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Galka Scheyer: Eine Jüdische Kunsthändlerin (Braunschweig, 26-28 Nov 19)
Galka Scheyer: eine jüdische Kunsthändlerin (Braunschweig, 26-28 Nov 19) Braunschweig, 26.–28.11.2019 Eingabeschluss: 30.04.2019 Katrin Keßler, Bet Tfila - Forschungsstelle für jüdische Architektur in Europa [English below] Die Malerin, Kunsthändlerin und –sammlerin Galka Scheyer, geboren 1889 als Emilie Esther Schey- er, stammte aus einer Braunschweiger Unternehmerfamilie, der die seinerzeit größte Konservenfa- brik der Stadt gehörte. Für ein jüdisches Mädchen aus gutbürgerlichem Haus ist ihre Biographie überraschend. Ihr Weg führte sie bis in die USA, wo sie seit 1924 lebte und 1945 in Hollywood starb. Eine allgemeine Bekanntschaft erlangte sie nicht, wohl aber die „Blaue Vier“, die sie gemein- sam mit vier anerkannten Künstlern des Weimarer Bauhauses gründete: Paul Klee, Wassily Kand- insky, Lyonel Feininger und Alexej von Jawlensky. Anfangs hatte Emilie Scheyer eigene künstlerische Ambitionen. Im Alter von 16 Jahren hatte sie Deutschland verlassen, um in England, Frankreich, Belgien und der Schweiz Malerei, Bildhauerei und Musik zu studieren. In der Schweiz lernte sie 1916 Jawlensky kennen und beschloss, nicht mehr selbst künstlerisch tätig zu sein, sondern ihre Energie der Vermittlung und dem Verkauf sei- ner Werke zu widmen. Mit der Gründung der Künstlergruppe „Blaue Vier“ im Jahre 1924 wurde sie zur offiziellen Kunsthändlerin der „vier blauen Könige“, wie sie selbst „ihre“ Künstler nannte. Sie organisierte zahlreiche Ausstellungen und Lichtbildvorträge, unternahm Reisen durch Europa, die USA und Asien. Mit einer internationalen Tagung wollen die Bet Tfila – Forschungsstelle für jüdische Architektur und das Städtische Museum Braunschweig in Kooperation mit der Stadt Braunschweig diese bedeutende Tochter der Stadt in den Blickpunkt nehmen. Trotz der großen Bedeutung der von ihr vertretenen Künstler in der Kunstgeschichte des frühen 20. -
Maven of Modernism: Galka Scheyer in California April 7–Sept
October 2016 Media Contacts: Leslie C. Denk | [email protected] | (626) 844-6941 Emma Jacobson-Sive | [email protected] | (323) 842-2064 Maven of Modernism: Galka Scheyer in California April 7–Sept. 25, 2017 Pasadena, CA—The Norton Simon Museum presents Maven of Modernism: Galka Scheyer in California, an exhibition that delves into the life of Galka Scheyer, the enterprising dealer responsible for the art phenomenon the “Blue Four”—Lyonel Feininger, Alexei Jawlensky, Paul Klee and Wassily Kandinsky. In California, through the troubling decades of the Great Depression and the Second World War, German- born Scheyer (1889–1945) single-handedly cultivated a taste for their brand of European modernism by arranging exhibitions, lectures and publications on their work, and negotiating sales on their behalf. Maven of Modernism presents exceptional examples from Scheyer’s personal collection by the Blue Four artists, as well as works by artists including Alexander Archipenko, László Moholy-Nagy, Pablo Picasso Head in Profile, 1919 Emil Nolde (German, 1867-1956) and Diego Rivera, which was given to the Pasadena Art Institute in the Watercolor and India ink on tan wove paper 14-1/2 x 11-1/8 in. (36.8 x 28.3 cm) Norton Simon Museum, The Blue Four Galka Scheyer Collection early 1950s. All together, these works and related ephemera tell the © Nolde Stiftung Seebüll, Germany fascinating story of this trailblazing impresario, who helped shape California’s reputation as a burgeoning center for modern art. Galka Scheyer was born Emilie Esther Scheyer in Braunschweig, Germany, in 1889, to a middle-class Jewish family. -
Kunsthändler Und -Sammler Art Dealers and Collectors
