DOCSLIB.ORG

Kiki Kogelnik Josh Kline Activity Guide for Families And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kiki Kogelnik Josh Kline Activity Guide for Families And Kiki Josh Kogelnik Kline Fly Me to the Freedom Moon Free Activity guide for families and schools 22 August – 18 October 2015 Welcome to the Activity Guide to accompany the exhibitions. Fly Me to the Moon is the first solo exhibition in the UK of acclaimed Austrian artist Kiki Kogelnik (1935-1997). Kogelnik first came to prominence in the mid 1950s in Vienna where she showed paintings influenced by the abstract expressionism movement. Kogelnik moved to the United States in 1961 where she befriended many famous artists of the New York art scene including Jasper Johns, Roy Lichtenstein and Robert Rauschenberg. Throughout her career, Koglenik resisted describing her work as ‘pop’ art. She neither felt it to be entirely focused on commercial subject matter or to totally celebrate the capitalist dream and the rise of new technology. The buoyant energy of her early works is offset by the anxiety of the later paintings and sculptures. Her work speaks to our time of radical technological progress and serves as a timely reminder of the dangers of wholeheartedly embracing such change without first reflecting on the potentially destructive effects on the human psyche and body. Fly Me to the Moon, 1963. Oil and acrylic on canvas, 244 x 185cm. Inv#63PT1. Andrew Rinkhy/ Kogelnik Foundation Vienna/ New York Josh Kline is an American artist who works in a range of media, including sculpture, video and installations using 3D prints, animated graphics and gaming software. In his work, Kline delves into the social and political landscape of contemporary American culture, examining its impact on the world at large. Kline is part of an emerging generation of artists working with the visual language and technology of the internet age, his practice is informed by the aesthetic of the 24/7 news cycle, social media feeds and ever-present mobile technology. Can you see images of outer space in Kiki Kogel- nik’s paintings? She was making her artwork during the 1960’s and 1970’s when the first person landed on the moon. Images of outer space, science fiction and fears about the future became cultural themes during these decades. Kogelnik abstracted images of rockets, plan- ets into colourful blocks, shapes and pattens. She linked them back to our bodies and the tiny atoms that we are all made of. Activity: Fill in the background by copying the shapes and pattens you can see in her paintings. Activity 1: In the Gallery Kogelnik was find a spotlit area and draw Activity 2: interested in feminist round the shadow that is issues, such as how many cast by your hand or women there were in the art another shape on this page. world. She was also concerned Repeat this to fill up the that we are not aware enough of page and join the different the effect of technology on our parts of the painting. bodies. Find images from magazines that relate to how we think about these themes today and make them into a collage. For example the way woman are used to advertise certain products or the possible effects of genetically modified food. Breaking news... x Josh Kline : Freedom In 2009 President Obama gave a honesty and hard work, courage speech where he promised to and fair play, tolerance and introduce gun control, and curb curiosity, loyalty and patriotism corporate greed, Klines version -- these things are old. These of the speech contrasts with the things are true. They have scary guards in the space. been the quiet force of progress throughout our history. This is a Guy Fawkes Mask often What is demanded, then, is a re- worn by protestors the copyright turn to these truths. What is re- is owned by Time Warner. quired of us now is a new era of thiresponsibility -- a recognition on the parts of everypage American that we have duties to ourselves, our nation and the world; duties that we do not grudgingly accept, but rather seize gladly, firm in the knowledge that there is nothing so satisfying to the spirit, so de- fining of our character than giving our allh to aA difficult task. Map of Zuccotti Park. Google own this image. This is the price and thes prom- ise of citizenship. This is the source of our confidence -- the Zuccotti Park is a privately owned knowledge that God calls on us to park in the centre of New York; it shape an uncertain destiny. This used to be called Liberty Park. is the meaning of our liberty and It was occupied in 2011 for two our creed, why men and women months by peaceful protestors and children of every race and wanting to draw attention to every faith can join in celebrationn economic inequality, local bee across this magnificent mall; and businesses helped them, anti terror President Obama’s speech in 2009. why a man whose father less than police spied on them they even set The American Government 60 years ago might not have been up a library. Eventually police in riot owns this image. served in a local restaurant can gear forced the protestors out. now stand before you to take a Barack Obama’s Speech. most sacred oath. (Applause.) Josh Kline’s work focuses on the So let us mark this day with re- way the media, big business and And yet at this moment, a moment membrance of who we are and the police dealt with the protests. that will define a generation, it is how far we have traveled. In the precisely this spirit that must yearccupied of America’s birth, in inhabit us all. For as much as o the coldest of months, government can do, and must do, it a small band of is ultimately the faith and patriots hud- determination of the Ameri- dled by dying can people upon