Introduction by Curator Renate Wiehager
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Chaos Theory and Robert Wilson: a Critical Analysis Of
CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES A dissertation presented to the faculty of the College of Fine Arts Of Ohio University In partial fulfillment Of the requirements for the degree Doctor of Philosophy Shahida Manzoor June 2003 © 2003 Shahida Manzoor All Rights Reserved This dissertation entitled CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES By Shahida Manzoor has been approved for for the School of Interdisciplinary Arts and the College of Fine Arts by Charles S. Buchanan Assistant Professor, School of Interdisciplinary Arts Raymond Tymas-Jones Dean, College of Fine Arts Manzoor, Shahida, Ph.D. June 2003. School of Interdisciplinary Arts Chaos Theory and Robert Wilson: A Critical Analysis of Wilson’s Visual Arts and Theatrical Performances (239) Director of Dissertation: Charles S. Buchanan This dissertation explores the formal elements of Robert Wilson’s art, with a focus on two in particular: time and space, through the methodology of Chaos Theory. Although this theory is widely practiced by physicists and mathematicians, it can be utilized with other disciplines, in this case visual arts and theater. By unfolding the complex layering of space and time in Wilson’s art, it is possible to see the hidden reality behind these artifacts. The study reveals that by applying this scientific method to the visual arts and theater, one can best understand the nonlinear and fragmented forms of Wilson's art. Moreover, the study demonstrates that time and space are Wilson's primary structuring tools and are bound together in a self-renewing process. -
Conflicting Visions of Modernity and the Post-War Modern
Socialism and Modernity Ljiljana Kolešnik 107 • • LjiLjana KoLešniK Conflicting Visions of Modernity and the Post-war Modern art Socialism and Modernity Ljiljana Kolešnik Conflicting Visions of Modernity and the Post-war Modern art 109 In the political and cultural sense, the period between the end of World War II and the early of the post-war Yugoslav society. In the mid-fifties this heroic role of the collective - seventies was undoubtedly one of the most dynamic and complex episodes in the recent as it was defined in the early post- war period - started to change and at the end of world history. Thanks to the general enthusiasm of the post-war modernisation and the decade it was openly challenged by re-evaluated notion of (creative) individuality. endless faith in science and technology, it generated the modern urban (post)industrial Heroism was now bestowed on the individual artistic gesture and a there emerged a society of the second half of the 20th century. Given the degree and scope of wartime completely different type of abstract art that which proved to be much closer to the destruction, positive impacts of the modernisation process, which truly began only after system of values of the consumer society. Almost mythical projection of individualism as Marshall’s plan was adopted in 1947, were most evident on the European continent. its mainstay and gestural abstraction offered the concept of art as an autonomous field of Due to hard work, creativity and readiness of all classes to contribute to building of reality framing the artist’s everyday 'struggle' to finding means of expression and design a new society in the early post-war period, the strenuous phase of reconstruction in methods that give the possibility of releasing profoundly unconscious, archetypal layers most European countries was over in the mid-fifties. -
By Edwcrd Whitechcpel Gcllery London the MIT Press Ccmbridge, Mcrssclchusetts
by Edwcrd Whitechcpel Gcllery London The MIT Press Ccmbridge, Mcrssclchusetts Edited by Edwcrd A. Shcrnken Documents of Contemporcry Art Co published by WhitechapeL Gallery Series Editor: lwona Blazwicl< and The MIT Press Commissioning Editor: [an Farr Documents of Contemporqry Art Ploject Editor: Francesca Vinter First published 2015 Design by SMITH O 2015 Whitechapel Gallery Ventures Lirrited Allon l(aye, Justine Schuster All texts O the authors or the estates ofthe authors, Printed and bound in China unless otherwise stated Cover, Tomis Saraceno, 14 Billions (workingtitle) Whitechapel Gallery is the imprint of Whitechapel (2010). Black cords, elastic rope, hool(s. Irr recent decades artists have progressively expanded the boundaries o[ art as Gallery Ventures Limited Dimensions/Scale: 1 : 17 Latrodectus mactans web. lnstallation view, Bonniers l(onsthall, Stockholm thcy have sought to engage with an increasingly pluralistic environment. All rights reserved. No part ofthis publication 2010. Photograph O Studio Tomis Saraceno, 2010. of and visual culture are likewise no may be reproduced, stored in a retrieval system li'.rching, curating and understanding art o[ transmitted in any form or by any means, Whitechapel Gallery Ventures Limited longer grounded in traditional aesthetics but centred on significant ideas, topics electronic, mechanical, photocopying or otherwise, 77 82 Whitechapel High Street without the written permission of the publisher London El 7QX .urcl themes ranging from the everyday to the uncanny, the psychoanalytical to whi techapelgal lery.org tlrc political. ISBN 978-0-85488-234 2 (Whitechapel Gallery) To order (UK and Europe) cal I +44 (0)207 522 1888 ISBN 978-0-262-52719-4 (The MIT Press) or email MailOrder@whitechapelgallery org The Documents of Contemporary Art series emerges from this context. -
