DOCSLIB.ORG

Middelpunt Amsterdam

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Middelpunt Amsterdam PRESS ergeet New York, het Kröller-Müller Museum, het tijd later startte hij een project met draait het ook bij New Yorker Tentoonstelling Londen of Parijs. Gemeentemuseum Den Haag en exact dezelfde naam, waarbij hij in Robert Barry, die van zijn bulletin Wie in de jaren Museum Boijmans Van Beuningen. een klein zeilbootje de Atlantische een gedachte-experiment maakte. zeventig wilde Het Museum of Modern Art Oceaan probeerde over te steken. Aan de voorkant van zijn blad weten waar het in (MoMA) in New York kreeg de Hij verloor daarbij het leven. staan praktische gegevens als de kunst om ging, bulletins die tussen 1968 en 1989 In het pre-internettijdperk de openingstijden van zijn show. Art & Project reisde naar Amsterdam. Daar zette verschenen. Zes jaar geleden gebruikte Carl Andre zijn bulletin Binnenin typte hij de zin: ‘During Bulletins hetV Stedelijk Museum samen met organiseerde het museum daar een als oproepblaadje. De Amerikaan the exhibition the gallery will Middelpunt t/m 18 dec., The Merchant galeries en kunstenaars wereldwijd tentoonstelling over. Nu is de hele vroeg verzamelaars die zijn werk be closed.’ Nog radicaler was House, Amsterdam, de toon. Galerie Art & Project, die in collectie van 156 stuks voor het bezaten zich te melden, omdat hij Ian Wilson, die de lezer een leeg merchanthouse.nl 1968 opende, speelde daarbij een eerst te zien in Amsterdam. een catalogus wilde samenstellen. bulletin stuurde met alleen de da- belangrijke rol. Al vroeg toonden ze Het woord ‘bulletin’ klinkt een tum. Er was geen tentoonstelling. Amsterdam werk van internationale kunste- beetje belegen, maar in feite zijn Nog radicaler Daniel Buren spande de kroon. naars die in de decennia daarna het kunstwerken op papier. Bijzon- Soms was het publiek onderdeel Op zijn verzoek werd bulletin 24 zouden uitgroeien tot beroemdhe- der is dat de galeriehouders voor van een kunstwerk. In Jan Dibbets’ zelfs niet gepubliceerd. Kunstenaars als Sol LeWitt en Lawrence den: Sol LeWitt, Lawrence Weiner, elk bulletin één kunstenaar vroe- bulletin stond het verzoek de helft De eerste tien jaar rolden er 108 Weiner werkten graag voor de Amsterdamse Daniel Buren, maar ook Nederlan- gen. Binnen de beperking van een van het blad per ommegaande bulletins van de persen. Het waren ders als Jan Dibbets en Ger van Elk. vel A3-papier kreeg hij (slechts twee (gefrankeerd) terug te sturen. In de jaren waarin de conceptuele galerie Art & Project, die tot 2001 bestond. Galeriehouders Geert van Beije- keer ging het om een vrouw) carte de galerie in Amsterdam hingen Ian Wilson stuurde kunst floreerde, met Amsterdam Hun legendarische collectie ‘bulletins’ is nu ren en Adriaan van Ravesteijn van blanche. Bas Jan Ader zette op zijn plattegronden met daarop zwarte een leeg bulletin met als het middelpunt daarvan. Het is Art & Project leven niet meer, maar editie uit 1975 een foto van zichzelf lijnen, die de reis lieten zien van de zoals in die cartoon van The New integraal te zien in Nederland. hun kunstcollectie bleef deels in een zeilboot met daarbij de tekst teruggekeerde exemplaren. alleen de datum. Er was Yorker: vroeger, toen alles slechter Door Sandra Jongenelen bewaard. Ze schonken werk aan ‘In search of the miraculous’. Korte Om dat soort conceptuele kunst geen tentoonstelling was, was alles beter. Bulletin 35 van Richard Gilbert & George Bas Jan Ader zette op zijn editie uit Long. In de foto staat een maakten een aantal 1975 een foto van zichzelf in een couplet uit de song ‘I walk bulletins, onder zeilboot met daarbij de tekst ‘In the line’ van Johnny Cash. meer in 1974. search of the miraculous’. 44 | zaterdag 31 oktober 2015 | fd persoonlijk fd persoonlijk | zaterdag 31 oktober 2015 | 45 http://fd.nl/persoonlijk Exhibition MIDPOINT AMSTERDAM BY SANDRA JONGENELEN Artists like Sol LeWitt and Lawrence Weiner Art & Project Bulletins were eager to work with Amsterdam’s gallery Through December 18 Art & Project, which existed till 2001. Their The Merchant House, Amsterdam entire legendary collection of Bulletins is merchanthouse.nl now on view in the Netherlands. Forget New York, London, or Paris. Those who wanted to know In the pre-internet age, Carl Andre used a bulletin as a means of what art was all about in the 1970s travelled to Amsterdam. It solicitation. The American artist appealed to the collectors of his was here that the Stedelijk Museum, together with the galleries work to