IMI KNOEBEL 1000 Hasen, 2021 June 26 - July 10, 2021
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Blinky Palermo.Pdf
Blinky Palermo To the People of New York City September 15, 2018–March 9, 2019 Dia:Chelsea 545 West 22nd Street New York City www.diaart.org Blinky Palermo To the People of New York City To the People of New York City is Blinky Palermo’s last work. It was completed in 1976 upon the artist’s return to Germany, following a three-year stay in New York City. The title for this painting in multiple parts is derived from a simple dedication, “To the people of N.Y.C.,” inscribed on the backs of the work’s forty aluminum panels. In scale, size, chromatic variation, and structure, To the People of New York City is unparalleled in the artist’s oeuvre. Palermo died suddenly in 1977 and was never able to oversee a public installation of this work. However, he left detailed instructions for To the People of New York City’s arrangement in the form of sixteen preparatory studies (presented here in an adjacent gallery). The last of these sketches illustrates each of the painted panels in sequential order, providing a codex for this immersive installation. Each of To the People of New York City’s fifteen sections consists of one to four rectilinear metal panels with variable space between the set, such that the distance between the panels of the groupings must be equal to their respective width. Part VI is the only exception to this rule. It includes two panels that directly abut each other to form the illusion of a single panel. The dimensions of the panels fluctuate from about 8¼ by 6¼ inches to 49¼ by 43¼ inches to 39½ by 78¾ inches, so that the installation can be expanded or contracted to be shown in different spaces while maintaining its internal logic. -
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NINO MIER GALLERY HOSTING WENTRUP GALLERY THOMAS WACHHOLZ | DAVID RENGGLI Cha Cha Cha June 26 - July 31, 2021 NINO MIER GALLERY 7313 SANTA MONICA BLVD LOS ANGELES CA 90046 Thomas Wachholz and David Renggli Cha Cha Cha Gallery exchange with WENTRUP, Berlin June 30 - July 31, 2021 Matchboxes are a dying relic from a time when smoking in public and especially in cafes, restaurants, and bars was still unrestricted and consequently much more widespread than it is today. The ephemeral matchbox very quickly developed into a form of free souvenir that, charged with individual memory, still connects the owner years later with the personal visit experience coupled to space and time. Over the decades, a discipline related to the collection of matchboxes developed in the form of phillumeny. This background opens up both a starting point and a frame of reference for the series of works on view at Nino Mier Gallery in which Thomas Wachholz deals with the cultural artifact of the matchbox on both a conceptual and painterly level. In the early phase of the series, the artist focused primarily on participatory and processual elements. For several years, however, painting itself has become increasingly important. Starting from his matchbox collection, the artist deals with the found pictorial and color worlds as well as their compositions. In doing so, he develops them further to a point where they become independent of the original designs and turn into independent painterly subjects. A new, abstract repertoire of colors and forms emerges in the process, which the artist repeatedly samples and condenses into new compositions. -
This PDF Is Part of the Catalogue of the Exhibition Wolfgang Tillmans
This PDF is part of the catalogue of the exhibitionWolfgang Tillmans. Moderna Museet, Stockholm, 06.10.2012 – 20.01.2013 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 02.03.2013 – 07.07.2013 2 – 17 Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans 18 – 116 Installation views Moderna Museet 117 – 125 Captions Moderna Museet 126 – 131 List of works Moderna Museet 132 – 133 Biography 134 Colophon Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans Prelude: How a visitor may be led Warsaw, January 2012. Ascending the majestic staircase of the classicist art palace built between 1890 and 1900 for the Towarzystwo Zachęty Sztuk Pięknych, the then Society for the Encouragement