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EBERHARD HAVEKOST 1967-2019 Born Dresden, Germany
EBERHARD HAVEKOST 1967-2019 Born Dresden, Germany . EDUCATION 1984-85 Apprenticeship as a stonemason 1991-96 MFA, Hochschule für Bildende Künste (HfBK), Dresden, Germany 2010 Professor at the Kunstakademie, Dusseldorf, Germany SOLO EXHIBITIONS 2017 “Havekost Meets Austria” Austrian Cultural Forum, Berlin, Germany “Logik” Galerie Rudolfinum, Prague, Czech Republic 2016 “Inhalt” KINDL, Berlin, Germany [cat.] “Expulsion from Paradise Freeze” Anton Kern Gallery, New York, NY 2015 “Natur” Galerie Gebr. Lehmann, Dresden, Germany 2013 “Retrospektive 1+2” Galerie Gebr. Lehmann, Dresden/Berlin, Germany “Cosmos Now” White Cube, Mason’s Yard, London, UK “Title” Museum Küppersmühle, Duisburg, Germany “La Fin et le lever du jour” Galerie Hussenot, Paris, France 2012 “COPY + OWNERSHIP” Anton Kern Gallery, New York, NY “Endless” Brandenburgischer Kunstverein, Postdam, Germany “Eberhard Havekost-Sightseeing Trip” Bhau Daji Lad Museum, Mumbai, India “Eberhard Havekost” Die Sammlung MAP, Museum der Moderne, Salsburg, Austria Kochi-Muziris Biennale 2012, Kerala Lalitha Kala Akademi Durbar Hall Art Gallery, Ernakulam/Kochi, Kerala “Prints from 2001 to 2012” Kunstverein, Augsburg, Augsburg 2011 “Structure and Absence” White Cube Bermondsey, London, UK “Take Care” Roberts & Tilton, Culver City, CA “Farbenspiel” Galerie Gebr. Lehmann, Berlin, Germany 2010 “Guest” White Cube, Hoxton Square, London, UK “Ausstellung” Staatliche Kunstsammlungen, Dresden, Germany “Affirmation” Ausstellungsraum Celine u. Heiner Bastian, Berlin, Germany “If Not in This Period of Time -
Information Issued by the Association of Jewish Refugees in Great Britain
Vol. XVII No. 8 August, 1962 INFORMATION ISSUED BY THE ASSOCIATION OF JEWISH REFUGEES IN GREAT BRITAIN I FAIRFAX MANSIONS, FINCHLEY RD. (corner Fairfax Rd.). LendM. N.W.I Offic* and Contulting Hourt: Telephone : MAIda Vale 9096/7 (General Ofkce and Welfare tor the Aged) Monday to Thurttiaf 10 a.m.—l p.m. 3~6 p.i MAIda Vale 4449 (Empioyment Agency, annually licensed by tha L.C.C.. and Social Servicas Dept.) friday 10 a.in.—l p.m. even so, I don't believe that he did not mean WHITHER JEWRY IN TUNISIA what he said or that his words were reported out of context. For it is a fact that today there is no Jew in the Cabinet, though the only former AND MOROCCO? Jewish Minister is still a prominent member of the Neo-Destour, Bourguiba's party. There are some Jews active in public life, a few are judges, and many more barristers. Editors of French papers Impressions of a Correspondent are Jews, and the French language dailies carry the Christian, Muslim and Jewish dates on their The Jewish scene in North Africa is today villages entirely inhabited by Jews ; today, their front page. Integration is a necessity just as undergoing a transformation more rapid than a Jewish population is halved, and Muslims have national unity is essential for the stability and reader of Professor H. Z. J. W. Hirschberg's moved into the empty Jewish houses, gradually development of State and society. Hence, citizens " Inside Maghreb " (in Hebrew) would expect. The transforming the Jewish character of these villages. -
Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P
