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Kunst in Opdracht Zevende Expositie | Art Fund Nyenrode | Januari - Mei 2017 Een Unieke Selectie Uit De Kunstcollectie Van Postnl
Kunst in Opdracht zevende expositie | Art Fund Nyenrode | januari - mei 2017 een unieke selectie uit de kunstcollectie van PostNL 1 Kunst en Nyenrode Het organiseren van kunstexposities op Nyenrode is onder de naam Art Fund Nyenrode begonnen als een klein initiatief van een bescheiden groep alumni, twee jaar geleden. Zij toonden zich enthousiaste kunstliefhebbers met veel ambitie en organiseerden destijds de eerste tentoonstelling met foto’s verzameld door een Nyenrode alumnus. Er had in de jaren daarvoor geen kunst gehangen aan de muren van het Albert Heijn gebouw, dus werden her en der aanpassingen gedaan Kunst in Opdracht om de ruimtes geschikt te maken voor exposities. Het bleek een dankbare investering want de Kunstzinnig verleden en heden ene tentoonstelling volgde de andere op. Museale stukken en soms zelfs kwetsbare kunstuitingen waren op onze gangen plotseling te bewonderen. Een aantal studenten ging zich verdiepen in de tentoongestelde kunst en ontpopten zich als gidsen We zijn zeer verheugd om met deze inmiddels zevende Art Fund Nyenrode tentoonstelling een voor de bezoekers. Dat was ook nieuw. Dit op zich was al een uitzonderlijke prestatie maar daar bedrijfskunstcollectie van een van Nyenrode’s Founding Father te kunnen tonen. Om juister te zijn bleef het niet bij. Het aanbod was zo interessant dat lezers van de Volkskrant zich in een oogwenk van een rechtsopvolger van de ‘Dienst der P.T.T.’, die in 1946 één van de 39 grondleggers was van wat inschreven voor exclusieve rondleidingen. Nyenrode werd een kleine galerie waarbij sommige kunst destijds het Nederlands Opleidings-Instituut voor het Buitenland heette. Nu inmiddels uitgegroeid tot ook te koop was – en ook gekocht werd. -
The Urban and Cultural Climate of Rotterdam Changed Radically Between 1970 and 2000. Opinions Differ About What the Most Importa
The urban and cultural climate of Rotterdam changed radically between 1970 and 2000. Opinions differ about what the most important changes were, and when they occurred. Imagine a Metropolis shows that it was first and foremost a new perspective on Rotterdam that stimulated the development of the city during this period. If the Rotterdam of 1970 was still a city with an identity crisis that wanted to be small rather than large and cosy rather than commercial, by 2000 Rotterdam had the image of the most metropolitan of all Dutch cities. Artists and other cultural practitioners – a group these days termed the ‘creative class’ – were the first to advance this metropolitan vision, thereby paving the way for the New Rotterdam that would begin to take concrete shape at the end of the 1980s. Imagine a Metropolis goes on to show that this New Rotterdam is returning to its nineteenth-century identity and the developments of the inter-war years and the period of post-war reconstruction. For Nina and Maria IMAGINE A METROPOLIS ROTTERDAM’S CREATIVE CLASS, 1970-2000 PATRICIA VAN ULZEN 010 Publishers, Rotterdam 2007 This publication was produced in association with Stichting Kunstpublicaties Rotterdam. On February 2, 2007, it was defended as a Ph.D. thesis at the Erasmus University, Rotterdam. The thesis supervisor was Prof. Dr. Marlite Halbertsma. The research and this book were both made possible by the generous support of the Faculty of History and Arts at the Erasmus University Rotterdam, G.Ph. Verhagen-Stichting, Stichting Kunstpublicaties Rotterdam, J.E. Jurriaanse Stichting, Prins Bernhard Cultuurfonds Zuid-Holland and the Netherlands Architecture Fund. -
Woody Van Amen New Realism