come forward because he wanted to compile a catalog. and international artists, set the tone. The gallery Art & Project, which opened in 1968, played a major role in this regard. Early Still more radical on it showed the work of international artists who in the later In some cases, the audience was part of the artwork. Jan decades grew to stardom: Sol LeWitt, Lawrence Weiner, Daniel Dibbets’s Bulletin included a request to send back half of the Buren, but also the Dutch Jan Dibbets and Ger van Elk, among sheet (stamped) by the return mail. The gallery in Amsterdam others. displayed the black-lined maps, which made it possible to see the journeys of the returned items. The Art & Project founders Geert van Beijeren en Adriaan van Ravesteijn are no longer alive but their art collection is quite well preserved. The works were donated to the Kröller-Müller Ian Wilson sent an empty bulletin with only the date. Museum, the Municipal Museum of the Hague and the Museum And there was no exhibition. Boijmans Van Beuningen. The Museum of Modern Art (MOMA) in New York received the Bulletins, which were originally published between 1968 and 1989. Six years ago the museum organized a This type of conceptual art can be also attributed to the New related exhibition. Now the whole collection of 156 pieces can be Yorker Robert Barry, who made a thought experiment with his seen in Amsterdam for the first time. Bulletin. The front page contained practical details such as his show’s opening hours. Inside, he typed one sentence: “During the The word “bulletin” sounds a touch dated, but these are in fact exhibition the gallery will be closed.” Still more radical was Ian artworks on paper. It’s most remarkable that the gallery own- Wilson, who sent the reader a blank Bulletin containing only the ers solicited one artist for each. Within a limitation of a single date. And there was no exhibition either. Daniel Buren deserves sheet of A3-size paper he—a woman was asked only twice— was the crown: at his request Bulletin 24 was not to be published. given carte blanche. In his 1975 edition, Bas Jan Ader showed a photograph of himself in a sailboat with the subscript “In search The first ten years saw 108 Bulletins leave the press. These were of the miraculous.” A short time later, he started the project with the years when conceptual art flourished, with Amsterdam at its the exact same name, which entailed an attempt to cross the center. To quote the New Yorker cartoon: “Everything was better Atlantic Ocean in a sail-boat. This cost him his life. back when everything was worse.” A modern take on the Amsterdam tradition of a merchant The Merchant House Open: A playful mix of life and commerce Herengracht 254 Every Friday from A radical shift in showcasing contemporary art 1016 BV Amsterdam 12–6 pm and by Art space founded by Marsha Plotnitsky in 2012 The Netherlands appointment.
Load more

Recommended publications
  • Hanne Darboven Abstract Correspondence
    1 Hanne Darboven Abstract Correspondence Hanne Darboven Abstract Correspondence Published on the occasion of the exhibition Hanne Darboven, A Survey April 11 - May 24, 2013 Castelli “i can’t describe so i will write”: Hanne Darboven’s Abstract Correspondence Cathleen Chaffee “The simplest thing we could say would be that art—all art, abstract or not— reveals what the subject makes of its condition—the condition of language. It shows what the subject … invents to face the paradox of a condition on which we are dependent but which to a large, definitive extent we cannot control.”1 – Birgit Pelzer For many years, I have had a maxim on composition by Hanne Darboven pinned above my writing desk, a statement she repeated so often it became a kind of manifesto: “I do like to write and I don’t like to read / one plus one is one two.”2 When Darboven was alive, I repeated the adage because it was affirming and even encouraging to know that she was probably sitting at a desk in Harburg, near Hamburg laying words, numbers, and symbols down on the page, diligently completing sheaves of work. The idea that made her pick up a pen each day may opposite page have required research and been difficult to conceptualize, but writing it out, 15/2/74 - 4/3/74. NYC “TODAY”, 1974 giving it symbolic form, was just a matter of time. However, it was not just the Pen and marker on amount of writing Darboven seemed to so fluidly produce that made her inspi- a 32-page notebook 1 3 8 /4 x 5 /4 inches rational as a writer; it was her approach to the reader.