which this campfires on nation relies. It is the kind- the shores of ness to take in a stranger an icy river. when the levees break, the self- The capital lessness of workers who would was aban- rather cut their hours than see doned. The a friend lose their job which sees enemy was us through our darkest hours. It is advanc- the firefighter’s courage to storm a ing. The stairway filled with smoke, but also snow a parent’s was stained willingness to nurture a child that with blood. finally decides our fate. This image taken by Seema Krishnakumar Our challenges may be new. The has no ownership. instruments with which we meet What are they telling you? What are you replying? Use a phone to make a film about the objects you or your family are carrying in your pockets or bag. These could be keys, money, bank card or other everyday items. Now place those items onto the designated areas on this page and put your phone on the blank space on the guards stomach to create your own digital screen. Now play your film back. What do your objects and your film say about who you are? Empty your pockets! Empty your Personal ID Card Items Phone Use a phone to make a film about the objects you or your family are carrying in your pockets or bag. These could be keys, money, bank card or other everyday items. Now place those items onto the designated areas on this page and put your phone on the blank space on the guards stomach to create your own digital screen. Now play your film back. What do your objects and your film say about who you are? Credit Cards Money Draw a map of Josh Kline’s exhibition. Where are you? Write words that you hear in different you partsWrite words that of words are repeated? the gallery...what Where is the power in the room. Where is the control? Breaking out... x The Occupy movement involved protesters camping in public areas for long periods of time. Think about how you could occupy the gallery. What is your campaign about? Are you supporting something or are you protesting against something? What do you want to change? Occupy the Gallery: Sit in the centre of the gallery and make yourself comfortable. Create your own area and spread out your possessions around you. Make a tent with your coat or jumper. Are you with your family or friends? Can you get them to join you in your Occupy the gallery movement? Use the space on the back page of this guide to write a slogan for your campaign. How would you protest peacefully against scary police? How would you communicate with other protesters if the police were listening to your calls and reading your texts? The protestors in Zuccotti Park set up a library, what would you set up to pass the time and change the way we think about the world?...What about a revolutionary gallery? Instead of a slogan you could do a protest drawing on the back of the guide. Write words that you hear in different you partsWrite words that of words are repeated? the gallery...what Kiki Kogelnik: Activities for workshops. Using shadows to abstract objects. This activity is inspired by Kogelnik’s paintings in which she abstracted objects into colourful blocks and patterns mixed in with body parts. Instructions: Layout a large sheet of paper over the floor with some everyday objects positioned on it. Now create shadows by using a spotlights or torches in a darkened room. Trace the shadows onto the paper. The objects can be moved, lit and traced again. Ask the group to consider the piece as one whole artwork and make careful decisions about casting shadows over someone else’s or how the shadows may join together.
Load more

Recommended publications
  • 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]
  • 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]
  • 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]
  • Issue-16.Pdf
    BRUCE MUNRO / MARFA BOOK COMPANY / ROBERT IRWIN / AT WORK: YOKO ONO / SUMMER 2017 CONTEMPORARY ARTS, PERFORMANCE, AND THOUGHT JOHN CHAMBERLAIN Twenty-two various works in painted and chromium- plated steel (1972–1982) from the permanent collection at the Chinati Foundation in Marfa, Texas Photograph by Florian Holzherr THE PALOMA Ice, tequila, sugar, and lime juice in a highball glass with a salted rim. Top with fresh grapefruit juice and club soda. Stir gently. ¡Salud! Field of Dreams Bruce Munro ARTIST BRUCE MUNRO ILLUMINATES THE NATURE OF HIS LIFE’S WORK. by Jessica Dawson BRUCE MUNRO Field of Light (2016-2017) Installation view at Uluru, in the Northern Territory of Australia. All photography by Mark Pickthall ARTDESK 01 CDSea (2010) Long Knoll in Wiltshire, England Water-Towers (2015) Desert Botanical Garden in Phoenix, Arizona Impression—Time Crossing Culture (2016) Ferryman’s Crossing (2015) Ashmolean Museum in Oxford, England Scottsdale Museum of Contemporary Art in Scottsdale, Arizona Tepees (2013) 02 ARTDESK Cheekwood Botanical Garden and Museum of Art in Nashville, Tennessee SUMMER 2017 OR THE PAST five years, Bruce Munro’s mas- “they have this surrealism to them. Field of Light in in the community. Friends brought along their sively scaled light installations have been our forest almost felt like fireflies.” friends. A few visitors were moved to tears. A making their way through American botan- “He’s the kind of installation artist that you phenomenon was born. Fical gardens. Pennsylvania’s influential Longwood don’t want to say no to,” says Wendy DePaolis, the But it was only last year that Field of Light was Gardens, in the town of Kennett Square, launched Minnesota Landscape Arboretum curator who realized at ground zero for its inspiration—Uluru the British artist’s invasion in 2012, and since then organized the Munro show, which closed in April.