Woody van Amen New Realism Van Baerlestraat 80, Amsterdam (NL) June 25 – July 17, 2021 Woody van Amen | Esso, 1963 The gallery is proud to present nine assemblages and Phillips (1963-1974), Stuyvesant (1963) and Esso (1963) all paintings by renowned Dutch artist Woody van Amen employ the company logo’s the titles are based on. Phillips (b. 1936, Eindhoven, NL). was adjusted to incorporate an ironing board in 1974 and early Robert Rauschenberg and Jasper Johns influences The opening of the exhibition coincides with Amsterdam can be seen in these early works. These works were Art Week, Thursday June 17 until Sunday June 27, 2021. part of his early career retrospective in 1977 at Museum Boijmans van Beuningen in Rotterdam (NL), which included Van Amen’s long career has seen his oeuvre span a wide work from 1963-1977. variety of practices ranging from painting to sculpture, kinetic art, zero and arte povera, to organizing happenings The next three works show how Van Amen developed and performances. He was one of the very first artists to beyond Pop-Art and consist of a group of paintings incorporate Perspex, neon and plastics into his work. What incorporating neon and led lights. The TAXAT symbols has remained a key component in all his works is the use of appears omnipresent in these works. The neon used to everyday elements, which he elevates to become symbols. set apart the painted surface such as in Constellation with Van Amen works with ready-mades - using material itself Southern Cross (1999-2000), where the TAXAT symbols as a means, other than the depicted material used - and is shown to align with the Southern Cross constellation. -
Dazzling Desire
VISITOR GUIDE DAZZLING 18/10/2017 14/01/2018 DESIRE Diamonds and their emotional meaning Please return this visitor guide after your visit. Do you want to read the texts again? You can download them from our website (www.mas.be) or buy the publication in the MASshop. Photo credits 13. / 15. © Antwerp, MAS – 32. © Chantilly, Musée Condé – 53. © Vienna, Museum für Völker- kunde (Foto-archiv nr.5125) – 54. © St-Petersburg, Russisch Etnografisch Museum (nr. 850-139) – 56. © Collection Staf Daems – 71. Private collection - 103. © Antwerp, Cathedral – Chapel of Our Lady/Brussels, KIK-IRPA, cliché KN008630 – 126. © Lennik, Kasteel van Gaasbeek – 131. © Antwerp, Royal Museum of Fine Arts (560) / Lucas Art in Flanders – 134. © Rotterdam, Museum Boijmans Van Beuningen, foto: Studio Tromp, Rotterdam – 148. © Vienna, Bundesmobilienverwaltung – Hofburg Wien, Sisi-Museum, Photographer: Gerald Schedy – 153. © Brussels, Archives of the Royal Palace – 160. © Victoria, Royal BC Museum and Archives (193501-001) – 161. / 162. © Washington, Library of Congress, Prints & Photographs Division, Edward S. Curtis Collection – 167. © St-Petersburg, The State Hermitage Museum (GE-1352) – 170. © St-Petersburg, The State Hermitage Museum (ERR-1104) – 171. © London, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017 (RCIN 2153177) – 176. © Geneva, Herbert Horovitz Collection – 179. © Brussels, Chancellery of the prime minister – 184. © bpk – Bildagentur – 185. © Julien Mattia / ZUMA Wire / Alamy Live News – 193. © Tervuren, Royal Museum for Central Afrika, Casimir Zagourski (EP.0.0.3342) – 194. © Washington, Smithsonian Institution, National Museum of African Art (Eliot Elisofon Photographic Archives) – 200. – 204. © Kadir van Lohuizen / NOOR – 205. © Felipe Dana / AP / Isopix – b. / n2. © Antwerp, Hendrik Conscience Heritage Library – c. -
POWER of the PORTRAIT: Production, Consumption and Display of Portraits of Amalia Van Solms in the Dutch Republic
POWER OF THE PORTRAIT: Production, Consumption and Display of Portraits of Amalia van Solms In the Dutch Republic by Saskia Beranek B.A., Pennsylvania State University, 2001 M.A., Duke University, 2003 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Saskia Beranek It was defended on March 29, 2013 and approved by Jennifer Waldron, Associate Professor, English Joshua Ellenbogen, Associate Professor, History of Art and Architecture Stephanie Dickey, Bader Chair in Northern Baroque Art, Queen's University, Art Co-Advisor: C. Drew Armstrong, Associate Professor and Director of Architectural Studies Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by Saskia Beranek 2013 iii POWER OF THE PORTRAIT: Production, Consumption and Display of Portraits of Amalia van Solms in the Dutch Republic Saskia Beranek, PhD University of Pittsburgh, 2013 Portraits of Amalia van Solms, wife of Frederik Hendrik of Orange-Nassau and one of the most significant women in the Dutch Republic, were widely circulated and displayed during her lifetime (1602-1675). This study focuses on cases where specific audiences and sites of display can be isolated. When portraits can be viewed in their original context, they speak not only to those elements intrinsic to the image such as symbolism or fashion, but also to issues extrinsic to the image: social practices, cultural ideals, and individual identities. -