contemporary art magazine issue # sixteen december | january twothousandnine Spedizione in a.p. -70% _ DCB Milano NOVEMBER TO JANUARY, 2009 KAREN KILIMNIK NOVEMBER TO JANUARY, 2009 WadeGUYTON BLURRY CatherineSULLIVAN in collaboration with Sean Griffin, Dylan Skybrook and Kunle Afolayan Triangle of Need VibekeTANDBERG The hamburger turns in my stomach and I throw up on you. RENOIR Liquid hamburger. Then I hit you. After that we are both out of words. January - February 2009 DEBUSSY URS FISCHER GALERIE EVA PRESENHUBER WWW.PRESENHUBER.COM TEL: +41 (0) 43 444 70 50 / FAX: +41 (0) 43 444 70 60 LIMMATSTRASSE 270, P.O.BOX 1517, CH–8031 ZURICH GALLERY HOURS: TUE-FR 12-6, SA 11-5 DOUG AITKEN, EMMANUELLE ANTILLE, MONIKA BAER, MARTIN BOYCE, ANGELA BULLOCH, VALENTIN CARRON, VERNE DAWSON, TRISHA DONNELLY, MARIA EICHHORN, URS FISCHER, PETER FISCHLI/DAVID WEISS, SYLVIE FLEURY, LIAM GILLICK, DOUGLAS GORDON, MARK HANDFORTH, CANDIDA HÖFER, KAREN KILIMNIK, ANDREW LORD, HUGO MARKL, RICHARD PRINCE, GERWALD ROCKENSCHAUB, TIM ROLLINS AND K.O.S., UGO RONDINONE, DIETER ROTH, EVA ROTHSCHILD, JEAN-FRÉDÉRIC SCHNYDER, STEVEN SHEARER, JOSH SMITH, BEAT STREULI, FRANZ WEST, SUE WILLIAMS DOUBLESTANDARDS.NET 1012_MOUSSE_AD_Dec2008.indd 1 28.11.2008 16:55:12 Uhr Galleria Emi Fontana MICHAEL SMITH Viale Bligny 42 20136 Milano Opening 17 January 2009 T. +39 0258322237 18 January - 28 February F. +39 0258306855 [email protected] www.galleriaemifontana.com Photo General Idea, 1981 David Lamelas, The Violent Tapes of 1975, 1975 - courtesy: Galerie Kienzie & GmpH, Berlin L’allarme è generale. Iper e sovraproduzione, scialo e vacche grasse si sono tra- sformati di colpo in inflazione, deflazione e stagflazione. -
Cordula Grewe
CORDULA GREWE Department of the History of Art 25 Merion Road University of Pennsylvania Merion Station, PA 19066 Jaffe Building, 3405 Woodland Walk home phone: 484-270-8092 Philadelphia, PA 19104 mobile: 646-591-3594 phone: 215-898-8327 email: [email protected] fax: 215-573-2210 EDUCATION 1998 Ph.D. (summa cum laude), Albert-Ludwigs-Universität, Freiburg i. Br. (Art History) 1995–1997 Visiting Scholar, Freie Universität, Berlin (Art History) 1992 M.A., American University, Washington, D.C. (Art History) 1988–1991 Undergraduate and Graduate Studies, Albert-Ludwigs-Universität, Freiburg Art History, History of the Middle Ages, Modern and Contemporary History, Medieval Latin ACADEMIC EMPLOYMENT 2014–2018 Senior Fellow, Department of the History of Art, University of Pennsylvania, Philadelphia 2008–2013 Associate Professor of Art History, Columbia University, New York 2002–2008 Assistant Professor of Art History, Columbia University, New York 2004–2005 Resident Academic Director, Berlin Consortium of German Studies 1999–2002 Wissenschaftliche Mitarbeiterin (research position at the level of assistant professor), German Historical Institute, Washington, D.C. HONORS AND AWARDS 2014 Senior Fellow, Kolleg BildEvidenz: Geschichte und Ästhetik, Freie Universität Berlin 2013–2014 Alexander von Humboldt Fellowship for Experienced Researchers 2012 Chercheur invitée Institut national d’histoire de l’art, Paris (declined) 2011 Finalist for Max Nänny Prize, the International Association of Word and Image Studies 2009 Publication grant, Alexander von -
Commentaries
