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Penelope Umbrico's Suns Sunsets from Flickr
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Image Commodification and Image Recycling: Penelope Umbrico's Suns Sunsets from Flickr Minjung “Minny” Lee CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/506 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The City College of New York Image Commodification and Image Recycling: Penelope Umbrico’s Suns from Sunsets from Flickr Submitted to the Faculty of the Division of the Arts in Candidacy for the Degree of Master of Arts Department of Humanities and Liberal Arts by Minjung “Minny” Lee New York, New York May 2014 Copyright © 2014 by Minjung “Minny” Lee All rights reserved CONTENTS Acknowledgements v List of Illustrations vi Introduction 1 Chapter 1. Umbrico’s Transformation of Vernacular Visions Found on Flickr 14 Suns from Sunsets from Flickr and the Flickr Website 14 Working Methods for Suns from Sunsets from Flickr 21 Changing Titles 24 Exhibition Installation 25 Dissemination of Work 28 The Temporality and Mortality of Umbrico’s Work 29 Universality vs. Individuality and The Expanded Role of Photographers 31 The New Way of Image-making: Being an Editor or a Curator of Found Photos 33 Chapter 2. The Ephemerality of Digital Photography 36 The Meaning and the Role of JPEG 37 Digital Photographs as Data 40 The Aura of Digital Photography 44 Photography as a Tool for Experiencing 49 Image Production vs. -
6086 AR Cover R1:17.310 MFAH AR 2015-16 Cover.Rd4.Qxd
μ˙ The Museum of Fine Arts, Houston annual report 2015–2016 MFAH BY THE NUMBERS July 1, 2015–June 30, 2016 • 900,595 visits to the Museum, the Lillie and Hugh Roy Tuition Attendance Revenue $3.2 Other Cullen Sculpture Garden, Bayou Bend Collection and $2.1 5% 3% $7.1 Gardens, Rienzi, and the Glassell School of Art 11% Membership Revenue $2.9 • 112,000 visitors and students reached through learning 5% and interpretation programs on-site and off-site FY 2016 • 37,521 youth visitors ages 18 and under received free Operating Operating Revenues Endowment or discounted access to the MFAH Fund-raising (million) Spending $14.2 $34.0 22% 54% • 42,865 schoolchildren and their chaperones received free tours of the MFAH • 1,020 community engagement programs were presented Total Revenues: $63.5 million • 100 community partners citywide collaborated with the MFAH Exhibitions, Curatorial, and Collections $12.5 Auxiliary • 2,282,725 visits recorded at mfah.org 20% Activities $3.2 5% • 119,465 visits recorded at the new online collections Fund-raising $4.9 module 8% • 197,985 people followed the MFAH on Facebook, FY 2016 Education, Instagram, and Twitter Operating Expenses Libraries, (million) and Visitor Engagment $12.7 • 266,580 unique visitors accessed the Documents 21% of 20th-Century Latin American and Latino Art Website, icaadocs.mfah.org Management Buildings and Grounds and General $13.1 and Security $15.6 21% • 69,373 visitors attended Sculpted in Steel: Art Deco 25% Automobiles and Motorcycles, 1929–1940 Total Expenses: $62 million • 26,434 member -
Kronika 2009- Találkozó 2008
A XLIX. és L. MAGYAR TALÁLKOZÓ KRÓNIKÁJA AZ ÁRPÁD AKADÉMIA XLIV és XLV. ÉVKÖNYVE PROCEEDINGS of the XLIXth (49th) ANNUAL CONGRESS (November 27-29, 2009) and Lth (50th) ANNUAL CONGRESS (November 26-28, 2010) of the Hungarian Scientific, Literary and Artistic Association PAPERS PRESENTED by Hungarian Scientists, Writers and Artists in the Western World EDITED by Lél F. Somogyi Árpád Publishing Company Cleveland, Ohio 2011 A XLIX. és L. MAGYAR TALÁLKOZÓK (2009. november 27-29. és 2010. november 26-28.) KRÓNIKÁJA Szerkesztette: Somogyi F. Lél Árpád Könyvkiadó Vállalat Cleveland, Ohio 2011 Copyright © 2011 by Árpád Publishing Company A közlemények — előadások és felszólalások — tartalmáért szerzőik felelősek! Az elhangzott és beküldött előadásokért szerzőik felelősek. A képek felvételeinek készítőit zárójelben közöljük. Kéz- iratokat és képeket nem küldünk vissza! Minden jogot fenntartunk! Copyright © 2011 by Árpád Publishing Company. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without prior written permission from the publisher except in the case of brief quotations embodied in critical articles and reviews. The views expressed in the articles are those of the authors. For additional information and our archives, visit our website at: www.hungarianassociation.com. Publisher: Árpád Publishing, c/o 6061 Pearl Rd., Cleveland, Ohio 44130 Typographer: Mrs. Ferenc (Sarolta) Somogyi Book preparation and website: Lél F. Somogyi Library of Congress Catalog Card Number: 98-68352 ISBN 0-934214-32-8 Printed in the United States of America. ÁTTEKINTÉS Előszó I. A Magyar Kongresszus megnyitása II. Áttekintés a Magyar Kongresszusról III. Díszvacsora és a magyar bál IV. Beküldött előadások V. -
David Zwirner Is Pleased to Present an Exhibition of New Works by Sherrie Levine, on View at 537 West 20Th Street in New York
David Zwirner is pleased to present an exhibition of new works by Sherrie Levine, on view at 537 West 20th Street in New York. This will be the gallery’s first exhibition with the artist since she joined in 2015. Levine’s work engages many of the core tenets of postmodern art, challenging notions of originality, authenticity, and identity. Since the late 1970s, she has created a singular and complex oeuvre using a variety of media, including photography, painting, and sculpture. Many of her works are explicitly appropriated from the modernist canon, while others are more general in their references, assimilating art historical interests and concerns rather than specific objects. Deeply interested in the process of artistic creation and in the contested notion of progress within art history, her work forthrightly acknowledges its existence as the product of what precedes it. The exhibition debuts an installation in which groups of monochrome paintings on mahogany are paired with refrigerators. The color of each painting derives from the nudes by Impressionist artist Auguste Renoir, and revisits a technique Levine first employed in 1989 with her Meltdown series of woodcut prints, where an averaging algorithm was used to create a checkerboard composition based on modernist artists’ iconic paintings. In a comment on the new installation, the artist notes: “The World of Interiors is my favorite shelter magazine. Often, there is a SMEG advertisement. SMEG is an Italian company that manufactures refrigerators in a retro style and saccharine colors. I thought it would be interesting to pair them with some monochrome paintings of mine, After Renoir Nudes, which are in fleshy shades. -
Sherrie Levine Cv 2017.Pdf
David Zwirner This document was updated February 24, 2016. For reference only and not for purposes of publication. For more information, please contact Marina Gluckman: [email protected]. Sherrie Levine Born 1947 in Hazleton, Pennsylvania. Lives and works in New York and Santa Fe, New Mexico. EDUCATION 1970-1973 B.F.A., University of Wisconsin, Madison 1965-1969 M.F.A., University of Wisconsin, Madison SOLO EXHIBITIONS 2016 Sherrie Levine, David Zwirner, New York Sherrie Levine: 15 White Moonlight Paintings, Jablonka Galerie, Cologne Sherrie Levine: After All, Neues Museum, State Museum for Art and Design in Nuremberg [catalogue] 2015 Sherrie Levine: African Masks, Jablonka Maruani Mercier Gallery, Brussels Sherrie Levine: African Masks After Walker Evans, Jablonka Galerie, Cologne [catalogue published in 2016] Sherrie Levine: African Masks After Walker Evans, Simon Lee Gallery, London Sherrie Levine & Joseph Montgomery: Dolls, Paula Cooper Gallery, New York [two-person exhibition] Sherrie Levine - Man Ray: A Dialogue Through Objects, Images & Ideas, Jablonka Maruani Mercier Gallery, Knokke, Belgium [catalogue] [two-person exhibition] 2014 Sherrie Levine: Red Yellow Blue, Paula Cooper Gallery, New York Robert Gober/Sherrie Levine: Checkerboard on Table, Jablonka Galerie, Cologne [two-person exhibition] Sherrie Levine: Salubra, Jablonka Galerie, Cologne Sherrie Levine: Seriality, Marc Jancou Contemporary, Geneva Sherrie Levine, Simon Lee Gallery, Hong Kong 2013 Sherrie Levine, Portland Art Museum, Oregon Sherrie Levine: Green Skull -