Schitterend Verlangen
D/2017/0306/111 BEZOEKERSGIDS SCHITTEREND 18/10/2017 14/01/2018 VERLANGEN Over de emotie van diamant VU: Marieke van Bommel, Hanzestedenplaats 1, 2000 Antwerpen | 2017 Bommel, 1, van Hanzestedenplaats VU: Marieke Dit is een leenexemplaar. Bezorg de bezoekersgids na je bezoek terug. Teksten kan je nalezen en downloaden via www.mas.be of in de publicatie te koop in de MASshop. Foto credits 13. / 15. © Antwerpen, MAS – 32. © Chantilly, Musée Condé – 53. © Wenen, Museum für Völkerkunde (Foto-archiv nr.5125) – 54. © Sint-Petersburg, Russisch Etnografisch Museum (nr. 850-139) – 56. © Verzameling Staf Daems – 103. © Antwerpen, Kathedraal – Kapel Onze Lieve Vrouwe Lof/Brussel, KIK-IRPA, cliché KN008630 – 126. © Lennik, Kasteel van Gaasbeek – 131. © Antwerpen, Koninklijk Museum voor Schone Kunsten (560) / Lucas Art in Flanders – 134. © Museum Boijmans Van Beuningen, foto: Studio Tromp, Rotterdam– 148. © Bundesmobilien- verwaltung – Hofburg Wien, Sisi-Museum, Photographer: Gerald Schedy – 153. © Brussel, Archief van het Koninklijk Paleis – 160. © Victoria, Royal BC Museum and Archives (193501-001) – 161. / 162. © Washington, Library of Congress, Prints & Photographs Division, Edward S. Curtis Collection – 167. © Sint-Petersburg, The State Hermitage Museum (GE-1352) – 170. © Sint-Petersburg, The State Hermitage Museum (ERR-1104) – 171. © Londen, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017 (RCIN 2153177) – 176. © Geneve, Herbert Horovitz Verzameling – 179. © Brussel, Kanselarij van de Eerste Minister – 184. © bpk – Bildagentur – 185. © Julien Mattia / ZUMA Wire / Alamy Live News – 193. © Tervuren, Koninklijk Museum voor Midden-Afrika, Casimir Zagourski (EP.0.0.3342) – 194. © Washington, Smithsonian Institution, National Museum of African Art (Eliot Elisofon Photographic Archives) – 200. - 204. © Kadir van Lohuizen / NOOR – 205. -
Nieuw Realisme En Pop Art Uit De Jaren 60
Borzo nieuws New media New forms nieuw realisme en pop art uit de jaren 60 090452_Borzo_nieuwsbrief_12.indd1 1 02-10-2009 08:08:22 2 090452_Borzo_nieuwsbrief_12.indd2 2 02-10-2009 08:08:32 New media New forms nieuw realisme en pop art uit de jaren 60 modern & contemporary art 03 090452_Borzo_nieuwsbrief_12.indd3 3 02-10-2009 08:08:32 New media New forms 1960 New York / Parijs Paul van Rosmalen In 1960, in New York, vindt in de galerie van Martha Jackson de expositie plaats New Media – New Forms: In Painting and Sculpture. De titel New Media was niet nieuw; hij was al eerder gebruikt in 1920 ten tijde van de Dada- beweging. De tentoonstelling bij Martha Jackson wordt gesplitst in twee delen. Part I in juni 1960 bevat Dada-kunstenaars als Arp en Schwitters, gevolgd door Part II in oktober met werk van de ‘Neo- dadaïsts’ Jasper Johns, Jim Dine, Robert Rauschenberg en Claes Oldenburg. Het zijn vooral de assem- blages en installaties van deze kunstenaars die de aandacht trekken. 04 090452_Borzo_nieuwsbrief_12.indd4 4 02-10-2009 08:08:33 New media New forms 1960 New York / Paris Paul van Rosmalen In 1960, in New York, an exhibition takes place in Martha Jackson’s gallery, New Media – New Forms: In Painting and Sculpture. The title New Media is not new; it has been used before in 1920 at the time of the Dada movement. The exhibition at Martha Jackson’s is split into two parts. Part I in June 1960 is for Dada artists such as Arp and Schwitters, followed in October by Part II with the work of the ‘Neo- Dadaists’ Jasper Johns, Jim Dine, Robert Rauschenberg and Claes Oldenburg. -
Masters of the 13Th, 14Th and 15Th Century