Kunsthändler und -sammler Art dealers and collectors Die Eigentümergeschichte der Kunstwerke aus dem Bestand des Museum Berggruen bildet das Leitmotiv der Ausstellung. Die Namen derer, die mit e history of ownership of the artworks from the collection of the Museum den Werken in Berührung kamen oder deren Eigentum sie waren, lesen sich Berggruen is the leitmotif of the exhibition. e names of those who came wie ein „Who is Who“ der Kunstwelt der ersten Häle des 20. Jahrhunderts: into contact with the works or who owned them read like a "Who's Who" of Kunsthändler wie Alfred Flechtheim, Paul Rosenberg, Daniel-Henry Kahn- the art world of the rst half of the 20th century: Art dealers such as Alfred weiler oder Karl Buchholz, die Klee-Enthusiastin Galka Scheyer sowie die Flechtheim, Paul Rosenberg, Daniel-Henry Kahnweiler or Karl Buchholz, Sammler Alphonse Kann, Douglas Cooper und Marie-Laure Comtesse the Klee-enthusiast Galka Scheyer as well as the art collectors Alphonse de Noailles. Kann, Douglas Cooper and Marie-Laure Comtesse de Noailles. Die Kunstwerke rufen damit nicht nur ihre Besitzer und Eigentümer in e artworks do not only remind us of their owners and proprietors, whose Erinnerung, deren Lebensgeschichte in historische Ereignisse eingebettet biographies is embedded in historical events. eir provenances also express ist. Ihre Provenienzen drücken auch die Vielfalt der emen aus, welche die the variety of themes that shape the history of 20th century art: the popula- Geschichte von Kunst im 20. Jahrhunderts prägen: die Popularisierung der risation of Modernism, the development of the international art market, the Moderne, die Entwicklung des internationalen Kunstmarktes, die Emigra- emigration of art dealers and collectors and the translocation of artworks, tion von Kunsthändlern und Sammlern und die Translokation von Kunst- the art policy and the art looting of the National Socialists between 1933 werken, die Kunstpolitik und der Kunstraub der Nationalsozialisten and 1945. -
Paul Klee, 1879-1940 : a Retrospective Exhibition
-— ' 1" I F" -pr,- jpp«_p —^ i / P 1^ j 1 11 111 1 I f^^^r J M • •^^ | Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/paulklee1879klee PAUL KLEE 1879 1940 A RETROSPECTIVE EXHIBITION ORGANIZED BY THE SOLOMON R. GUGGENHEIM MUSEUM IN COLLABORATION WITH THE IMSADENA ART MUSEUM 67-19740 © 1967, The Solomon R. Guggenheim Foundation, New York Library of Congress Card Catalogue Number: Printed in the United States of America PARTICIPATING IIVSTITITIOWS PASADENA ART MUSEUM SAN FRANCISCO MUSEUM OF ART COLUMBUS GALLERY OF FINE ARTS CLEVELAND MUSEUM OF ART WILLIAM ROCKHILL NELSON GALLERY OF ART, KANSAS CITY BALTIMORE MUSEUM OF ART WASHINGTON UNIVERSITY, GALLERY OF ART. ST. LOUIS PHILADELPHIA MUSEUM OF ART Paul Klee stated in 1902: "I want to do something very modest, to work out by myself a tiny formal motif, one that my pencil will be able to encompass without any technique..."'. Gradually he intensified his formal and expressive range, proceeding from the tested to the experimental, toward an ever deepening human awareness. Because of his intensive concentration upon each new beginning, categories fall by the wayside and efforts to divide Klee's work into stable groupings remain unconvincing. Even styl- istic continuities are elusive and not easily discernible. There is nothing in the develop- ment of his art that resembles, for example. Kandinsky's or Mondrian s evolution from a representational toward a non-objective mode. Nor is it possible to speak of "periods" in the sense in which this term has assumed validity with Picasso. -
On Seeing and Being Seen
ON SEEING AND BEING SEEN BY MEG MILLER As one designer goes blind, another emerges from under his shadow EyeOnDesign_#01_Mag-6.5x9in_160pgs_PRINT.indd 52 2/13/18 2:49 PM ALVIN LUSTIG AND ELAINE LUSTIG COHEN. COURTESY: THE ESTATE OF ELAINE LUSTIG COHEN BY MEG MILLER As one designer goes blind, another emerges from under his shadow Pages 52 and 53 EyeOnDesign_#01_Mag-6.5x9in_160pgs_PRINT.indd 53 2/13/18 2:49 PM On Amazon, you can buy a new, because he no longer saw them. hardbound copy of Tennessee Instead, he would verbally dictate Williams’ Cat on a Hot Tin Roof for what he imagined in his mind’s $1,788.01. The play is one of Williams’ eye to Elaine and the assistants most famous, and