Projects 70 : Janine Antoni, Shahzia Sikander, Kara Walker : the Museum of Modern Art, New York, November 22, 2000-March 13, 2001 [Fereshteh Daftari]
Projects 70 : Janine Antoni, Shahzia Sikander, Kara Walker : the Museum of Modern Art, New York, November 22, 2000-March 13, 2001 [Fereshteh Daftari] Date 2000 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/175 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art 70 janine antoni shahzia sikander kara walker u ia Q) 0 Q. The Museum of Modern Art, New York November 22, 2000-March 13, 2001 left: Close-up view of Manifesto, the Janine Antoni, Shahzia Sikander, and Kara Walker conclude MoMA banner unstitched by Janine Projects 70, the exhibition series of banners created especially for Antoni. Photo: Larry Lamay, courtesy The Museum of Modern Art. The first cycle, based on different Luhring Augustine calligraphic traditions, featured Shirin Neshat, Simon Patterson, below: Janine Antoni unstitching the and Xu Bing. The second brought together craft-oriented artists letters from the MoMA banner, 2000 Jim Hodges, Beatriz Milhazes, and Faith Ringgold. Antoni, Sikander, and Walker are young artists but seasoned infiltrators who have Thus availing herself of art move carved their ways into set traditions. In their hands, the banners ments traditionally associated with that customarily announce the Museum's presence brandish masculine production, whether Abstract subversive messagesand promote provocative agendas. Expressionist or Minimalist in refer ence, Antoni brands whatever she touches as female. In her path, Janine Antoni marked as feminine and feminist, she acknowledges her artistic legacy, A woman has been here. -
Sherrie Levine New York °1947 (Hazleton, PA)
Sherrie Levine New York °1947 (Hazleton, PA) Biography Selected One-Person Exhibitions 2021 — Sherrie Levine Sherrie Levine, Xavier Hufkens, Brussels, Belgium 2019 — After Reinhardt, David Zwirner, New York, NY, USA 2018 — Sherrie Levine, Xavier Hufkens, Brussels, Belgium 2017 — Pie Town, David Zwirner, London, UK 2016 — Sherrie Levine, David Zwirner, New York, NY, USA — 15 White Moonlight Paintings, Jablonka Galerie at Böhm Chapel, Hurn Kalscheuren, Germany — After All, Neues Museum, State Museum for Art and Design in Nuremberg, Nuremberg, Germany 2015 — African Masks, Jablonka Maruani Mercier Gallery, Brussels, Belgium — African Masks After Walker Evans, Jablonka Galerie, Cologne, Germany — African Masks After Walker Evans, Simon Lee Gallery, London, UK — Sherrie Levine & Joseph Montgomery: Dolls, Paula Cooper Gallery, New York, NY, USA (two-person exhibition) — Sherrie Levine - Man Ray: A Dialogue Through Objects, Images & Ideas, Jablonka Maruani Mercier Gallery, Knokke, Belgium (two-person exhibition) 2014 — Red Yellow Blue, Paula Cooper Gallery, New York, NY, USA — Robert Gober/Checkerboard on Table, Jablonka Galerie, Cologne, Germany (two-person exhibition) — Salubra, Jablonka Galerie, Cologne, Germany — Seriality, Marc Jancou Contemporary, Geneva, Switzerland — Sherrie Levine, Simon Lee Gallery, Hong Kong, China 2013 — Sherrie Levine, Portland Art Museum, Portland, OR, USA — Green Skull & Mona Lisa, Jablonka Galerie, Zurich, Switzerland — Selected Works, Charles Riva Collection, Brussels, Belgium 2012 — August Sander, Jablonka Galerie -
Gabriela Von Habsburg Curriculum Vitae