    [Show full text]
  • Passie of Professie. Galeries En Kunsthandel in Nederland
    UvA-DARE (Digital Academic Repository) Passie of professie. Galeries en kunsthandel in Nederland Gubbels, T. Publication date 1999 Link to publication Citation for published version (APA): Gubbels, T. (1999). Passie of professie. Galeries en kunsthandel in Nederland. Uniepers. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 Expansie, differentiatie en distinctie 1985-1995 Gevestigde galeries in soorten en maten De oudere generatie 'Geen enkele galerie in Nederland heeft het zo lang volgehouden als Espace.' aldus H. Koomen-de Langen en J. Torringa in de catalogus die ter gelegenheid van het veertigja­ rig bestaan van de galerie verscheen.1 Espace vierde in 1997 haar jubileum met een ten­ toonstelling in het Frans Halsmuseum in Haarlem, de stad waar de galerie de eerste vier jaar van haar bestaan gevestigd was.
    [Show full text]
  • Art & Project Bulletins
    art & project geert van beijeren / adriaan van ravesteijn art & project bulletins october 15 - december 16, 2007 in cooperation with 20th century art archives, uk bulletins art & project bulletins 1 -156 september 1968 - november 1989 inventory all bulletins (unless otherwise stated) are printed in black-and-white on a single sheet of 29.7 x 42 cm. white paper, folded in two. each edition circa 800 copies, printed (with the exception of nos. 20, 21, 101-109) by drukkerij delta (from bulletin no. 110 named drukkerij de dageraad), the hague. circa 400 bulletins of the total edition were mailed from amsterdam, with the exception of no. 11 (düsseldorf), nos. 20 and 21 (tokyo) and no. 56 (venice). bulletins which accompanied an exhibition in the amsterdam gallery (unless otherwise stated) are marked "exhibition." specific object / david platzker 601 west 26 street room m285・new york, ny・10001 1 212.242.6253・www.specificobject.com EAST WALL 1 charlotte posenenske september 1968 exhibition / drawings / text 2 ccc / jan slothouber / william graatsma october 1968 exhibition / drawings / text 3 gruppe X november 1968 exhibition / drawings / text 4 willy ørskov january 1969 exhibition / drawings / text 5 paul schuitema / aldo van den nieuwelaar / ad dekkers february 1969 exhibition / drawings / text 6 gianfredo camesi march 1969 exhibition / drawings / text 7 ed sommer april 1969 exhibition / photo / drawings / text 8 stanley brouwn may 1969 exhibition / photos / text 9 summer / jan dibbets / bernd lohaus july 1969 photos / drawings / text 10 lawrence
    [Show full text]
  • Sammlungfischer Kat10.Qxd:Sammlung Fischer
    Friedrich Meschede Stumme Freiheit oder Versuch eines Porträts nach ephemeren Archivalien The freedom of silence – or the attempt at making a portrait from archival ephemera Seit der Eröffnung seiner Galerie im Oktober 1967 hatten Ausstellungen »bei Konrad Fischer« für die Wertschätzung und Wahrnehmung konzeptueller Kunst in Europa Maßstäbe gesetzt: aufgrund der Künstler, die Konrad Fischer einlud, bei ihm auszustellen, in Gestalt der spezifischen Werke, die jeweils für den Raum in der Neubrückstraße 12 in Düsseldorf geschaffen wurden, und schließ- lich wegen des Einflusses auf die öffentlichen und privaten Sammlungen, in die die Arbeiten von der Galerie aus gelangt sind. Die Chronologie der Ausstellun- gen von 1967 bis 1992, die anlässlich des 25-jährigen Bestehens der Galerie in der Edition Marzona unter dem Titel »Galerie mit Bleistift« (eine Wortschöpfung von Bruce Nauman),1 publiziert wurde, ist zugleich eine Kunstgeschichte jener Jahre in Düsseldorf und darüber hinaus. Man findet kaum weitere Beispiele für eine derartige Intensität an Innovation in der bildenden Kunst jener Jahre. Aus der engen Zusammenarbeit mit den Künstlern entwickelte sich Freundschaft und ein Vertrauensverhältnis, das Kennzeichen und Grundlage für den kontinu- ierlichen Zuwachs vieler Sammler war, die »bei Konrad Fischer« ihre Werke erworben haben. Man kann auch umgekehrt sagen, aus Vertrauen und Freund- schaft heraus konnten ungewöhnliche Ausstellungen entwickelt werden, weil bei Konrad Fischer das Verständnis und ein Auge für das Neue, Herausfordernde und