MASTERS OF THE 13TH, 14TH AND 15TH ceNTURY Stoning of Saint Stephen (Initial E [t enim] sederunt) Last quarter of the 13th century 484 × 340 mm MASTER OLIVETANO ILLUMINATOR FRom (LomBARDY) FLORENCE Initial cut out from a choir book Initial cut out from a gradual with with Communion of the Apostles Stoning of Saint Stephen (Initial C) (initial Cibavit eos) Late 15th century 1439 365 × 318 mm MASTER OF THE DECRETALS OF LUCQUES, BOLOGNA Illuminated fragment of a judicial codex with Elevation of the Host 1270-1275 103 × 80 mm ILLUMINATOR FRom ABRUZZO Initial cut out from an antiphonal with Christ in Majesty with Saints and Prophets (Initial Aspiciens a longe) MASTER OF SENECA, Late 13th century BOLOGNA 287 × 368 mm Choir sheet with Christ and Virgins (Initial Veni sponsa Christi) Early 14th century 603 × 417 mm NERIO, BOLOGNA Initial from a gradual with Resurrection of Christ (Initial Resurrexi) Early 14th century 280 × 183 mm MAESTRO OF THE LATTANZIO RICCARDIANO, FLORENCE Initial cut out from a gradual with Resurrection of Christ ANONYmoUS ILLUMINATOR (Initial Resurrexi) FRom CENTRAL ITALY 1460-1465 Page from a gradual with 265 × 232 mm Danh_Vo_04_ING_esec.indd 1 02/04/15 11:48 LEONOR ANTUNES the 11th to 16th century. They are Mexico City, where she had previously a testament to various schools of produced random intersections #6 for illumination, styles, and geographic a show in 2011, and came across a origins. These fragments derive from new, especially conspicuous one, which the transformation of the function of she reproduced for this exhibition and illuminated manuscripts that resulted titled #14; it is the only braided version from the suppression of the monastic presented here. -
Gustave Asselbergs Pop Art in Nederland Gratis Epub, Ebook
GUSTAVE ASSELBERGS POP ART IN NEDERLAND GRATIS Auteur: Schoor Aantal pagina's: none pagina's Verschijningsdatum: none Uitgever: none||9789068290509 EAN: nl Taal: Link: Download hier Welkom bij Museum Het Valkhof Vul uw naam in. Steun het museum en geniet van de voordelen! Lees meer Gustave Asselbergs Amsterdam — Nijmegen , , acryl en gemengde schildertechniek, collage op doek, x cm driedelig. Museum Het Valkhof heeft meerdere collageschilderijen van hem in de collectie. Chinees avontuur is een belangrijke werk uit de laatste periode van Gustave, waarin zich een nieuwe richting aankondigt. De kunstenaar is jong gestorven aan de gevolgen van een hersentumor. Chinees avontuur toont de toenemende wapenwedloop vanaf het begin van de jaren zestig tussen communistisch China, de Verenigde Staten en de Sovjet Unie. Het doek is helder geschilderd en verbeeldt de dynamiek van de volksrepubliek China. Links op het schilderij is een groep Aziatisch uitziende matrozen afgebeeld. De diverse scènes zijn nogal enerverend. Rechtsonder staat een bevoorradingsvliegtuig met opgeslagen kisten. Erboven dobberen rubberbootjes met een ruimtecapsule erin, die waarschijnlijk van een raket afkomstig is. Verder zien we de contouren van een paddenstoel, een kernbom misschien? En tenslotte bevinden zich nog figuren in ijzige omstandigheden. Het is bekend dat Gustave de internationale actualiteit op de voet volgde in tijdschriften als Life Magazine en Paris Match. Er is niet veel over bekend, maar er waren destijds berichten dat China in '66 in noordelijke streken experimenteerde met het afschieten van ruimteraketten en met het testen van kernwapens. Daarbij ging regelmatig van alles mis. In mei kondigde Mao Tse-Tung de Culturele revolutie af, waardoor alle wetenschappelijke experimenten moesten worden gestaakt. -
Graduation Project Piet Zwart Institute Fieke Dieleman Willem De Kooning
