DOCSLIB.ORG

Pdf-Catalogo-Pop-Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pdf-Catalogo-Pop-Art L’ARENGARIO STUDIO BIBLIOGRAFICO POP ART NEGLI ANNI ‘60 e ‘70 libri riviste poster e documenti originali Edizioni dell’Arengario Gussago Franciacorta 2015 L’ARENGARIO STUDIO BIBLIOGRAFICO progetto grafico di Bruno Tonini POP ART NEGLI ANNI ‘60 e ‘70 libri riviste poster e documenti originali ARTE FIERA 2015 - Bologna 23/26 Gennaio L’Arengario Studio Bibliografico Dott. Paolo Tonini e Bruno Tonini Via Pratolungo 192 - 25064 Gussago tel. ++39 030 25 22 472 fax ++39 030 25 22 458 mail: [email protected] http://www.arengario.it Membri dell’Associazione Librai Antiquari d’Italia & International League of Antiquarian Booksellers 1. AA.VV., Amerikansk pop-konst. 106 former av kärlek ogh förtivivlan, Stockholm, Moderna Museets, 1964, 21,5x21,6 cm., brossura, pp. 114 diversamente colora- te e con differente grammatura, catalogo/libro d’artista con copertina illustrata in bianco e nero di Roy Lichtenstein, 7 tavole a colori applicate nel testo e 4 tavole in bianco e ripiegate f.t. Volume interamente illustrato con immagini foto- grafiche documentarie e opere di: Jim Dine, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, George Segal, Andy Warhol, Tom Wesselman. Contributi di K. G. Hulten, Alan T. Solomon, Billy Klüver, Alain Jouffroy, Claes Oldenburg, Chell Buffington, George Segal, Henry Geldzahler, Nils-Hugo Geber. Testo in svedese. Tiratura non indicata. Catalogo della prima mostra europea di Pop Art tenutosi al Moderna Museet di Stoccloma dal 29 febbraio al 12 aprile 1964. Edizione origi- nale. [Bibliografia: B.D.M. 1991: pag. 53]. € 250 2. AA.VV., Dylaby. Dinamisch labyrint, Amsterdam, Stedelijk Museum, 1962, 18,9x25,7 cm., brossura, pp. (22), copertina illustrata b.n., 34 illustrazioni fotogra- fiche b.n. di Ed Van Der Elsken con immagini e ritratti fotografici di Robert Rau- schenberg, Martial Raysse, Niki de Saint Phalle, Daniel Spoerri, Jean Tingyely, Per Olof Ultvedt. Catalogo della mostra tenutasi allo Stedelijk Museum di Amster- dam nel Settembre 1962. Allegato un foglio ripiegato in quattro parti con l’elenco completo delle opere esposte. € 150 3. AA.VV., Pop etc., Wien, Museum des 20. Jahrhunderts - Katalog 15, 1964, 16,5x22,8 cm., brossura, pp. 72, copertina tipografica illustrata a colori, 56 illu- strazioni in bianco e nero nel testo con opere di: A. Warhol, M. Raysse, T. Wes- selmann, P. Blake, M. Rotella, K. Oldenburg, G. Segal, J. Johns, R. Lichtenstein e molti altri. Testi di: Werner Hofmann e Otto A. Graf. Catalogo pubblicato in oc- casione della mostra tenutasi al Museum des 20. Jahrhunderts di Vienna dal 19 settembre al 31 ottobre 1964. Edizione originale. € 200 4. AA.VV., Bianchini Gallery presents the Grand Opening of the American Super- market, New York, Bianchini Gallery, [stampa: senza indicazione dello stampato- re], s.d [ottobre 1964], pieghevole 10,7x27,5 cm. per invio postale, non viaggiato, stampato fronte e retro, che completamente svolto misura 43x56 cm., una com- posizione grafica di presentazione in copertina, all’interno una composizione di scritte, prezzi, nomi degli artisti partecipanti (Richard Artschwager, Andy Warhol, Jasper Johns, Tom Wesselman (sic!), Roy Lichtenstein, Claes Oldenburg, James Rosenquist, Billy Apple, Bob Watts, Mary Inman). Stampa in