allegedly his working at his design office. personal favorite. But the reason “He would tell us go down a behind the price tag is more likely pica and over three picas, and how the cover than its contents; a milky high the type should be, and what galaxy wraps around the spine, the color should be,” said Elaine. and the monosyllabic words of Sometimes his reference points the title stack up the center like a were past projects—“the beige that chimney. At a talk in 2013, Elaine we used on such and such”—or the Lustig Cohen, who was widowed by colors of furniture he’d picked out the book’s famous designer, Alvin for interior jobs. In one particularly Lustig, turned to Steven Heller, her poetic instance, he described the interviewer on stage. -
NEW Moma OPENS with a DYNAMIC PRESENTATION of ARCHITECTURE and DESIGN ACROSS ALL FLOORS of the MUSEUM
NEW MoMA OPENS WITH A DYNAMIC PRESENTATION OF ARCHITECTURE AND DESIGN ACROSS ALL FLOORS OF THE MUSEUM NEW YORK, October 9, 2019—The Museum of Modern Art opens on October 21 with galleries dedicated to architecture and design across all floors of the Museum. Each of these installations explores different topics, extending a dialogue with the integrated presentations of all mediums and chronologies throughout the collection galleries on the fifth, fourth, and second floors. The location of the architecture and design galleries on each of these floors, as well as on the first and third floors, reflects the curatorial vision of a “both–and” approach, acknowledging architecture and design both as integral to the interdisciplinary conversation with the visual arts and as autonomous disciplines with specific histories and methodologies. These new and extensive spaces allow the Department of Architecture and Design not only to explore the collection through changing themes in regular rotations, but also to mount topical installations that leverage the Department’s holdings to address current disciplinary conversations and public concerns. This new approach to ever-evolving collection-based installations ensures that visitors can always view dynamic work from modern and contemporary architects and designers. ARCHITECTURE AND DESIGN IN THE NEW MoMA The Vertical City, an installation in the Museum’s fifth-floor David Geffen Wing, examines how the invention of the skyscraper in the United States fundamentally changed the shape and experience of the city. By the early 20th century, Europe’s avant-garde architects celebrated America’s bold conquest of height, but also remained critical of the proliferation of competing towers in already congested metropolises. -
Acquisitions 2017–18
Acquisitions 2017–18 1 Architecture and Design A total of 544 works were acquired by the Department of Architecture and Design. This includes 71 architecture works and 473 design works. Architectural Drawings Design Earth. Rania Ghosn. El Hadi Jazairi. After Oil (Bubian: There Once Was an Island). 2016. Inkjet Archi‑Union Architects. Philip F. Yuan. Chi She, Shanghai, print on canvas, 27 9⁄1₆ × 27 9⁄1₆ × 1³⁄1₆" (70 × 70 × 2 cm). China. 2017. Wood, steel, and concrete, overall Fund for the Twenty‑First Century (approx): 57 × 51 × 37 ½"; model only: 15 ½ × 37 ½ × 18 ½". Committee on Architecture and Design Funds Anupama Kundoo. Wall House, Auroville, India. 1997–2000. Model, 9 1³⁄1₆ × 23 ⅝ × 23 ⅝" (25 × 60 × Archi‑Union Architects. Philip F. Yuan. “In Bamboo” 60 cm). Fund for the Twenty‑First Century Cultural Exchange Center, Daoming, Sichuan Province, China. 2017. Wood, steel, and bamboo, Anupama Kundoo. Wall House, Auroville, India. 1997– overall (approx.) 62 × 50 × 36"; model only: 21 × 50 × 2000. Ink on paper, 24 7⁄1₆ × 24 7⁄1₆" (62 × 62 cm). Fund 36". Committee on Architecture and Design Funds for the Twenty‑First Century Design Earth. Rania Ghosn. El Hadi Jazairi. After Oil Anupama Kundoo. Wall House, Auroville, India. (Das Island, Das Crude). 2016. Inkjet print on canvas, 1997–2000. Ink on paper, 10 ⅝ × 24 7⁄1₆" (27 × 62 cm). 27 9⁄1₆ × 27 9⁄1₆ × 1³⁄1₆" (70 × 70 × 2 cm). Fund for the Fund for the Twenty‑First Century Twenty‑First Century Anupama Kundoo. Wall House, Auroville, India. Design Earth. Rania Ghosn. El Hadi Jazairi. -