Santander Art and Culture Law Review 2/2015 (1): 245-258 DOI: 10.4467/2450050XSR.15.021.4519 COMMENTARIES Uwe Scheffler* Dela-Madeleine Halecker** [email protected] [email protected] Robert Franke*** Lisa Weyhrich**** [email protected] [email protected] European University Viadrina Frankfurt (Oder) Große Scharrnstraße 59 D-15230 Frankfurt (Oder), Germany When Art Meets Criminal Law – Examining the Evidence1 * Prof. Dr. Dr. Uwe Scheffler is since 1993 holder of the Chair of Criminal Law, Law of Criminal Procedure and Criminology at the European University Viadrina in Frankfurt (Oder). His main research interests are criminal law reform, criminal traffic law, medical ethics and criminality in the border area. ** Dr. Dela-Madeleine Halecker studied law at the European University Viadrina in Frankfurt (Oder), where she gained a doctorate in 2008 with a study on the traffic ban. She is research assistant at the Chair of Criminal Law, Law of Criminal Procedure and Criminology of the European University Viadrina in Frank- furt (Oder). *** Dipl.-Jur. Robert Franke, LL.M., studied law at the European University Viadrina in Frankfurt (Oder), where he served as an assistant in the research project “Art and Criminal Law”. **** Stud. iur. Lisa Weyhrich is a student assistant at the Chair of Criminal Law, Law of Criminal Proce- dure and Criminology of the European University Viadrina in Frankfurt (Oder). 1 The team of the Chair of Criminal Law, Law of Criminal Procedure and Criminology of the European University Viadrina in Frankfurt (Oder) organised an exhibition entitled “Art and Criminal Law” in the Main Building of the University in the 2013/2014 winter semester. -
Annotated Bibliography of the Cultural History of the German-Speaking Community in Alberta: 1882-2000
Annotated Bibliography of the Cultural History of the German-speaking Community in Alberta Fifth Up-Date: 2008-2009 A project of the German-Canadian Association of Alberta © 2010 Compiler: Manfred Prokop Annotated Bibliography of the Cultural History of the German-speaking Community in Alberta: 1882-2000. Fifth Up-Date: 2008-2009 In collaboration with the German-Canadian Association of Alberta German-Canadian Cultural Center, 8310 Roper Road, Edmonton, AB, Canada T6E 6E3 Compiler: Manfred Prokop 209 Tucker Boulevard, Okotoks, AB, Canada T1S 2K1 Phone/Fax: (403) 995-0321. E-Mail: [email protected] ISBN 0-9687876-0-6 © Manfred Prokop 2010 TABLE OF CONTENTS Overview ............................................................................................................................................................................... 1 Quickstart ................................................................................................................................................................ 1 Description of the Database ............................................................................................................................................... 2 Brief history of the project .................................................................................................................................... 2 Materials ................................................................................................................................................................. 2 Sources ................................................................................................................................................................... -
A Survey of Anton Von Werner's Proclamation of the German Empire