    [Show full text]
  • Ontdek Galerie Art & Project
    438870 Art & Project groep / Nederlands galerie Kwalificaties galerie Founders Van Ravensteijn and Van Beijeren focused mainly on conceptual art, minimalism and Land art. In the 1970s and the first half of the 1980s, the gallery acted as one of the junctures for international conceptual art. Halfway during the 1980s, the focus shifted more towards Dutch artists. With every exhibition, they published a bulletin, which they considered as important as the exhibition itself. The periodical was published under the name Art & Project between September 1968 and November 1989 (156 publications with 800 prints each). The first publications of Art & Project mainly consisted of the gallery's exhibition announcements, but along the way the publication became more and more of an art work itself. It was distributed for free all over the world (Gubbels 1999, p. 90). In 1995 the Stedelijk Museum Amsterdam, in collaboration with Van Beijeren and Van Ravensteijn, hosted the exhibtion 'Art & Project. De Amsterdamse jaren 1968-1989'. In the 1990s, the gallery merged with Galerie Wim van Krimpen and continued under the name Van Krimpen/Art & Project (Collection of Press Documentation). Nationaliteit/school Nederlands Zie ook in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J.
    [Show full text]
  • Louwrien Wijers Amsterdam Netherlands AIDA Magazine, Tokyo, Japan Haruo Fukuzumi, Editor
    Louwrien Wijers Amsterdam Netherlands AIDA magazine, Tokyo, Japan Haruo Fukuzumi, editor YUTAKA MATSUZAWA ‘talks to’ Louwrien Wijers In a letter to me of 20 June 1990, sent from his famous address 5370 Shimosuwa-machi, Nagano-ken, Japan, Yutaka Matsuzawa writes under his beautiful Japanese signature: “P.S. I want to inform you that I visit to Amsterdam with my wife and also my daughter Kumiko, with who I visit your home, in 1971.” Of course I remember until today Yutaka Matsuzawa-san’s impressive presence in my rather small Amsterdam apartment, Houtmankade 35, where many, now reputed, conceptual artists visited and stayed at the time. I had met Matsuzawa-san on the green lawns in Arnhem at the ‘Sonsbeek ‘71’ event, that spread out over the whole of Holland, in which Matsuzawa took part by announcing his concept of ‘world revolt’ at the heart of this show by Wim Beeren, the Sonsbeek Park. I had seen Matsuzawa’s exhibition at ‘Art & Project’ in the summer of 1970, in the beautiful art villa that Adriaan van Ravesteijn and Geert van Beijeren had in Amsterdam. That same summer of 1971 Matsuzawa had a publication in the ‘Art & Project Bulletin’, number 21. After those meetings we wrote letters back and forth between Japan and The Netherlands. Our correspondence of 1989/1990 came about because I had invited Yutaka Matsuzawa to take part in ‘Art meets Science and Spirituality in a changing Economy’, the meeting of artists, scientists, spiritual leaders and economists that I initiated, encouraged by French Fluxus artist Robert Filliou (1926-1987) in the sense of “an Art of Peace Biennale, Triennale, Quartre...”, as Robert put it.
    [Show full text]
  • A M Bartholomew
    VU Research Portal Disruptive Attitudes Bartholomew, Angela Marie 2021 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Bartholomew, A. M. (2021). Disruptive Attitudes: Artists Counter the Art of Exhibiting in the Low Countries (1985- 1991). General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 27. Sep. 2021 Vrije Universiteit Amsterdam Disruptive Attitudes Artists Counter the Art of Exhibiting in the Low Countries (1985-1991) Angela M. Bartholomew Promoter: prof.dr. K. Kwastek Co-promoter: dr. S. Lütticken VRIJE UNIVERSITEIT DISRUPTIVE ATTITUDES: ARTISTS COUNTER THE ART OF EXHIBITING IN THE LOW COUNTRIES (1985-1991) ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad Doctor of Philosophy aan de Vrije Universiteit Amsterdam, op gezag van de rector magnificus prof.dr. V.