Oral History Interview with Rachel Adler, 2009 June 18-23
Oral history interview with Rachel Adler, 2009 June 18-23 Funding for this interview was provided by the Art Dealers Association of America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Rachel Adler on 2009 June 18- 23. The interview took place at Adler's home in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by a grant from the Art Dealers Association of America. Rachel Adler has reviewed the transcript and has made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JAMES McELHINNEY: This is James McElhinney speaking with Rachel Adler on June 18, 2009, at 1200 Broadway in New York City. A lovely place. RACHEL ADLER: Thank you. MR. McELHINNEY: You had an architect, I imagine. MS. ADLER: Oh, yes. Yes, but 30 years ago. MR. McELHINNEY: Oh, really. MS. ADLER: Yes. MR. McELHINNEY: Who was it? MS. ADLER: Carmi Bee. MR. McELHINNEY: Carmi Bee. MS. ADLER: Yes. MR. McELHINNEY: It's a wonderful space. MS. ADLER: It was complicated because the beams are very strong, and they're always present visually. MR. McELHINNEY: Right. -
Open Windows 10
Leticia de Cos Martín Martín Cos de Leticia Beckmann Beckmann Frau than Quappi, much more more much Quappi, pages 47 — 64 47 — 64 pages Clara Marcellán Marcellán Clara in California in California Kandinsky and Klee Klee and Kandinsky of Feininger, Jawlensky, Jawlensky, of Feininger, and the promotion promotion the and Galka Scheyer Galka Scheyer ‘The Blue Four’: Four’: Blue ‘The pages 34 — 46 34 — 46 pages Manzanares Manzanares Juan Ángel Lpez- Ángel Juan ~' of modern art as a collector as a collector Bornemisza’s beginnings beginnings Bornemisza’s - ~~.·;•\ Thyssen Baron On ~ .. ;,~I il~ ' r• , ~.~ ··v,,,:~ ' . -1'\~J"JJj'-': . ·'-. ·•\.·~-~ . 13 — 33 pages Nadine Engel Engel Nadine Expressionist Collection Collection Expressionist Thyssen-Bornemisza’s German German Thyssen-Bornemisza’s Beginning of Hans Heinrich Heinrich Hans of Beginning 1, 1 ~- .,.... Museum Folkwang and the the and Folkwang Museum ,..~I,.. '' i·, '' ·' ' ' .·1,.~.... Resonance Chamber. Chamber. Resonance . ~I•.,Ji'•~-., ~. pages 2 — 12 2 — 12 pages ~ -~~- . ., ,.d' .. Ali. .~ .. December 2020 2020 December 10 10 Open Windows Windows Open Open Windows 10 Resonance Chamber. Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection Nadine Engel Emil Nolde Young Couple, c. 1931–35 22 HollandischerDirektor bracht ✓ Thyssen-Schatzenach Essen Elnen kaum zu bezifiernden Wert bat elne Ausslellung des Folkwang-Museums, die btszum 20. Marz gezelgt wird: sie ent hiilt hundertzehn Melsterwerke der europaisdlen Malerei des 14. bis 18. Jahrhunderts aus der beriihmten Sammlung Sdtlo8 Roboncz, die heute Im Besitz des nodt Jungen Barons H. H. Thys sen-Bornemisza ist und in der Villa Favorlta bei Lugano ihr r Domlzil hat. Insgesamt mnfafll sie 350 Arbeiten. -
California Design, 1930-1965: “Living in a Modern Way” CHECKLIST
^ California design, 1930-1965: “living in a modern way” CHECKLIST 1. Evelyn Ackerman (b. 1924, active Culver City) Jerome Ackerman (b. 1920, active Culver City) ERA Industries (Culver City, 1956–present) Ellipses mosaic, c. 1958 Glass mosaic 12 3 ⁄4 x 60 1 ⁄2 x 1 in. (32.4 x 153.7 x 2.5 cm) Collection of Hilary and James McQuaide 2. Acme Boots (Clarksville, Tennessee, founded 1929) Woman’s cowboy boots, 1930s Leather Each: 11 1 ⁄4 x 10 1⁄4 x 3 7⁄8 in. (28.6 x 26 x 9.8 cm) Courtesy of Museum of the American West, Autry National Center 3. Allan Adler (1916–2002, active Los Angeles) Teardrop coffeepot, teapot, creamer and sugar, c. 1957 Silver, ebony Coffeepot, height: 10 in. (25.4 cm); diameter: 9 in. (22.7 cm) Collection of Rebecca Adler (Mrs. Allan Adler) 4. Gilbert Adrian (1903–1959, active Los Angeles) Adrian Ltd. (Beverly Hills, 1942–52) Two-piece dress from The Atomic 50s collection, 1950 Rayon crepe, rayon faille Dress, center-back length: 37 in. (94 cm); bolero, center-back length: 14 in. (35.6 cm) LACMA, Gift of Mrs. Houston Rehrig 5. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (exterior perspective), 1937 Graphite on paper 9 3 ⁄4 x 19 1⁄4 in. (24.8 x 48.9 cm) Gregory Ain Collection, Architecture and Design Collection, Museum of Art, Design + Architecture, UC Santa Barbara 6. Gregory Ain (1908–1988, active Los Angeles) Dunsmuir Flats, Los Angeles (plan), 1937 Ink on paper 9 1 ⁄4 x 24 3⁄8 in. -