A Survey of Anton von Werner’s Proclamation of the German Empire Paintings Berri Bottomley HIST 133A December 11, 2018 1 Anton von Werner (1843-1915), created four images of the proclamation of the German Empire, which took place on January 18, 1871, in the Hall of Mirrors at the Palace of Versailles. Von Werner had been summoned to Versailles by the Grand Duke of Baden. He was present and made sketches at the event, and was subsequently commissioned by various members of the court to create various images over time. He appears to have changed the focus of the composition and other details to correspond with the donors’ purposes for each version. The four versions are: 1) The Palace Version (1877), commissioned by the Grand Duke of Baden and other German Princes for Kaiser Wilhelm I’s 80th birthday. It was hung in Berlin’s City Palace but was destroyed in WWII. It is preserved only as a black-and-white photograph.1 2) The Woodcut Version (1880), is identified as a woodcut after a drawing by von Werner and a print is listed as in the Berlin collection at the Archiv für Kunst und Geschichte.2 3) The Zeughaus Version (1882), commissioned by William I for the Hall of Fame of the Prussian Army housed in Berlin’s Zeughaus. The painting was apparently lost at the end of WWII.3 4) The Friedrichsruh Version (1885), commissioned by the Prussian royal family for Bismarck’s 70th birthday. This painting is extant at Bismarck’s former estate in Friedrichsruh.4 Anton von Werner was born in Frankfurt an der Oder in 1843 and apprenticed to a housepainter.5 He won a fellowship to the Academic Institute of Fine Arts in Berlin, and later studied with painter Adolph Schroeder (his future father-in-law) in Karlsruhe. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
Louise Lawler
LOUISE LAWLER Born 1947 in Bronxville, New York Lives in Brooklyn, New York EDUCATION 1969 BFA Cornell University, Ithaca, New York SELECTED ONE-PERSON EXHIBITIONS 2019 Andy in Chicago, Art Institute of Chicago Is Anybody Home, Marc Jancou Chalet, Rossinière, Switzerland 2018 She’s Here, Sammlung Verbund, Vienna (cat.) Edits and Projections (with Rhea Anastas and Robert Snowden), 80WSE, New York AFTER, Campoli Presti, Paris 2017 WHY PICTURES NOW, Museum of Modern Art, New York (cat.) 2015 No Drones, Blondeau & Cie, Geneva 2014 The High Line Billboard, New York No Drones, Metro Pictures, New York No Drones, Sprueth Magers, Berlin No Drones, Sprueth Magers, London No Drones, Yvon Lambert, Paris No Drones, Galerie Greeta Meert, Brussels No Drones, Studio Guenzani, Milan 2013 Adjusted, Museum Ludwig, Cologne (2013-2014) (cat.) November 1 – December 21 (two-person show with Liam Gillick), Casey Kaplan, New York 2012 (Selected). Louise Lawler, Galerie Neue Meister, Albertinum, Dresden (cat.) 2011 No Drones, Sprüth Magers, London Fitting at Metro Pictures, Metro Pictures, New York 2010 Later, Yvon Lambert, Paris 2009 Sprüth Magers, Berlin 2008 Sucked In, Blown Out, Obviously Indebted or One Foot in Front of the Other, Metro Pictures, New York 2007 No Official Estimate, Yvon Lambert, Paris Where is the Nearest Camera, Sprüth Magers, London (2007-2008) Louise Lawler: The Tremaine Pictures 1984-2007, BFAS Blondeau Fine Art Services, Geneva (cat.) 2006 Twice Untitled and Other Pictures (looking back), curated by Helen Molesworth, Wexner Center, -
Gesetzentwurf Der Landesregierung