    [Show full text]
  • Lawrence Weiner Bibliography
    LAWRENCE WEINER BIBLIOGRAPHY Selected Monographs and Artist Books: 2020 Weiner, Lawrence, AL SUR DE LA FRONTERA / SOUTH OF THE BORDER, published by Fundación Casa Wabi, Puerto Escondido, Mexico, 2020 2019 Ellery, Jonathan, and Lawrence Weiner, HERE IT IS HERE IT AINT, published by Browns Editions, London, UK, 2019 2017 Weiner, Lawrence, SOMETHING TO PUT SOMETHING ON, published by Little Steidl, Göttingen, Germany, 2017 Gürlek, Nazli, Rainer Metzger, Lawrence Weiner: WHEREWITHAL | WAS ES BRAUCHT, published by Verlag der Buchhandlung Walther König, Cologne, Germany, 2017 2016 Weiner, Lawrence, Here to There, published by Printed Matter, New York, NY, 2016 Clausen, Magnus Thorø, and Hans Ulrich Obrist, Per Kirkeby and Lawrence Weiner, published by Verlag der Buchhandlung Walther König, Cologne, Germany, 2016 2015 Blazwick, Iwona, Michael Frahm, Christian Gether, and Jordan Wolfson, WITHIN A REALM OF DISTANCE: Lawrence Weiner at Blenheim Palace, published by Blenheim Art Foundation, Woodstock, UK, 2015 2013 Alice Zimmerman, ed., Lawrence Weiner: Written on the Wind, published by Verlag der Buchhandlung Walther König, Cologne, Germany, 2013 2012 Wix, Gabriel, ed., Lawrence Weiner: Nach Bildende Kunst / After Fine Art: Works in the German-Speaking World, published by Hatje Cantz, Stuttgart, Germany, 2012 2008 De Salvo, Donna, and Ann Goldstein, eds., As Far As The Eye Can See 1960-2007, published by Yale University Press, New Haven, CT, the Whitney Museum of American Art, New York, NY, and Museum of Contemporary Art, Los Angeles, CA, 2008 2006
    [Show full text]
  • Complete Dissertation
    VU Research Portal Between dematerialization and documentation Zonnenberg, N.S.J.F. 2016 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Zonnenberg, N. S. J. F. (2016). Between dematerialization and documentation: conceptual art in a curatorial perspective. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 02. Oct. 2021 VRIJE UNIVERSITEIT BETWEEN DEMATERIALIZATION AND DOCUMENTATION CONCEPTUAL ART IN A CURATORIAL PERSPECTIVE ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad Doctor aan de Vrije Universiteit Amsterdam, op gezag van de rector magnificus prof.dr. V. Subramaniam, in het openbaar te verdedigen ten overstaan van de promotiecommissie van de Faculteit der Geesteswetenschappen op dinsdag 29 november 2016 om 13.45 uur in de aula van de universiteit, De Boelelaan 1105 door Nathalie Sophie Johanna Francisca Zonnenberg geboren te Nijmegen promotoren: prof.dr.
    [Show full text]
  • The Key Role of the Dutch Conceptual Artists
    Dossier The development of the Dutch Conceptual Art network within Europe and the relations with America: The key role of the Dutch conceptual artists Students: Jesse van Winden, Francesca Lacroce Course: Seminar Dutch art 1960- present Professor: Jos ten Berge Date: 16 January 2011 Introduction Jesse van Winden To be a part of a network means to be in contact with people and institutions. This doesn't necessarily always needs to be a two-way communication, because being noted and followed by others indicates a form of (power) relationship as well. As Cherix notes, Stanley Brouwn's 1969 exhibition in Art & Project introduced the gallery to conceptual artists internationally.1 The 'Bulletins' the gallery sent out on monthly basis, is also an example of a unilateral device, very effective from a promotional perspective. Another constitutional feature of a network is the function of connector that is carried out by some of its exponents. Jan Dibbets, for example, had met Richard Long and Gilbert & George at St. Martin's School of Art. At the early conceptual art group exhibition Dies alles Herzchen wird einmal dir gehören, 19:45-21:55, organized in 1967 by pioneer Paul Maenz in Düsseldorf, Dibbets had met many people including Konrad Fischer - then exhibiting under his mother's name Lueg - who would become a central figure in the conceptual art network after opening his own gallery a month later. Dibbets then, introduced Long and Gilbert & George to Fischer whom he all exhibited subsequently.2 The conceptual art network was thus, if anything, an international affair. What were the most important agents, that is, most under the attention of others? Who were the people most importantly forging constructive connections between other actors in the network? These questions have been guiding our selection of the principal Dutch artists and following from there, the most relevant agents, be they persons or institutions came into perspective.