GABRIELA VON HABSBURG CURRICULUM VITAE 1956 in Luxemburg geboren 1976-78 Philosophiestudium an der Universität München 1978-82 Studium an der Akademie der Bildenden Künste in München bei Robert Jacobsen und Eduardo Paolozzi, Diplom 1987-88 Arbeitsaufenthalt in den USA 1991 Förderpreis für Bildende Kunst und Architektur der Sudetendeutschen Landsmannschaft 1995 Kunstpreis der Masaryk Kunstakademie, Prag 1994-01 Gestaltung des Filmpreises „MediaNet-Award“ 1996-08 Gestaltung des Filmpreises „TV Movie-Award“ 1997-00 Gestaltung des Filmpreises „High Hopes Award“ 1997-07 Gestaltung des Filmpreises „CineMerit Award“ 1998-02 Gestaltung des Filmpreises „Deutscher Filmschulpreis“ 2008-15 Gestaltung des Filmpreises für VFF „Bernd Burgemester Award“ 1999 Gestaltung des Filmpreises „Nivo Dij TV2“ Budapest 2000 Kunstpreis der Europäischen Art Union 2001-02 Lehrauftrag an der Sommerakademie Neuburg a.d. Donau 2004-08 Lehrauftrag Akademie Bad Reichenhall 2001-09 Professur an der Kunstakademie Tbilisi, Georgien 2004-07 Kunstunterricht an der BOS Scheyern 2008 Gestaltung des Preises für Junge Unternehmer in Osteuropa, Raiffeisenbank Austria 2007 Gestaltung des ‚Henry Kissinger Prize for Transatlantic Relations’ für Helmut Schmidt 2008 Gestaltung des ‚Henry Kissinger Prize for Transatlantic Relations’ für George Bush sen. 2009 Gestaltung des ‚Henry Kissinger Prize for Transatlantic Relations’ für Richard von Weizsäcker 2010 Gestaltung des ‚Henry Kissinger Prize for Transatlantic Relations’ für Michael Bloomberg 2011 Gestaltung des ‚Henry Kissinger Prize for Transatlantic Relations’ für Helmut Kohl 2012 Gestaltung des ‚Henry Kissinger Prize for Transatlantic Relations’ für George P. Schultz 2013 Gestaltung des ‚Henry Kissinger Prize for Transatlantic Relations’ für Ewald Heinrich von Kleist 2014 Gestaltung des ‚Henry Kissinger Prize for Transatlantic Relations’ für James A. -
Dada and the Contemporary Female Artist
Brown 1 Haley Brown Neo-Dada and Pop Art Fryd 26 April 2017 Dada and the Contemporary Female Artist: a study of three homages to Duchamp Introduction Marcel Duchamp rocked the art world in 1917 when he submitted a porcelain urinal, dubbed Fountain, as sculpture to the exhibition for the Society of Independent Artists in New York City. As a member of the Dada movement, Duchamp challenged the expectations of the fine art market by creating “readymades,” using unconventional materials such as a factory- produced urinal, and creating a façade of sheer indifference to the demands of fine art. The Dada artists responded to the horror and meaninglessness of the First World War, modern technology, and the dehumanization of an industrialized society. They did so by crafting a new approach to the arts, both visual and literary. The Dada movement still holds meaning for contemporary artists in the late twentieth and twenty-first centuries, especially for women such as Sherrie Levine, Susan Hiller, and Catherine Haley Epstein. They each recall Duchamp and Dada in their work to provide transparency about their historical influences and to subvert and reclaim the "male genius" of Duchamp's work in a post-modern, conceptual female lens. Three separate works, Levine’s Fountain (After Marcel Duchamp: A.P.) (1991), Hiller’s Auras (Homage to Marcel Duchamp) (2008), and Epstein’s Étant Donnés (1. The Waterfall) An Homage to Marcel Duchamp (2015), will be analyzed separately with respect Brown 2 to their Dada inspirations then jointly to expose their subversion of the Dada artist and their immersion into twenty-first century feminine art. -
Louise Lawler: the Early Work, 1978-1985
RE-PRESENTING LOUISE LAWLER: THE EARLY WORK, 1978-1985 By MARIOLA V. ALVAREZ A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Mariola V. Alvarez To my parents. ACKNOWLEDGMENTS I would like to acknowledge Alexander Alberro for his continuing guidance through the years, his encouragement during my writing process, and his intelligence, both tireless and nuanced, which serves as an exemplary model of scholarship. I would also like to thank both Eric Segal and Susan Hegeman for their perspicacious suggestions on my thesis and for their formative seminars. I am grateful to the rest of the faculty, especially Melissa Hyde, staff