SCHLESWIG-HOLSTEINISCHER LANDTAG Drucksache 16/2178 16. Wahlperiode 2008 – 07 - 14 Gesetzentwurf der Landesregierung Entwurf eines Gesetzes zum Elften Rundfunkänderungsstaatsvertrag Federführend ist der Ministerpräsident. Drucksache 16/2178 Schleswig-Holsteinischer Landtag - 16. Wahlperiode A. Problem Die unabhängige Kommission zur Ermittlung des Finanzbedarfs der Rundfunkanstal- ten (KEF) hat in ihrem 16. Bericht vom Dezember 2007 empfohlen, die seit dem Jahr 2005 unveränderte Rundfunkgebühr für die nächste Gebührenperiode (2009 - 2012) ab dem 1. Januar 2009 pro Teilnehmer um monatlich 0,95 €, also um 5,33 %, zu er- höhen. Die Gebühr bleibt dann bis Ende 2012 stabil. Um diese Anpassung umzuset- zen ist der Rundfunkfinanzierungsstaatsvertrag zu ändern. Der vorliegende Staats- vertrag regelt ferner, wie sich der Erhöhungsbetrag auf die Anstalten verteilt. Die ARD erhält 56,5 Cent pro Monat mehr, das ZDF 34,5 Cent und das Deutschlandradio sowie die Landesmedienanstalten erhalten je eine Erhöhung von 2 Cent pro Monat. Die monatliche Gebühr für jeden Gebührenzahler steigt demnach von 17,03 € auf 17,98 €. Die monatliche Grundgebühr für den Hörfunk beträgt dabei künftig 5,76 € und die Fernsehgebühr 12,22 €. Außerdem regelt der Staatsvertrag die Weiterfinanzierung der gemeinsamen Ju- gendschutzeinrichtung der Länder „jugendschutz.net“. B. Lösung Durch das Gesetz zum Elften Rundfunkänderungsstaatsvertrag werden die Rege- lungen dieses Vertrages in Landesrecht umgesetzt. C. Alternativen Keine. D. Kosten und Verwaltungsaufwand 1. Kosten Aufgrund des Elften Rundfunkänderungsstaatsvertrages werden in den öffentli- chen Haushalten die Ansätze für die Rundfunkgebühr steigen, soweit in den je- weiligen Einrichtungen gebührenpflichtige Empfangsgeräte bereitgehalten wer- den. 2. Verwaltungsaufwand Es entsteht durch den Elften Rundfunkänderungsstaatsvertrag keine Verände- rung bezüglich des Verwaltungsaufwands. 2 Schleswig-Holsteinischer Landtag - 16. -
Teil 2: Dresdner Verbindungen
‚Lebenslange Gemeinschaft statt anonyme Massen- universität‘ – mit solchen Worten werben studenti- sche Verbindungen (auch Korporationen genannt) unter den Erstsemestern um Neumitglieder. Was nach Ersatzfamilie klingt, wird vor allem mit Traditionen und angeblich „zeitlosen Werten“ begründet. Zu diesen gehören bunte Mützen und Bänder, Degen und Wappen, rituelle Abendveranstaltungen und jahrhun- dertealte Lieder sowie eine Sprache, die für Außen- stehende kaum zu enträtseln ist. Die meisten dieser Verbindungen sind reine Männerbünde. Kritiker:innen werfen ihnen häufig eine elitäre und frauenfeindliche Haltung, nicht selten sogar explizit extrem rechte Einstellungen vor. Der StuRa der TU Dresden hat sich der Aufgabe gewidmet, Fakten von Klischees zu tren- nen und das deutsche Verbindungswesen allgemein wie auch vor Ort genauer unter die Lupe genommen. Band 2 schaut sich die Dresdner Situation an: Welche Verbindungen gibt es hier, wie sind sie untereinander vernetzt und wie positionieren sie sich öffentlich? Vor allem das Netzwerk rund um die Dresdner Burschen- schaften, die wiederum eng mit Pegida, Identitärer Bewegung und AfD verbunden sind, verdient besonde- re Beachtung, denn Dresden ist für die Neue Rechte in Deutschland längst zu einem Ausnahmeort geworden. Teil 2: Dresdner Verbindungen stura.link/refpob WHAT.StuRa.TUD StuRaTUD WHAT_StuRa_TUD StuRaTUD IMPRESSUM AUSGEFUXT – Kritik an studentischen Verbindungen Teil 2: Dresdener Verbindungen Auch als pdf verfügbar unter: stura.tu-dresden.de/ausgefuxt 1. Auflage - Dezember 2017 – überarbeitet 01. März 2018 Redaktionsschluss: Oktober 2017 Herausgegeben durch die Referate WHAT, Politische Bildung, Hochschulpolitik und Öffentlichkeitsarbeit des Studentenrates (StuRa) der Technischen Universität Dresden Postanschrift: StuRa der TU Dresden Helmholtzstr. 10 01069 Dresden stura.tu-dresden.de Besucheradresse: Haus der Jugend George-Bähr-Str. -
A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property.