    [Show full text]
  • The Introduction of Bruce Nauman in Europe (1966-1969)
    The Introduction of Bruce Nauman in Europe (1966-1969): network, changing conditions, museum exposure Student: Binkie Bloemheuvel Student number: 10178678 Supervisor: Dr. M.I.D. van Rijsingen Second reader: Dr. G.M. Langfeld Date: 17-08-2017 MA thesis: Research Master Art Studies (Arts and Culture) University of Amsterdam, Amsterdam ACKNOWLEDGMENTS “As you set out for Ithaka hope your road is a long one, full of adventure, full of discovery.” C.P. Cavafy I would first like to thank my supervisor Dr. Miriam van Rijsingen for her remarkable support and advice throughout the writing process of this thesis. The New York excursion was a significant eye-opener for the rest of my studies. Thank you for pointing me in the right direction and encouraging me to pursue new research opportunities throughout my studies. Furthermore, I would also like to thank Dr. Gregor Langfeld for showing me the potential of a socio-historical approach and helping me to apply this method throughout my studies. This thesis was only possible with the support of my family: Hiske and Ruud, Kaayk and Jan, Karel, Elly, Bianka and Tom. Three historians and one mathematician in particular deserve special thank yous. Elsbeth Dekker, thank you for all of your great advice and help thoughtout this thesis journey and your belief that Ithaca was always near, or at least somewhere in sight. I hope to return this wonderful favor during your future research projects. Julia Mullié, thank you so much for your generous advice and to many years of sharing the same research interests and discussing them in great depth.
    [Show full text]
  • 2012-01 Arts & Project
    Art & Project (1968-2001) !RT0ROJECT In 2001 ontving het RKD het archief van een van de )N THE2+$ACQUIREDTHEARCHIVEOF!RT belangrijkste Nederlandse galeries, Art & Project. Op dit 0ROJECT WHICHWASONEOFTHE.ETHERLANDSMOST moment werkt het RKD aan de ontsluiting en beschrijving IMPORTANTGALLERIES4HE2+$ISCURRENTLYWORKING van dit archief en ook aan de beschrijving van de TODISCLOSEANDDESCRIBETHISARCHIVE ASWELLASTO zogenoemde collectie Art & Project / Depot VBVR, een INVENTORY!RT0ROJECT$EPOT6"62 THEMAJOR grote collectie kunstwerken afkomstig van de voormalige COLLECTIONOFARTWORKSTHATBELONGEDTOTHEFORMER eigenaren van de galerie. OWNERSOFTHEGALLERY DE ENTREE VAN ART & PROJECT %.4%2!2402/*%#4 In september 1968 startten Adriaan van Ravesteijn (1938) )N3EPTEMBER !DRIAANVAN2AVESTEIJN en Geert van Beijeren (1933-2005) in het ouderlijk huis van AND'EERTVAN"EIJEREN OPENEDA Van Ravesteijn in de Richard Wagnerstraat in Amsterdam GALLERYIN6AN2AVESTEIJNSPARENTALHOMEIN een galerie, die slechts bestond uit een zijkamertje van 4 x !MSTERDAMS2ICHARD7AGNERSTRAAT4HESPACEWAS 3 meter en een aangrenzende gang met een documentatie- NOMORETHANASIDEROOMMEASURINGXMETRES tafeltje op de overloop. Van Ravesteijn had een aantal jaren WITHANADJOININGPASSAGEANDADOCUMENTATION architectuur in Delft gestudeerd, Van Beijeren was werkzaam TABLEONTHELANDING6AN2AVESTEIJNHADSTUDIED als bibliothecaris en later als conservator van het Stedelijk ARCHITECTUREFORSEVERALYEARSAT$ELFT5NIVERSITY Museum. Beiden waren bekend met de Amsterdamse 6AN"EIJERENWASWORKINGASALIBRARIANAND kunstwereld,
    [Show full text]