bianco, bleu e rosa. Questa esposizione è la prima in cui sono adottate le tecniche pubblicitarie dei supermercati. L’idea dell’impiego delle tecniche pubblicitarie dei supermercati può essere collegata a una precedente iniziativa della Galleria La Salita di Roma del dicembre del 1963: Turcato, Sanfilippo, Franchina, Angeli ed altri artisti, avevano esposto mobili costruiti e firmati da loro stessi: sedie, tavoli, armadi, candelabri ed altri oggetti messi in vendita al pubblico intervenuto all’iniziativa con un certo divertimento. Dopo la mostra americana, La Salita riproporrà il concetto nella fa- mosa mostra dei «12 giorni a La Salita» (19 dicembre 1964 - 5 gennaio 1965), questa volta utilizzando prodotti di serie con interventi degli artisti, vendendoli allo stesso prezzo del grande magazzino. Poster/invito originale alla mostra (New York, Paul Bianchini Gallery, 6 ottobre - 7 novembre 1964). € 1.500 5. AA.VV., 12 giorni - La Salita - Grande vendita - 12 giorni di clamorose offerte - 200 articoli a un prezzo straordinario! - Omaggi a tutte le gentili Signore interve- nute, Roma, La Salita Galleria d’Arte Contemporanea, [stampa: senza indicazio- ne dello stampatore], s.d. [dicembre 1964], pieghevole 25x17,4 cm., stampato al solo recto, che completamente svolto misura 50x34,8 cm., composizione di scritte pubblicitarie dell’evento, stampa in nero e rosso. L’esposizione è la seconda in assoluto che adotta le tecniche pubblicitarie dei supermercati dopo «The Grand Opening of the American Supermerket» (New York, Galleria Bianchini, 6 ottobre - 7 novembre 1964). Artisti presenti: Aldo Mondino, Fabio Mauri, Antonino Titone, Giulio Paolini, Gianni Colombo, Gabriele De Vecchi, Davide Boriani, Mario Schifa- no, Umberto Bignardi, Giosetta Fioroni, Gianfranco Barucchello (sic!). Bollo, tim- bro postale, timpro della Galleria e traccia di etichetta di invio in copertina. Invito originale alla mostra (Roma, La Salita, 19 dicembre 1964 - 5 gennaio 1965). € 600 6. AA.VV., Happenings - U.S. Pop Art - Nouveau Realisme e.t.c., Düsseldorf, Verlag Kalender Hansjoachim Dietrich, Kalender 65, 1965, 19x14 cm., legatura editoriale in mezza teal con piatti cartonati, pp. (108) su cartoncino, copertina illustrata in bianco e nero. Libro d’artista interamente illustrato a colori e in bian- co e nero con opere e testi di Wolf Vostel, Joseph Beuys, Allan Kaprow, Dick Higgins, Nam June Paik, Hemmet Williams, Stanley Brouwn, Roy Lichtenstein, Claes Oldenburg, Jim Dine, George Segal, Andy Warhol, Tom Wesselmann, Robert Indiana, James Rosenquist, Jasper Johns, Robert Rauschenberg, Jean Tinguely, Yves Klein, Arman, Christo, César, Daniel Spoerri, Dieter Rot, Winfred Gaul, Gerhard Richter, Hansjoachim Dietrich. Copia speciale auto- grafata al frontespizio da Nam June Paik, Emmet Williams, WOlf Vostel, Winfred Gaul, Danel Spoerri, Claes Oldenburg e con un autografo di Dick Higgins a pag. (24). Tiratura di 300 esemplari. Edizxione originale. € 800 7. AVANTGARDE, nn. 1 - 14 (Tutto il pubblicato - All published), New York, Ralph Ginzburg, 1968//1971, 14 fascicoli 28,5x27,6, brossura, 60 ca., Rivista diretta da Herb Lubalin. Fascicoli interamente illustrati con immagini a colori e in bianco e nero. n. 1 Gennaio 1968; n. 2 Marzo 1968, contiene il portfolio “The Marilyn Monroe trip by Bert Stern” con 12 serigrafie originali a colori di