Barbara Graf Born 1963 in Winterthur
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Mirrors & Masks: Reflections and Constructions of the Self
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Books, pamphlets, catalogues, and scrapbooks Collections, Digitized Books 2017 Mirrors & Masks: Reflections and Constructions of the Self Steven Z. Levine Bryn Mawr College, [email protected] Carrie Robbins [email protected] Follow this and additional works at: https://repository.brynmawr.edu/bmc_books Part of the Art and Design Commons Let us know how access to this document benefits ou.y Custom Citation Steven Z. Levine and Carrie M. Robbins, eds., Mirrors & Masks: Reflections and Constructions of the Self. Bryn Mawr: Bryn Mawr College, 2017. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/bmc_books/31 For more information, please contact [email protected]. M I R R O R S M A S K S M I R R O R S M A S K S REFLECTIONS AND CONSTRUCTIONS OF THE SELF EDITED BY Steven Z. Levine Carrie Robbins Bryn Mawr College CONTENTS 4 FOREWORD Gina Siesing 7 MIRRORING AND MASKING THE SELF Myriad Points of Light Encircling the Void Steven Z. Levine 17 THE COLLECTION AS SELF-PORTRAIT Carrie Robbins 21 COLLECTION HIGHLIGHTS Plates and Student Essays 90 ACKNOWLEDGMENTS FOREWORD So much about what makes Bryn Mawr College special comes together here. The opportunities for research and hands-on work at Bryn Mawr, at cultural heritage exhibition Mirrors & Masks: Reflections and Constructions of the Self is part of organizations in Philadelphia, and beyond. Together this year, Robbins and Director Bryn Mawr’s signature 360° program, in which cohorts of students, faculty, and of Museum Studies, Monique Scott, envisioned and created a new Collections allied professionals gather to study a complex topic from multiple disciplinary and Learning Lab within our Rare Book Room, a space in which students experiment with experiential perspectives. -
The Cultural Impact of Science in the Early Twentieth Century
In the early decades of the twentieth century, engagement with science was commonly used as an emblem of modernity. This phenomenon is now attracting increasing attention in different historical specialties. Being Modern builds on this recent scholarly interest to explore engagement with science across culture from the end of the nineteenth century to approximately 1940. Addressing the breadth of cultural forms in Britain and the western world from the architecture of Le Corbusier to working class British science fiction, Being Modern paints a rich picture. Seventeen distinguished contributors from a range of fields including the cultural study of science and technology, art and architecture, English The Cultural Impact of culture and literature examine the issues involved. The book will be a valuable resource for students, and a spur to scholars to further examination of culture as an Science in the Early interconnected web of which science is a critical part, and to supersede such tired formulations as ‘Science and culture’. Twentieth Century Robert Bud is Research Keeper at the Science Museum in London. His award-winning publications in the history of science include studies of biotechnology and scientific instruments. Frank James and Morag Shiach James and Morag Frank Robert Greenhalgh, Bud, Paul Edited by Paul Greenhalgh is Director of the Sainsbury Centre at the University of East Anglia, Edited by and Professor of Art History there. He has published extensively in the history of art, design, and the decorative arts in the early modern period. Robert Bud Paul Greenhalgh Frank James is Professor of History of Science at the Royal Institution and UCL. -
Lives and Works of Artists in German, Swiss and Austrian Psychiatries in the 19Th and 20Th Century
Between Ingenuity and Madness - Lives and Works of Artists in German, Swiss and Austrian Psychiatries in the 19th and 20th Century A Master thesis Submitted in Partial Fulfilment of the Requirements for the Degree of a Master of Art In the Graduate Academic Unit of the History Department of the Paris-Lodron University of Salzburg By Daniela Vordermaier, BA BA Supervisor: Ass. Prof. Dr. Alfred Stefan Weiß Salzburg, September 2019 Contents 1. Introduction .......................................................................................................................... 4 1.1 Topical Introduction ......................................................................................................... 4 1.2 State of Research: Art and Artists in Psychiatries - An Approach ................................... 6 1.3 Questions and Structure ................................................................................................. 18 1.4 Methodical Frame .......................................................................................................... 21 1.4.1 Historical Criticism by Johann Gustav Droysen and the Method of the Historical Comparison ...................................................................................................................... 22 1.4.2 Erwin Panofsky’s Iconographical-Iconological Method ......................................... 25 1.4.3 Wolfgang Kemp’s Aesthetic of Reception .............................................................. 28 2. The Pathologisation of the Artist - The Connex -