Writing Communities: Aesthetics, Politics, and Late Modernist Literary Consolidation
WRITING COMMUNITIES: AESTHETICS, POLITICS, AND LATE MODERNIST LITERARY CONSOLIDATION by Elspeth Egerton Healey A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2008 Doctoral Committee: Associate Professor John A. Whittier-Ferguson, Chair Associate Professor Kali A. K. Israel Associate Professor Joshua L. Miller Assistant Professor Andrea Patricia Zemgulys © Elspeth Egerton Healey _____________________________________________________________________________ 2008 Acknowledgements I have been incredibly fortunate throughout my graduate career to work closely with the amazing faculty of the University of Michigan Department of English. I am grateful to Marjorie Levinson, Martha Vicinus, and George Bornstein for their inspiring courses and probing questions, all of which were integral in setting this project in motion. The members of my dissertation committee have been phenomenal in their willingness to give of their time and advice. Kali Israel’s expertise in the constructed representations of (auto)biographical genres has proven an invaluable asset, as has her enthusiasm and her historian’s eye for detail. Beginning with her early mentorship in the Modernisms Reading Group, Andrea Zemgulys has offered a compelling model of both nuanced scholarship and intellectual generosity. Joshua Miller’s amazing ability to extract the radiant gist from still inchoate thought has meant that I always left our meetings with a renewed sense of purpose. I owe the greatest debt of gratitude to my dissertation chair, John Whittier-Ferguson. His incisive readings, astute guidance, and ready laugh have helped to sustain this project from beginning to end. The life of a graduate student can sometimes be measured by bowls of ramen noodles and hours of grading. -
SCHEDULE of EXHIBITIONS and EVENTS July, August, September 2017
SCHEDULE OF EXHIBITIONS AND EVENTS July, August, September 2017 Norton Simon Museum Media Contact 411 West Colorado Blvd. Leslie Denk Pasadena, CA 91105-1825 Director of External Affairs www.nortonsimon.org Phone: (626) 844-6941; Fax: (626) 844-6944 (626) 449-6840 Email: [email protected] In this Issue Page • EXHIBITIONS ................................................................................................................................... 2 • EVENTS & EDUCATION CALENDAR ................................................................................. 3–16 . Summer Concert Series ............................................................................. 3–4 . Lecture ................................................................................................................4 . Films ............................................................................................................... 5–6 . Game Night. ...................................................................................................... 6 . Adult Education Programs ....................................................................... 7–9 . In Studio…………………………………………………………………………………..9–10 . Guided Tours………………………………………………………………………….10–13 . Family Programs…………………………………………………………………….13–16 . Thursday Summer Fun……………………………………………………………15–16 . Young Artists’ Workshop……………………………………………………………..16 . Teen Arts Academy ....................................................................................... 16 • GENERAL MUSEUM INFORMATION ...................................................................................