Bert Stern; n. 3 Maggio 1968; n. 4 Settembre 1968 contiene un calendario con immagini fotografi- che in bianco e nero di Steve Horn e Norm Griner; n. 5 Novembre 1968, contiene l’articolo “Tom Wesselman: pleasure painter”; n. 6 Gennaio 1969; n. 7, Marzo 1969 contiene l’articolo “Paul Wunderlich painted woman” con oltre 40 illustrazioni fotografiche a colori e in bianco e nero; n. 8 Settembre 1969 numero monogra- fico dedicato a Picasso “Picasso’s erotic gravures”; n. 9 Novembre 1969; n. 10 Gennaio 1970; n. 11 marzo 1970 contiene l’articolo “Wedded Bliss: A portfolio of erotic lithographs by John Lennon”; n. 12 Maggio 1970; n. 13 1971 “Special issue: “Portraits of the american people a Monumental Portfolio of photographs”con foto- grafie di Alwyn Scott Turner. n. 14 Estate 1971 contiene l’articolo “Belles Lettres. A photo alphabet” con 39 illustrazioni fotografiche in bianco e nero. € 1.800 8. CHAMBERLAIN JOHN (Rochester 1927): AA.VV., John Chamberlain, Paris, Ileana Sonnabend, s.d. (1964), 26,5x18 cm., brossura, pp. (16), copertina tipogra- fica, 6 tavole b.n. (alcune a piena pagina) con opere dell’artista. Testo tratto da un articolo di Barbara Rose. Catalogo della mostra tenutasi alla Galleria Ileana Son- nabend nel 1964. Edizione originale. [Bibliografia: B.D.M. 1996: pag. 52]. € 180 9. DINE Jim (Cincinnati, Ohio 1935): JAA.VV., Jim Dine, Paris, Ileana Sonna- 10. DINE Jim (Cincinnati Ohio USA 1935), Jim Dine, Paris, Galerie Sonnabend, bend, 1963, 26,4x18 cm., brossura, pp. (16), copertina tipografica, 7 illustrazioni 1970 (s.d. ma novembre 1970), 30x40 cm., poster stampato in offset a colori su b.n. con opere dell’artista. Testi di Alain Jouffroy, Lawrence Alloway e Nicolas carta lucida, appositamente creato dall’artista per pubblicizzare la mostra. Pubbli- Calas. Catalogo della mostra tenutasi alla Galleria Ileana Sonnabend di Parigi nel cato in occasione della mostra (Parigi, Galerie Sonnabend, 24 novembre 1970). Marzo del 1963. Edizione originale. [Bibliografia: B.D.M. 1996: pag. 52]. € 150 Edizione originale. € 300 12. DINE Jim (Cincinnati Ohio USA 1935), Jim Dine. Complete Graphics (volume I) - Katalog 2 (volume II), Hannover, Kestner-Gesellschaft Hannover, 1970, 2 vo- lumi21x21 cm., brossura, pp. (152); (64), 1 grande tavola ripiegata a fisarmonica, 118 tavole e illustrazioni a colori, 26 illustrazioni b.n. n.t. Testi di Jim Dine, W. Schmied. Una intervista con Dine di R. Swenson. Catalogo della mostra tenu- tasi al Kestner-Gesellschaft di Hannover dal 20 marzo - 26 aprile 1970. € 250 11. DINE Jim (Cincinnati Ohio USA 1935), Jim Dine, Hannover, Kestner - Ge- sellschaft, 1970, 42,7x59,5, poster originale con un’immagine in bianco e nero e scritte in rosso. (Kestner-Gesellschaft, Hannover, Marzo 1970). € 150 13. HAMILTON Richard (London 1922), Richard Hamilton, London, Tate Gallery, 1970, 21x21 cm., brossura, pp. 100 n.n., copertina/multiplo con inserto di carta argentata (“Toaster”). Volume interamente illustrato con riproduzioni di opere
Load more

Recommended publications
  • Martin Kippenberger Dortmund 1953 ∆ Wien