    [Show full text]
  • Using Educational Learning Models to Inform and Guide the Design of a Virtual
    Using Educational Learning Models to Inform and Guide the Design of a Virtual Learning Environment A Thesis Submitted to the Faculty of Drexel University by Monique Woodard in partial fulfillment of the requirements for the degree of Master of Science in Digital Media August 2018 c Copyright 2018 Monique Woodard. All Rights Reserved. ii Dedications This thesis is dedicated to my grandmother, Dorothy Woodard, whose advice, support, and encouragement has lead me to places farther than I ever imagined. iii Acknowledgments I would like to thank my advisor Glen Muschio, and my committee members, Aroutis Foster and Delia Solomons, for their constructive feedback and guidance throughout this project. I would also like to give special thanks to my friends and family for their endless support and encouragement. iv Table of Contents List of Figures .......................................... v Abstract .............................................. vi 1. Introduction .......................................... 1 1.1 Introduction.......................................... 1 1.2 Pop Art, Women, Sex, and Domesticity .......................... 5 1.3 Research Statement ..................................... 6 2. Gallery Labels and Literature Review ......................... 7 2.1 Gallery Labels ........................................ 7 2.2 Learning Environments ................................... 15 2.3 Literature Review ...................................... 16 3. Methodology .......................................... 18 3.1 Design............................................
    [Show full text]
  • Marta Herford I)IE I~E11~IL1C~~F~~N L((In Srlei{I~~E~~
    / / , / I / / / / / / / Mappenwerke von Matisse bis Twombly aus der Sammlung Marzona MARTa Herford I)IE I~E11~IL1C~~F~~N l((iN srLEI{I~~E~~--. l;l'\[) I<:lTNSrrLEI{ Joset Albers 72-75 Sam Francis 46 Pier re Alechinsky 46 Günter Fruhtrunk 58 Getulio Alviani 58 Gilbert & George 88/89 Karel Appel 46 Jean-Pierre Gillard 76 Machteid Appel 46 Allen Ginsberg 50 Jean-Bernard Arkitu 76 Bruno Gironcoli 84 Arman 58 Lily Greenham 58 Jean Arp 28/29,34/35 Antoine Grimaud 76 Christian Ludwig Attersee 84 Red Grooms 50 Enrico BaJ 46 Micheline Hachette 76 Cario Belloli 58 Hans Hanko 58 Edouard Berreur 76 Hans Hartung 54 Guido Biasi 58 Erwin Heerich 82/83 Max Bill 54 Bernhard Heiliger 54 Erich Brauer 58 Gotttried Honegger 44/15 Andre Breton 42/43 Friedensreich Hundertwasser 58 Gerard-Philippe Broutin 76 Robert Indiana 46, 50/51 Camille Bryen 54 Isidore Isou 76 Franr o.s e Canal 76 Marcel Janco 54 Enrico Castellani 58 Altred Jensen 46/48 Mare Chagall 36/37 Allen Jones 50 Gianni Colombo 58 Asger Jorn 54/56,78/79 Robert Creeley 50 Pier re Jouvet 76 Jean-Paul Curtay 76 Wassily Kandinsky 12/13 Myriam Darreil 76 Allan Kaprow 46 Alan Davie 46 Lajos Kassak 58 Giorgio de Chir ico 24/25 William Katz 50 Alain de l at o ur 76 Paul Klee 20/21 Sonia Delaunay 34 Kenneth Koch 50 Walter Dexel 58 Hitz Köthe 58/59 Jim Dine 46 Kiki Kogelnik (Kiki OK) 48/49 Piero D'Ora zio 54/55 Hans Krenn 58 Marcel Duchamp 22/23 Markus Kutter 58 /",ax Ernst 18/19 Yves Laloy 58 Gudmundur G.
    [Show full text]
  • Jean-Noel Archive.Qxp.Qxp
    THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs.
    [Show full text]