Graduation Project Piet Zwart Institute FiekeMore Dieleman than a shared experience Willem de Kooning Academy Master of Education in Arts 2016-2019 FOREWORD First and foremost, I would like to thank my daughter Liz, as she was an inspiration for this research. Liz reminds me to never stop learning, loving and be amazed by everything in life. She was the indicator for this research, for she makes me, her father, grandparents and others have new insights into art, share perspectives of art and have us make meaning of what we see together with her. My thanks go out to everyone who supported me and made it possible to invest time in this research. In particular, my family and friends. I would like to thank all my tutors: Sjoerd, Fianne, Jolande and Ingrid. Thank you Annemarie Vels Heijn, it is an honour to have you as an external critic. Your contribution was most valuable to this research. I would like to thank my colleagues at Museum Boijmans Van Beuningen, for supporting me and not shying back from being critical and sharing your knowledge and experience. Thank you Jeroen, for your valuable contribution in the educational project. A special thank you to Catrien, for her in-depth reading, never ending support and guidance and help keeping me focussed. I would like to thank all the families who devoted their time to this research to test the programme and not shying away from giving constructive feedback. Thank you Sieds, Nicole, Wouter, Nora, Lotte, Dominique, Wessel, Sven, Nicole, Rosalie, Jacco, Karen, Mette and Inne. -
Mondriaan Fonds Naslagwerk Jaarverslag 2012
Mondriaan Fonds 32 EAST Naslagwerk jaarverslag 2012 516 ARTS 60 LAYERS OF CAKE 98WEEKS RESEARCH PROJECT / SPACE LAURENCE AËGERTER STEVEN AALDERS AAMU MUSEUM VOOR HEDENDAAGSE ABORIGINAL KUNST CIRILIO JULIEN ABATH MILOU ABEL ABEL TASMAN MUSEUM EMMANUEL ADJEI JAN ADRIAANS BABAK Inhoud AFRASSIABI Subsidiemogelijkheden voor beeldend kunstenaars en bemiddelaars AFRICA IN Stimuleringssubsidies 3 THE PICTURE Internationalisering 6 Bijzondere projecten 7 AFRICAN Subsidiemogelijkheden voor instellingen beeldende kunst en cultureel erfgoed ARCHITEC- Afnamebevorderend 11 Voorwaardenscheppend 15 TURE Internationalisering 16 MATTERS Internationaal 17 Publieksgerichte activiteiten en AFRICAN communicatie Publieksmomenten 23 ARTISTS Drukwerk en digitale media 24 FOUNDATION Advertenties, pers en voorlichting 25 Samenwerking Gezamenlijke regelingen 26 AFRIKA Gezamenlijke activiteiten 26 MUSEUM Afstemming 26 Werkwijze AFTERALL Advisering 27 Bezwaar- en beroepsprocedures 27 YANG Organisatie Raad van Toezicht en Bestuur 29 AH HAM Medewerkers Mondriaan Fonds 29 Toekenningen AICHI Instellingen 32 Beeldend kunstenaars en bemiddelaars 75 TRIENNALE ORGANIZING Bijlage commissieleden 82 COMMITTEE Jaarcijfers 85 GALERIE AKINCI MOUNIRA AL SOLH LAUREN ALEXANDER ALEXANDRIA CONTEMPO- RARY ARTS FORUM ACAF ALLARD Het Mondriaan Fonds heeft in 2012 als laatste honoreringen van een startstipendium hield jaar van de cultuurplanperiode 2009-2012 het PIERSON gelijke tred met het aantal aanvragen: in 2012 beleid van de twee voormalige fondsen uit- MUSEUM werden maar liefst 92 -
Overlapping Theories on Art, Design, & Concrete Poetry
overlapping theories on art, design, & concrete poetry. catalog no. one no. one catalog no. one hello. Welcome to catalog no. one — our first, featuring a sampling of material in the overlapping fields of art, design, & concrete poetry. We’re excited beyond belief to be able to launch the catalog jointly with our colleagues Adam and Kate Davis at Division Leap. Please visit our website at theideaofthebook.com for more information about these items, or email us at [email protected] with questions. Sincerely, Fredrik Averin Proprietor 3 catalog no. one 1. Lawrence Weiner, Dieter Schwartz 2. Adrian Frutiger, Bruno Pfäffli 3. Hansjörg Mayer, ed. 4. Warja Honegger-Lavater 4 catalog no. one 1. A suite of four items relating to ‘Lawrence Univers typography set by Pfäffli. An iconic example of Weiner, Books 1968 — 1989: Catalog Raisonné’ Swiss design. Lawrence Weiner, Dieter Schwartz Wear to glassine wrappers at crown and heel of spine Köln: Walther König, 1989. Large 4to hardcover with a and some age toning, else fine. Very good slipcase with blue linen spine and paper-covered red boards a two-inch tear at top and a small tide mark on back. with black lettering inside an offset printed dust jacket. $250.00 206 pp. To which is added a die cut and folded poster 59.5 x 84 cm (23.4 x 33") in size printed in three colors 3. Sammelband Futura 1 Bis 13, Sammelband on glossy stock on recto, a die cut 14.8 x 10.5 cm Futura 14 Bis 26 (5.9 x 4.125") announcement card offset printed in Hansjörg Mayer, ed.