    036 √>/ 037 √>/ 038 √>l Martin Kippenberger √>/ Andreas Horlitz √>/ Sigmar Polke √>/ Auke de Vries √>/ Bleistift, Kugelschreiber, Farbstift, Filzstift, Prag (CZ), 2003, Haus der Fotografie, Mos- Modern Art, Humlebæk (DK), 2004 ist im Zusammenhang mit Polkes Unter- Martin Kippenberger Letraset auf Hotelbriefpapier bzw. kau (RUS), Deutsches Historisches Sigmar Polke √>/ behind the facts – interfunktionen 1968 – suchungen zu den Möglichkeiten des Bildes Dortmund 1953 ∆ Wien (A) 1997 auf Japanpapier Museum, Berlin, 2004, Kat. √>/ Bilder, die Oels / Oles´nica (PL) 1941, lebt in Köln 1 975. Kunsthalle Fridericianum, Kassel, als Wiedergabe von Realität zu sehen. die einzelnen Blätter je: ohne Titel noch fehlten – Zeitgenössische Fotografie. 2005 √>/ Mehr als ein Auge fassen kann – In Sechs Richtige spielt der Künstler offen- √>l Heft 1994—1995 acht Blätter je 29,7 ≈ 21 cm Deutsches Hygiene-Museum, Dresden, Von 1960 bis 1967 studierte Sigmar Polke Fotokunstausstellung aus der Sammlung sichtlich auf das freundschaftliche Verhält- zwei Blätter je 26 ≈ 18 cm 2000, ZDF, Mainz, 2003, Kat. √>/ Portrait an der Kunstakademie Düsseldorf bei Ger- der Deutschen Bank. Museo de Arte de Lima nis zu Klaus Staeck an. Sie verweisen auf das gerahmt je 47,5 ≈ 38,3 cm ohne Antlitz. Kunsthalle zu Kiel, Museum hard Hoehme und Karl-Otto Götz. 1963 (PE), Museo de Artes Visuales Colección Lottospiel und hintergründig auf den Bochum, 2004, Kat. gründete er mit Konrad Fischer-Lueg und Santa Cruz – Yaconi, Santiago de Chile (RCH), Kunstmarkt. –––––––––––––––––––––––––––––––––––––––––––––––––––––––– Gerhard Richter die Bewegung >Kapitalisti- Museo de Arte Moderna, São Paulo (BR), Ankauf des Förderkreises Literatur scher Realismus<. Von 1970 bis 1971 und Pabellón de las Bellas Artes Pontificia Univer- JS 036 06.
    [Show full text]
  • Customized Book List Art & Design
    ABCD springer.com Springer Customized Book List Art & Design FRANKFURT BOOKFAIR 2007 springer.com/booksellers Art & Design 1 H. Aardse, A.v. Baalen (Eds.) S. Aigner, Wien, Österreich (Ed.) S. Bächli Findings on Ice Emanzipation und Konfrontation / Lidschlag / How It Looks Emancipation and Confrontation / Emancipacija in konfrontacija The Pars Foundation was founded from the con- Silvia Bächli gehört zu den international beachteten viction that art and science are both essentially cre- Kunst aus Kärnten von 1945 bis heute. Architektur aus Schweizer Künstlerinnen ihrer Generation. Die ative processes. Artists begin with an idea that is ul- Kärnten seit 1945 und Kunst im öffentlichen Raum heute. in enger Zusammenarbeit mit der Künstlerin timately expressed in the form of music, images, or entstandene Publikation gibt erstmals einen words. Scientists begin with a hypothesis, sketch an repräsentativen Überblick über ihr Schaffen seit idea, and then test and describe it. Every year Pars „Emancipation and Confrontation" documents 1983. Silvia Bächli verunsichert mit ihrer Kunst, invites artists and scientists to make a contribution both the emergence of a new, postwar generation of die den Betrachter auf eine Gratwanderung schickt to creative thinking. The current topic, “Ice,” is situ- artists, and the way art has developed between then zwischen Banalität und gezielter Kontinuität. In ated in a wide variety of contexts: in connection with and now. In addition to painting, sculpture, photog- ihrer Kunst konzentriert sie sich stets auf das Mini- greenhouse effect, the rise in sea level, or a dancer’s raphy, video art and installtions have also gained in mum. Zu sehen sind einzelne Arme oder Gesichter muscles before making his first move.