and graduate students at the School of Art and Art History whom I had the pleasure of working with and knowing. My friends deserve endless gratitude for always pushing me to be better than I am and for voluntarily accepting the position of editor. They influence me in every way. Finally, I thank my family for making all of this possible. iv TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES ........................................................................................................... vi ABSTRACT..................................................................................................................... viii CHAPTER 1 INTRODUCTION ........................................................................................................1 -
Sherrie Levine Biography
P A U L A C O O P E R G A L L E R Y SHERRIE LEVINE Selected Biography Born: 1947, Hazelton, Pennsylvania Lives and works in New York and Santa Fe, New Mexico Education: 1970-1973 M.F.A., University of Wisconsin, Madison 1965-1969 B.F.A., University of Wisconsin, Madison One Person Exhibitions 2019 Sherrie Levine: After Reinhardt, David Zwirner, New York Sherrie Levine, After Egon Schiele: Selected Works, OFFSITE: CHALET MARC JANCOU, Rossinière, Switzerland 2018 Sherrie Levine, Xavier Hufkens, Brussels 2017 Sherrie Levine: Pie Town, David Zwirner, London 2016 Sherrie Levine, David Zwirner, New York Sherrie Levine: 15 White Moonlight Paintings, Jablonka Galerie at Böhm Chapel, Hurn Kalscheuren, Germany Sherrie Levine: After All, Neues Museum, State Museum for Art and Design in Nuremberg 2015 Sherrie Levine: African Masks After Walker Evans, Jablonka Galerie, Cologne, Germany (4/14 – 6/5/2015) Sherrie Levine: African Masks After Walker Evans, Simon Lee Gallery, London, UK (6/8 – 7/25/15) Sherrie Levine: African Masks, Jablonka Galerie, Brussels, Belgium (6/10 – 7/20/15) Sherrie Levine & Joseph Montgomery: Dolls, Paula Cooper Gallery, New York [two-person exhibition] Sherrie Levine - Man Ray: A Dialogue Through Objects, Images & Ideas, Jablonka Maruani Mercier Gallery, Knokke, Belgium [two-person exhibition] 2014 Sherrie Levine: Salubra, Jablonka Galerie, Cologne, Germany (1/17 – 8/1/14) Sherrie Levine: Seriality, Marc Jancou, Geneva (3/20 – 5/17/14) Red Yellow Blue, Paula Cooper Gallery, New York (4/17 – 5/23/14) Sherrie Levine, Simon Lee -
Hanns Seidel Foundation: Annual Report 2010
Hanns Seidel Foundation AnnuAl RepoRt 2010 short version english www.hss.de contentS contentS Foreword ........................................................................ 4 the Hanns Seidel Foundation: facts and figures ........................... 6 Academy for politics and current Affairs ................................... 7 the Berlin office ................................................................ 9 Institute for political education ........................................... 11 Institute for Scholarship programmes .................................... 14 liaison Bureaus/International conferences .............................. 15 office for Foreign Relations ................................................. 21 Institute for International cooperation ................................... 22 Hanns Seidel Foundation Worldwide ...................................... 28 Dr. Hanns Seidel (1901–1961) – whom the foundation is named after – was among the founding fathers of the Christian social union (CSU) in 1945 and party chairman (1955–1961). He was first elected in 1946 to the Bavarian landtag, appointed as Bavarian Minister of econo mics (1947–1954) and was the Bavarian Minister-President (1957–1960). For further information see: www.hss.de/ english/organization/hanns-seidel.html dr. Hanns seidel Hanns seidel Foundation | annual RepoRt 2010 3 FoReWord FoReWord In a year marked by spectacular resig- these sentences, spoken by Horst nations, heated debates and by the long seehofer, are just one example of the shadows cast by the