Mai-Thu Perret
MAI-THU PERRET born 1976, Geneva, Switzerland lives and works in Geneva, Switzerland EDUCATION 2002-2003 Whitney Independent Study Program, Whitney Museum of American Art, JBNNNNNNNew York NY 1997 BA, English Literature, Cambridge University, Cambridge, England SELECTED SOLO EXHIBITIONS (*indicates a publication) 2021 Istituto Svizzero, Rome, Italy Sophie Taeuber-Arp / Mai-Thu Perret, Cabaret Voltaire, Zurich, Switzerland Galerie Quynh, Hồ Chí Minh, Vietnam 2020 News From Nowhere, Simon Lee Gallery, Hong Kong Les Étangs, Le Portique, Centre Régional d'Art Contemporain du Havre, Le Havre, France Galerie Quynh, Hồ Chí Minh, Vietnam With an unbounded force, Galerie Francesca Pia, Zurich, Switzerland Flowers in the Eye, Simon Lee, New York, NY Pièces Enfantines, Galerie Elisabeth & Klaus Thoman, Vienna, Austria 2019 Grammar and Glamour, Badischer Kunstverein, Karlsruhe, Germany The Blazing World, Spike Island, Bristol, England Agua Vita, Galerie Barbara Weiss, Berlin, Germany 2018 Mai-Thu Perret, Viewing Room, Simon Lee Gallery, London, England Fillette, Galerie Francesca Pia, Zurich, Switzerland Musée d’art moderne et contemporain, curated by Lionel Bovier, Geneva, Switzerland 2017 Go and become the incense burner in the old shrine, NICC, Brussels, Belgium Féminaire, David Kordansky Gallery, Los Angeles, CA Galerie Francesca Pia, Zurich, Switzerland 2016 Zone, Simon Lee Gallery, London, England [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 Sightings, Nasher Sculpture Center, Dallas, TX 2014 -
Press Release If It’S Not Meant to Last, Then It’S Performance 23 February - 19 May 2019 Preview: Friday 22 February 2019, 6 - 8Pm
Rafal Zajko, Blue (collar), 2018. Photographer: Studio SP. Press Release If it’s not meant to last, then it’s Performance 23 February - 19 May 2019 Preview: Friday 22 February 2019, 6 - 8pm. VITRINE, Basel. VITRINE is delighted to present an explorative group exhibition that brings together work that is ephemeral, time- sensitive, or durational. Featuring Tim Etchells, Paul Hage Boutros, Sophie Jung, Clare Kenny, Hannah Lees, Wil Murray, and Rafal Zajko, this exhibition examines a diverse group of works through the lens of performance. As our lives become intertwined with digital media, we increasingly value transient experiences over permanent fixtures. Yet today’s art market continues to be driven by the need for permanence - whether guided by the conventions of museum conservation or the assessment of art‘s value for investment and future ‘resale’. One art form that sits on the periphery of this system is performance. There have been many attempts to bring performance into the contemporary art market, but questions around its acquisition typically find themselves in tension with its ephemerality, whilst artists working predominantly in performance often struggle to find a place in the typical gallery model. ‘If it’s not meant to last, then it’s Performance’ brings together a group of works that utilise a broad range of materials and processes – from ice, water, and wax to light, words, and heat. Each evolves, decays, or develops over time. As such, each could be considered a performance: a transient experience designed to exist in a particular moment. This exhibition contemplates each of these works in this light and explores how plans for their legacy (or potential acquisition) tap into the current conversation around collecting live art. -
The Swiss Institute for Art Research the INSTITUTE Art and Research
PORTRAIT The Swiss Institute for Art Research THE INSTITUTE Art and Research For the last seven decades, the Swiss Institute for Art Research (SIK-ISEA) has been Switzerland’s leading centre of competence in art history and art technology. Our core activities are research, documentation, the dissemination of knowledge and the pro- vision of services in the field of fine arts. Our focus lies with the production of art in Switzerland from the Middle Ages until the present day. The Institute operates all over Switzerland with headquarters in Zurich, an Antenne romande at the University of Lausanne and an Ufficio di contatto at the Museo d’arte della Svizzera italiana (MASI) in Lugano. We are an independent, not-for-profit research institution and we make carefully verified information available to an interested public in both analogue and digital form. At a time of growing uncertainty about the origin and quality of data, we guarantee reliable information about Swiss art past and present. By supplying expertise, holding public events, providing training and engaging in research partnerships, SIK-ISEA promotes dialogue between stakeholders in the national and international art and research communities. As a place where students can learn and work, the Institute plays an important role in acquaint- ing junior academics with professional practice. Innovative RESEARCH and robust SIK-ISEA carries out research on questions of art history and art technology. Drawing on a wide range of methods, these projects address themes around art and its exhibition and sale in Switzerland. Catalogues raisonnés and catalogues about specific collections are a core feature of our investigations in the field of art history.