    [Show full text]
  • Kiki Kogelnik Josh Kline
    OXFORD MODERN ART MODERN EXHIBITION NOTES KIKI KOGELNIK FLY ME FREEDOM TO THE JOSH KLINE JOSH MOON EXHIBITION NOTES EXHIBITION MODERN ART OXFORD CONTENTS Instagram: @mao_gallery Instagram: 1 What is the exhibition about? @mao_gallery Twitter: Facebook: Modern Art Oxford Art Modern Facebook: 2 Piper Gallery Map www.modernartoxford.org.uk 3 Middle Gallery Map Bundeskanzleramt Österreich. Bundeskanzleramt is supported by the Kiki Kogelnik Foundation, Austria and and Austria Foundation, Kogelnik Kiki the by supported is Moon the to Me Fly 4 Artist Interview Kogelnik: Kiki An extract from an interview between Josh Kline and Ryan Trecartin York. New Gallery, Subal Simone and Rinkhy Andrew London, Taneva from the Kiki Kogelnik Foundation, Elisabeth Koegler, Director, Austrian Cultural Forum Forum Cultural Austrian Director, Koegler, Elisabeth Foundation, Kogelnik Kiki the from Taneva 5 Extract from This is What The End of Racial Profiling Looks Like by Katya and Okresek Tatjana Schwarz, George Dr Schwarz-Kogelnik, Mono to thanks special With Tara Lai Quinian and Deborah Ramirez 6 - 7 Events helped to realise this exhibition. this realise to helped Modern Art Oxford is grateful to the many individuals, companies and organisations that have have that organisations and companies individuals, many the to grateful is Oxford Art Modern continue our work by making a donation before you leave. you before donation a making by work our continue If you have enjoyed your visit today and believe in free access to exhibitions, please help us to to us help please exhibitions, to access free in believe and today visit your enjoyed have you If This exhibition guide is available in a large print format.
    [Show full text]
  • From Its Inception in the Early 1960S, Pop Art Was a Boys' Club. Huge
    BY RACHEL LEBOWITZ Dec 2, 2016 1:36 PM From its inception in the early 1960s, Pop Art was a boys’ club. Huge names like Andy Warhol and Tom Wesselmann perpetuated the myth of the (male) artist-as-genius. The movement emerged amid the post-World War II explosions of capitalist consumerism and mass media, as artists explored new modes of mechanical production, often by taking commonplace consumer goods and pop-cultural icons as their subject matter. Associated with an unemotional, distanced attitude toward artmaking, Pop Art’s codified characteristics are, in turn, stereotypically male. For female artists participating in the movement, cultivating a persona as a so-called serious artist seemed like the only way to succeed. An alternative strategy was to (often cheekily) critique Pop Art and its workings from the inside out. In many cases, though, these strategies were interpreted as playing by the rules rather than challenging them, and, more often than not, these routes failed to reward female artists with a lasting place in the mainstream. Now, however, with the nuances of their practices better understood, female artists from around the globe are gaining more recognition for their contributions and challenges to Pop Art. Associated with the Pop movement to varying extents, the following 11 women artists (by no means an exhaustive list) all engaged with its motivations and defining characteristics, some by expanding the genre through feminist inflection, others by working along its margins. Kiki Kogelnik Untitled (Woman's Lib), ca. 1971 Sunkist, 1981 Simone Subal RoGallery At first involved with Viennese gestural abstract painting, Austrian artist Kogelnik moved to the U.S.
