgh, Pennsylvania, his primary mission over the past three decades has been to build a world-class collection that will ultimately be gifted to the Carnegie Museum of Art. “There are gaps in the vintage acquisitions and the need to support and strengthen the contemporary component of this endeavor,” Mr. Hillman has stated. Hillman personally designated each work being presented for sale, and will reinvest the funds raised by the auction back into his mission. The top lot of the auction is Waitress in a Nudist Camp, N.J., 1963 by Diane Arbus (estimate: $200,000-300,000). Additional Highlights include: HENRI CARTIER-BRESSON, Piazza della Signoria, Florence, Italy, 1933, gelatin silver print | Estimate: $100,000-150,000 Piazza della Signoria, Florence was one of Henri Cartier Bresson's favorite images. He included it in his first solo exhibition in 1933 and his last retrospective in 2003, as well as in his first monograph The Decisive Moment in 1952, and his last monograph in 2005. -
Thomas Ruff at K20 As of September 12, 2020
Press Release Stiftung Kunstsammlung 20. August 2020 Nordrhein-Westfalen Page 1/4 Grabbeplatz 5 40213 Düsseldorf +49 (0) 211 83 81 730 [email protected] Thomas Ruff at K20 as of September 12, 2020 With the exhibition Thomas Ruff, the Kunstsammlung Nordrhein-Westfalen presents a comprehensive overview of one of the most important representatives of the Düsseldorf School of Photography. The exhibition ranges from series from the 1990s, which document Ruff’s unique conceptual approach to photography, to a new series that is now being shown for the first time at K20: For Tableaux chinois, Ruff drew on Chinese propaganda photographs. Parallel to Thomas Ruff’s exhibition, the Kunstsammlung Nordrhein-Westfalen is also presenting highlights from the collection at K20 under the title Technology Transformation. Photography and Video in the Kunstsammlung, which also deals with artistic photography and technical imaging processes in art. “With his manipulations of photographs from many different sources, Thomas Ruff comments in an incredibly clever way on how we see images in a digitalized world. Through his virtuoso handling of digital image processing, he confronts us with a critical examination of the image material he uses and its historical, political, and epistemological significance. Some of his most important series are represented in our collection, and we are very proud to dedicate a large-scale exhibition at K20 to this prominent representative of the Düsseldorf School of Photography,” states Susanne Gaensheimer, Director of the Kunstsammlung Nordrhein-Westfalen. Thomas Ruff (b. 1958) is one of the internationally most important artists of his generation. Already as a student in the class of the photographers Bernd and Hilla Becher at the Düsseldorf Academy of Art in the early 1980s, he chose a conceptual approach to photography which is evident in all the workgroups within his multifaceted oeuvre and determines his approach to the most diverse pictorial genres and historical possibilities of photography. -
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). -
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. -
Thomas Struth: Pergamon I-VI
M A R I A N G O O D M A N G A L L E R Y For Immediate Release. Thomas Struth: Pergamon I-VI April 30 – June 15, 2002 Opening reception: Tuesday, April 30, 2002 Marian Goodman Gallery is very pleased to announce an exhibition of new pictures by the German artist Thomas Struth. The exhibition will open on Tuesday, April 30th and will continue through June 15th. Gallery hours are Monday through Saturday, 10 am to 6 pm. Since 1989, Thomas Struth’s museum pictures have depicted architectural monuments and museum interiors – rooms of history -- in relation to their audience, in which the subjects themselves become the portrait. In his newest body of work, Pergamon I-VI, Struth continues his timeless portraits of human identity in relation to the past and to their places of representation. This will be the first time he has exhibited a series of pictures devoted to a single location. On view in the North Gallery will be five large-scale photographs taken in the Pergamon Museum, Berlin. The museum was built to house the reconstructed Pergamon Altar (2nd century BC), excavated in the late 19th century by the German archaeologist/engineer Carl Humann. Situated in the former East Berlin, during the post war years the Pergamon’s collection was not easily accessible to most Americans and Western Europeans. It was only after the collapse of the Berlin Wall, as the artist says, that “this outstanding example of ritual architecture, constructed mythology and reconstructed history became again visible and tangible for debate.” Since the late seventies, Thomas Struth has been known for his architectural and urban photographs, portraits, landscapes, and museum interiors. -
SUBJECT and OBJECT. PHOTO RHINE RUHR 21 March – 16 August 2020
Grabbeplatz 4 40213 Düsseldorf Tel. +49 (0)211 520 99 595 [email protected] www.kunsthalle-duesseldorf.de SUBJECT and OBJECT. PHOTO RHINE RUHR 21 March – 16 August 2020 For the first time, the exhibition Subject and Object. Photo Rhine Ruhr will examine the relationships between the different photographic positions that have developed in the cities of the Rhineland as well as the Ruhr and at the regions’ art academies since the 1960s. This unique approach is due to the fact that such a rich photography scene was able to develop in western Germany, which has repeatedly produced new and innovative artistic positions with sometimes very different photographic approaches over the past 70 years. According to the thesis, on the one hand this is due to the density of art academies and trade schools that developed in the Rhine and Ruhr regions after the Second World War. On the other hand, it is also a result of artistic socialization through an intensive art-historical discourse, parallel artistic developments within the visual arts, and the engagement with positions of international art that were shown at the major institutions in Düsseldorf, Essen, Cologne, Krefeld, and Mönchengladbach. An independent photo class was established in the 1970s at the Kunstakademie Düsseldorf with Bernd and Hilla Becher. At what is now the Folkwang University of the Arts in Essen, where a photo class led by Max Burchartz existed as early as the 1920s (parallel to the developments at the Bauhaus in Dessau), photography was once again taught as an independent specialization starting in 1959, initially under Otto Steinert.