Jan Henderikse to Infinity
press release JAN HENDERIKSE TO INFINITY Galerie Schoots + Van Duyse, Antwerp, and Kunstzolder.be, Lembeke Curator: Antoon Melissen JAN HENDERIKSE TO INFINITY Summary From 28 June to 27 September, Galerie Schoots + Van Duyse in 100 words and Kunstzolder.be are staging an exhibition in Antwerp by Dutch artist Jan Henderikse (Delft, 1937), curated by independent publicist-curator Antoon Melissen. Henderikse, co-founder of the Dutch Nul Group in 1961, already moved to Dusseldorf in 1959, at that time the cradle of the international ZERO movement. ‘Jan Henderikse - ZERO to Infinity’ features work both from the Nul period and from later, including the most recent work from 2015. Furthermore, several large assemblages made in 1965-1967 from the collection of the artist have never previously been exhibited. JAN HENDERIKSE TO INFINITY Consistent with the increasing interest and revaluation of the international ZERO movement, Galerie Schoots + Van Duyse and Kunstzolder.be are organizing a major presentation by Jan Henderikse in Antwerp. In 1961, Henderikse (together with Armando, Henk Peeters and Jan Schoonhoven), was co-founder of the Dutch Nul Group, the artists’ group that expressly sought contact with the international ZERO movement and its sympathizers. Since 2000, Henderikse has been working both in New York and in his studio in Antwerp and is thus, together with Paul van Hoeydonck, one of the last artists of the ‘ZERO generation’ still active in Belgium. Under the title ‘Jan Henderikse - ZERO to Infinity’, independent publicist-curator Antoon Melissen has compiled an exhibition that contrasts early work from the Nul era with new work. Several large assemblages made in 1965-1967 from the collection of the artist have never previously been shown and are premiered in the exhibition. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Yaacov Agam. Transformable - Transformables
1 [AGAM]..YAACOV AGAM. New York, Marlborough-Gerson Gallery 1966. 22x21. 52 pp. including 4 pages on one folding leaf. More than 70 photos and reproductions including 10 in colour. Pictorial wrappers. 200 2 [AGAM]..YAACOV AGAM. TRANSFORMABLE - TRANSFORMABLES. New York, Galerie Denise René, 1971. 26x21. 52 pp. + 6 opaque leaves with drawings. 76 photos, 26 full-page including 2 in colour, plus 12 portrait photos etc. Pictorial wrappers. Exhibition publication with introduction by Jean-Jacques Lévèque. 300 4 3 Alechinsky, Pierre / Christian Dotremont. ABSTRATES. Printed in Denmark (Copenhagen) by Permild & Rosengreen 1963. Colour lithograph 64x87 with text rendered in "tapuscrit. No. 14 of 25 numbered copies, signed in pencil by Alechinsky. This copy also has a pencil inscription "Pour mon ami Rune J. / Christian Dotremont" (to the Swedish artist Rune Jansson). Very weak damp streak in lower left corner, otherwise fine. A collaboration of the two Cobra co-founders consisting of a vivid colour print made by Alechinsky around a text by Dotremont. 5000 4 Alechinsky, Pierre. L'AVENIR DE LA PROPRIETÉ. (Paris), Yves Rivière, 1972. 31x21. 64 pp. + a loosely inserted colour etching signed by Alechinsky. 35 facsimile reproductions including 15 full- or double-page. A beautiful copy in pictorial covers with protective glassine wrapper, kept in the original decorated slipcase. No. 159 of 999 copies, signed by Alechinsky and Rivière. From the total edition of 999, this is one of 151 copies numbered 100-250 and provided with an original colour etching printed on an 18th-century manuscript leaf. The etching is signed by Alechinsky and numbered 59 (of 151 plus 16 H.C. -
01 Titlepage
Systems, Contexts, Relations: An Alternative Genealogy of Conceptual Art A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy Luke Skrebowski Centre for Research in Modern European Philosophy/History of Art and Design Middlesex University September 2009 Acknowledgments I would like to thank the following people: Professor Peter Osborne; Professor Jon Bird; the staff and students of the Centre for Research in Modern European Philosophy, Middlesex University; Hans Haacke; Mel Bochner; Chris and Jane Skrebowski; Suzi Winstanley. The research and writing of this thesis were supported by an AHRC Doctoral Award and a Gabriel Parker Travel Bursary from Middlesex University. i Abstract Recent scholarship has revisited conceptual art in light of its ongoing influence on contemporary art, arguing against earlier accounts of the practice which gave a restricted account of its scope and stressed its historical foreclosure. Yet conceptual art remains both historically and theoretically underspecified, its multiple and often conflicting genealogies have not all been convincingly traced. This thesis argues for the importance of a systems genealogy of conceptual art—culminating in a distinctive mode of systematic conceptual art—as a primary determinant of the conceptual genealogy of contemporary art. It claims that from the perspective of post-postmodern, relational and context art, the contemporary significance of conceptual art can best be understood in light of its “systematic” mode. The distinctiveness of contemporary art, and the problems associated with its uncertain critical character, have to be understood in relation to the unresolved problems raised by conceptual art and the implications that these have held for art’s post-conceptual trajectory. -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
Rethinking Minimalism: at the Intersection of Music Theory and Art Criticism
Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter Shelley A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee Jonathan Bernard, Chair Áine Heneghan Judy Tsou Program Authorized to Offer Degree: Music Theory ©Copyright 2013 Peter Shelley University of Washington Abstract Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter James Shelley Chair of the Supervisory Committee: Dr. Jonathan Bernard Music Theory By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried’s essay “Art and Objecthood,” which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer’s terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried’s concept of (bodily) presence. -
Kusama 2 1 Zero Gutai Kusama
ZERO GUTAI KUSAMA 2 1 ZERO GUTAI KUSAMA VIEWING Bonhams 101 New Bond Street London, W1S 1SR Sunday 11 October 11.00 - 17.00 Monday 12 October 9.00 - 18.00 Tuesday 13 October 9.00 - 18.00 Wednesday 14 October 9.00 - 18.00 Thursday 15 October 9.00 - 18.00 Friday 16 October 9.00 - 18.00 Monday 19 October 9.00 - 17.00 Tuesday 20 October 9.00 - 17.00 EXHIBITION CATALOGUE £25.00 ENQUIRIES Ralph Taylor +44 (0) 20 7447 7403 [email protected] Giacomo Balsamo +44 (0) 20 7468 5837 [email protected] PRESS ENQUIRIES +44 (0) 20 7468 5871 [email protected] 2 1 INTRODUCTION The history of art in the 20th Century is punctuated by moments of pure inspiration, moments where the traditions of artistic practice shifted on their foundations for ever. The 1960s were rife with such moments and as such it is with pleasure that we are able to showcase the collision of three such bodies of energy in one setting for the first time since their inception anywhere in the world with ‘ZERO Gutai Kusama’. The ZERO and Gutai Groups have undergone a radical reappraisal over the past six years largely as a result of recent exhibitions at the New York Guggenheim Museum, Berlin Martin Gropius Bau and Amsterdam Stedelijk Museum amongst others. This escalation of interest is entirely understandable coming at a time where experts and collectors alike look to the influences behind the rapacious creativity we are seeing in the Contemporary Art World right now and in light of a consistently strong appetite for seminal works. -
The Transition of New Tendencies from Neo-Avant- Garde Subculture to Institutional Mainstream Culture
The Transition of New Tendencies from Neo-Avant- Garde Subculture to Institutional Mainstream Culture. An Example of Network Analysis. Kolešnik, Ljiljana Source / Izvornik: Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 2018, 84 - 122 Book chapter / Poglavlje u knjizi Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31664/9789537875596.05 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:254:605097 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-06 Repository / Repozitorij: PODEST - Institute of Art History Repository The Transition of New Tendencies from Neo-Avant-Garde Subculture INTRODUCTION in the canon of new media art history.156 to Institutional Mainstream Culture. An Example of Network Analysis. In the course of that process – lasting from History of international art movement New 2005 to, approximately, 2010 – archival Tendencies, attracted researchers attention documents on New Tendencies earlier his- DOI: https://doi.org/10.31664/9789537875596.05 just recently, following a (re)discovery of tory, on the events and exhibitions held be- the series of discursive events (seminars, tween 1961 and 1965, were also carefully conferences, colloquia), and exhibitions explored, and explained, but in a manner (Computers and Visual Arts, Tendencije 4, which downplayed, or outright neglected Art and Computers, Tendencije 5), held in the ideological presumptions of the move- Zagreb, at -
Artist Writings: Critical Essays, Reception, and Conditions of Production Since the 60S
Artist Writings: Critical Essays, Reception, and Conditions of Production since the 60s by Leanne Katherine Carroll A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy—History of Art Department of Art University of Toronto © Copyright by Leanne Katherine Carroll 2013 Artist Writings: Critical Essays, Reception, and Conditions of Production since the 60s Leanne Carroll Doctor of Philosophy—History of Art Department of Art University of Toronto 2013 Abstract This dissertation uncovers the history of what is today generally accepted in the art world, that artists are also artist-writers. I analyse a shift from writing by artists as an ostensible aberration to artist writing as practice. My structuring methodology is assessing artist writings and their conditions and reception in their moment of production and in their singularity. In Part 1, I argue that, while the Abstract-Expressionist artist-writers were negatively received, a number of AbEx- inflected conditions influenced and made manifest the valuing of artist writings. I demonstrate that Donald Judd conceived of writing as stemming from the same methods and responsibilities of the artist—following the guiding principle that art comes from art, from taking into account developments of the recent past—and as an essayistic means to argumentatively air his extra-art concerns; that writing for Dan Graham was an art world right of entry; and that Robert Smithson treated words as primary substances in a way that complicates meaning in his articles and in his objects and earthworks, in the process introducing a modernist truth to materials that gave the writing cachet while also serving as the basis for its domestication.