    [Show full text]
  • Nov-Dec 2015 / from the RABBI Y’Shar Koh’Khem
    the of ohavi Zedek Synagogue voice Burlington, vermont heShvan/kiSlev/tevet nov/dec 2015 NEW RABBI ON BOARD! Sunday, November 22 9:30 - 11: 30 am Board elections (Detailed letter will follow) Scholar-in- Residence Shabbaton Nov 6 - 8 See page 15 OZ President Jeff Potash and Rabbi Amy Joy Small on contract signing day. Rabbi Amy’s tenure at Ohavi Zedek begins January 1, 2016. Leadership Contacts ..............................2 From the Rabbi......................................3 Please join us for our FABULOUS From the Assistant Rabbi........................4 From the President.................................5 From the Treasurer................................6 CHANUKAH PARTY! Profile .................................................8 Sunday, December 6 Hebrew School.....................................10 Announcements...................................11 11:30 am to 1:00 pm Library............................................12 Crafts & Games Young Judaea..................................13 Music by Gigi Weisman and Robert Resnik Scholar-in-Residence.......................15 Adult Ed..........................................16 Homemade Latkes & Applesauce Shalom Shuk.........................................17 Suggested donation...$5/adult...$3/child...$15/family Tributes................................................18 Yahrzeits...............................................20 Gift Shop will be open Calendar.......................................22 leaderShip contactS STAFF BOARD OF DIRECTORS Rabbi.............................................................Joshua
    [Show full text]
  • Lover's Disco(Urse)
    Begleitmaterial zur Vorstellung LOVER'S DISCO(URSE) Alek KawkaAlek © VRUM Performing Arts Collective, Dschungel Wien & KLIKER Festival (HR) Tanztheater | 75 Min. | 15 – 20 Jahre Begleitinformationen erstellt von: Cornelius Edlefsen, Melika Ramić, Sanja Tropp Frühwald Kartenreservierungen für pädagogische Institutionen: +43 1 522 07 20 18 | [email protected] KULTURVERMITTLUNG Vorbereitender Workshop Auf Anfrage kommen wir gerne vor Ihrem Theaterbesuch an Ihre Schule, stimmen die Klasse auf das Thema ein und bereiten Sie und Ihre Schüler:innen auf das Medium „zeitgenössischer Tanz und Performance“ vor – mit Gesprächen und kreativen Übungen aus dem Tanz-, Performance- und Schauspielbereich. Dauer: 2 Schulstunden Kosten: € 130,00 pro Klasse Ort: Fest- oder Turnsaal an Ihrer Schule, ev. auch in einem größeren Klassenzimmer möglich. Publikumsgespräch Sehr gerne können Sie sich für ein kostenloses Publikumsgespräch direkt im Anschluss an die Vorstellung anmelden. Im Publikumsgespräch können die Kinder und Jugendlichen relevante Themen des Stückes bearbeiten, Fragen stellen und ihren ersten Eindrücken Ausdruck verleihen. Unterschiedliche Formate passend zu Inhalt und Zielgruppe – zum Teil mit interaktiven Elementen – bieten den geeigneten Rahmen für direkten Austausch und ermöglichen neue Zugänge zur darstellenden Kunst. Bitte geben Sie bei der Reservierung bekannt, ob Sie ein Publikumsgespräch wünschen. Nachbereitender Workshop Vor allem bei theatererfahrenen Klassen kann es sinnvoll sein, statt des vorbereitenden Workshops eine Nachbereitung zu buchen. Hier verarbeiten die Schüler:innen das gesehene Stück in Gesprächen und durch eigenes kreatives Schaffen. Dauer: 2 Schulstunden Kosten: € 130,00 pro Klasse Ort: Fest- oder Turnsaal an ihrer Schule, ev. auch in einem größeren Klassenzimmer möglich. Ansprechpersonen für weitere Informationen und Beratung: Judit Abegg | +43 1 522 07 20-24 [email protected] II Inhaltsverzeichnis 1.
    [Show full text]
  • Like Other Mid-Century Pop Artists, Kiki Kogelnik Became a Brand. And
    Kiki Kogelnik, Self Portrait, 1964. © Kiki Kogelnik Foundation. All rights reserved. Courtesy of the Kiki Kogelnik Foundation. Like other mid-century Pop artists, Kiki Kogelnik became a brand. And while the Austrian-born artist should primarily be remembered for her innovative “Hangings” series and her bold feminist motifs, history hasn’t been kind to her. In the United States, Kogelnik’s legacy unfairly rests more on her fashionable image and vibrant personality than on her work itself. Born in Bleiburg, Austria, in 1935, Kogelnik attended Vienna’s Academy of Fine Arts and began her career painting quiet abstractions. She moved to New York in 1961 at the suggestion of her friend, painter Sam Francis, and her work took a colorful turn. Influenced by the city’s commercialism and the burgeoning Pop movement, Kogelnik made science fiction-inflected paintings featuring floating bodies, polka dots, robot parts, and the cosmos. She worked out of Francis’s studio for a few years, mingling with the other artists who came through and easily integrated into the city’s cultural milieu. Her friends included major figures, from Andy Warhol to Larry Rivers. According to a pamphlet she preserved in a giant black scrapbook of personal ephemera (which she titled her “Ego Book”), composer Morton Feldman once said, “Kiki is the love goddess of pop art…her paintings continue the legacy of a ‘Marilyn Monroe.’” If Kogelnik relished the praise, it didn’t help her reputation as a serious artist. “She was kind of an outlier, even though she knew everyone,” Pilar Zevallos, the director of the Kiki Kogelnik Foundation, tells Artsy.
    [Show full text]
  • Kiki Kogelnik Foundation
    10/30/2018 Kiki Kogelnik - Archives of Women Artists, Research and Exhibitions A Archives W A of Women Artists R Kiki Kogelnik Research E & Exhibitions 1935 — BLEIBURG, AUSTRIA | 1997 — VIENNA, AUSTRIA Austrian, American based visual artist. In the 1960s, within a male-dominated arts scene, Austrian artist Kiki Kogelnik never ceased to question the body, aligning feminism with technology. Born in Bleiburg, Kiki Kogelnik studied art in Vienna between 1954 and 1958. She created abstract artworks alongside artists Maria Lassnig and Arnulf Rainer but felt somewhat out of phase with Abstract Expressionism. Notably following her acquaintance with Sam Francis, who advised her to move to the United States, she left in 1961 for Santa Monica and later, New York. There, she met some of the emblematic figures of American Pop Art: such as Roy Lichtenstein, Andy Warhol, Robert Rauschenberg, and Claes Oldenburg. Kogelnik tended towards figuration and created paintings, drawings, and installations in a pop aesthetic: using bright, shimmering colours, new materials, and industrial techniques. America represented an opposing force to what Kogelnik had heretofore experienced in Austria, which was still economically depressed due to World War II.” . New York was the emblem of mass consumerism, which gave rise to new media of distribution, the fertile terrain of the pop art movement. Fascinated by this disembodied consumer society, she questioned the social, political, and intimate body, capturing the contours of human bodies. Using her own body or that of male or female friends, she traced their outlines onto various materials (plastic, packaging paper, cardboard) that she cut out and reused in her artworks.
    [Show full text]
  • Andy Warhol's Factory People
    1 Andy Warhol’s Factory People 100 minute Director’s Cut Feature Documentary Version Transcript Opening Montage Sequence Victor Bockris V.O.: “Drella was the perfect name for Warhol in the sixties... the combination of Dracula and Cinderella”. Ultra Violet V.O.: “It’s really Cinema Realité” Taylor Mead V.O.:” We were ‘outré’, avant garde” Brigid Berlin V.O.: “On drugs, on speed, on amphetamine” Mary Woronov V.O.: “He was an enabler” Nico V.O.:” He had the guts to save the Velvet Underground” Lou Reed V.O.: “They hated the music” David Croland V.O.: “People were stealing his work left and right” Viva V.O.: “I think he’s Queen of the pop art.” (laugh). Candy Darling V.O.: “A glittering façade” Ivy Nicholson V.O.: “Silver goes with stars” Andy Warhol: “I don’t have any favorite color because I decided Silver was the only thing around.” Billy Name: This is the factory, and it’s something that you can’t recreate. As when we were making films there with the actual people there, making art there with the actual people there. And that’s my cat, Ruby. Imagine living and working in a place like that! It’s so cool, isn’t it? Ultra Violet: OK. I was born Isabelle Collin Dufresne, and I became Ultra violet in 1963 when I met Andy Warhol. Then I turned totally violet, from my toes to the tip of my hair. And to this day, what’s amazing, I’m aging, but my hair is naturally turning violet.
    [Show full text]
  • SALTS Samuel Leuenberger & Elise Lammer Hauptstrasse 12 CH–4127
    Press Release SOULLESS SKIN Sarah Margnetti starring Kiki Kogelnik 9 September - 21 October 2017 Opening Reception: Friday 8 September 2017, 6pm Receiving her BA from ECAL in Lausanne and her Masters from HEAD in SALTS Geneva, Sarah Margnetti (*1983 in Monthey, lives and works in Brussels and Samuel Leuenberger & Lausanne) went on to get a technical training at The Van der Kelen-Logelain Elise Lammer Institute in Brussels, one of the first schools dedicated to the study of decorative Hauptstrasse 12 painting. Founded in 1882, it’s also one of the few places where art education CH–4127 Birsfelden is not about free expression, but about learning one strict, ancient discipline. [email protected] Mastering the technique of trompe l’oeil, Margnetti has developed a virtuous +41 61 311 73 75 painting style that combines optical illusions and abstract motives. For SALTS, the artist filled the two exhibition spaces with intricate, painterly landscapes covering all the walls. In the context of this exhibition, Margnetti, together with the curators, selected some drawings, paintings and sculptures of the late Austrian Pop artist Kiki Kogelnik (1935-1997, lived and worked in New York and Vienna), with whom she shares a similar formal and conceptual vocabulary, despite the half century that separates them. Sarah Margnetti worked on a series of wall paintings, putting together an elusive narrative that explores the fragmentation of the human body and the sensorial and cultural potential of certain materials. Initially invited to realise the exhibition alone, it was later decided to grow the project into a conceptual and visual conversation between her and Kiki Kogelnik.
    [Show full text]
  • Laura Castellis October 27, 2015 Review of Kiki Kogelnik: Fly Me to the Moon at Modern Art Oxford
    Laura Castellis October 27, 2015 Review of Kiki Kogelnik: Fly Me to the Moon at Modern Art Oxford Kiki Kogelnik, Untitled (small hanging), 1968. Courtesy of Kiki Kogelnik Foundation Vienna, New York. Andy Warhol, Roy Lichtenstein, Claes Oldenberg, Robert Rauschenberg and Jasper Johns. The giants of post-war American art are being reviewed once again; their replacement of high art with kitsch, brushstroke with Ben-Day dot and abstract expressionism with advertising is eerily prophetic of the current state of affairs. During its first lifetime, pop was maligned for glorifying consumerism; it has now been revised to acknowledge the biting cynicism that bristled beneath the smiles of Hollywood goddesses and the shiny veneer of muscle cars. Regardless, the legacy of omission has continued unabated, as the largely unknown name Kiki Kogelnik (1935-1997) will attest. A contemporary of the aforementioned postmodern practitioners, the Austrian- born artist’s retrospective at Modern Art Oxford showed before several of her works go on display in The World Goes Pop exhibition opening at Tate Modern later this month. After having studied at the Vienna Academy of Fine Arts; the very Academy which had sought to contain a disaffected Egon Schiele and exclude a resentful Adolf Hitler; Kogelnik relocated to New York in 1961 and became immersed in post-war American culture, particularly enraptured by new industry and space exploration. However, the artist very much contested her association with pop, although this wish seems to remain widely ignored. Whilst the colours of Kogelnik’s works are decidedly pop; acid greens and neon yellows; the content is other.
    [Show full text]
  • Video Transcript Kiki Kogelnik
    Video Transcript: Stephen Hepworth, Director of Kiki Kogelnik Foundation, talks about the life and work of Kiki Kogelnik, and her exhibition 'Riot of Objects' at MOSTYN. Kiki Kogelnik was born on 22nd January 1935 in Southern Austria and grew up in the town of Bleiburg. Her father was an accountant, her mother was a schoolteacher. She was the middle of three children and was named originally Sigrid, Kiki was a nickname her elder brother Herwig gave her, and she later chose to adopt it, becoming Kiki Kogelnik. She initially studied at the Vienna Academy of the Applied Arts under the sculptor Hans Knesel, where she made the two early plaster sculptures included in this exhibition: Untitled Head and Untitled Figure in 1954. These iconic objects are reflective of a common post-war European sensibility, both figurative and reductively angular in form they evoke a melancholic pity and sadness. In 1956 she enrolled at the Vienna Academy of Fine Arts to study under the painters Albert Paris Gütersloh and Herbert Boeckl. Her work was firmly rooted in the traditions of modernism, her paintings made with a palette of sombre colours and flat painterly forms. In 1958 she was awarded a grant that enabled her to travel to Paris, London, Dublin, Rome and Norway and with this her work became more spontaneous with looser more gestural marks. While on a visit to Paris in 1959 she met the artists: Cesar, Joan Mitchell and Sam Francis who she became involved, and later visited New York with in 1960. Relocating there permanently in 1961 taking up residence in his studio at 940 Broadway at 23rd Street just two blocks away from the legendary Chelsea Hotel.
    [Show full text]