of the Fine Arts, and now home to the Zachęta Naradowa Galeria Sztuki, Poland’s National Gallery, I make my way up to Wolfgang Tillmans’ exhibition Zachęta. Ermutigung (Zachęta. Encouragement). En route I see large paper-drop pictures hanging in niches that must originally have been intended for paintings. These close-ups of sheets of curling, curving photographic paper with shimmering and gleaming polychrome surfaces are unframed, held in position by the foldback clips that Tillmans uses to present his works on paper. With the three-dimensionality of the images and the three-dimensionality of the physical objects, the paper-drop pictures perform a dance of gravity, materials, reflections and shadows. They show what they are, even if not completely. For the difference between the materiality of the photographic paper ‘in’ the pictures and the archival sheets exhibited here (207 × 138 centi- metres) that have absorbed the ink-jet prints, prevents any over-hasty identification. -
Gender Performance in Photography
PHOTOGRAPHY (A CI (A CI GENDER PERFORMANCE IN PHOTOGRAPHY (A a C/VFV4& (A a )^/VM)6e GENDER PERFORMANCE IN PHOTOGRAPHY JENNIFER BLESSING JUDITH HALBERSTAM LYLE ASHTON HARRIS NANCY SPECTOR CAROLE-ANNE TYLER SARAH WILSON GUGGENHEIM MUSEUM Rrose is a Rrose is a Rrose: front cover: Gender Performance in Photography Claude Cahun Organized by Jennifer Blessing Self- Portrait, ca. 1928 Gelatin-silver print, Solomon R. Guggenheim Museum, New York 11 'X. x 9>s inches (30 x 23.8 cm) January 17—April 27, 1997 Musee des Beaux Arts de Nantes This exhibition is supported in part by back cover: the National Endowment tor the Arts Nan Goldin Jimmy Paulettc and Tabboo! in the bathroom, NYC, 1991 €)1997 The Solomon R. Guggenheim Foundation, Cibachrome print, New York. All rights reserved. 30 x 40 inches (76.2 x 101.6 cm) Courtesy of the artist and ISBN 0-8109-6901-7 (hardcover) Matthew Marks Gallery, New York ISBN 0-89207-185-0 (softcover) Guggenheim Museum Publications 1071 Fifth Avenue New York, New York 10128 Hardcover edition distributed by Harry N. Abrams, Inc. 100 Fifth Avenue New York, New York 10011 Designed by Bethany Johns Design, New York Printed in Italy by Sfera Contents JENNIFER BLESSING xyVwMie is a c/\rose is a z/vxose Gender Performance in Photography JENNIFER BLESSING CAROLE-ANNE TYLER 134 id'emt nut files - KyMxUcuo&wuieS SARAH WILSON 156 c/erfoymuiq me c/jodt/ im me J970s NANCY SPECTOR 176 ^ne S$r/ of ~&e#idew Bathrooms, Butches, and the Aesthetics of Female Masculinity JUDITH HALBERSTAM 190 f//a« waclna LYLE ASHTON HARRIS 204 Stfrtists ' iyjtoqra/inies TRACEY BASHKOFF, SUSAN CROSS, VIVIEN GREENE, AND J. -
I WANT to SEE HOW YOU SEE JULIA STOSCHEK COLLECTION April 16 – July 25, 2010 (Deichtorhallen Hamburg)
I WANT TO SEE HOW YOU SEE JULIA STOSCHEK COLLECTION April 16 – July 25, 2010 (Deichtorhallen Hamburg) The exhibition at the Hamburg’ Deichtorhallen will be the first extensive presentation of the JULIA STOSCHEK COLLECTION shown in the context of a museum worldwide. The exhibition, which will commence April 16, 2010, will feature 65 works by 54 artists from this very young private collection in a space extending of over 3,000 square meters. The main focus of the presentation will be on film and video works produced in the last 40 years, a time range which applies to the entire Julia Stoschek Collection. Classics of video art, such as Marina Abramović’s Art must be beautiful/ Artist must be beautiful dating from 1975-76, Vito Acconci’s Openings (1970) and Chris Burden’s Shoot (1971 are conjoined with more recent works of younger artists, giving viewers the opportunity to relate to the history of the still rather young genre of video art. The majority of the works were actually produced after 2000. They range from lyrical pieces such as Heike Baranowsky’s Mondfahrt and complex animation films such as Björk’s Wanderlust in 3D up to elaborate spatial installations by artists such as Monica Bonvicini, Anthony McCall, and Nathalie Djurberg. The video works are accompanied by sculptures (e.g., by Nandipha Mntambo), photographic works (e.g., by Thomas Demand, Taryn Simon, Thomas Ruff) and installations (e.g., by Jeppe Hein). The title of the exhibition I Want To See How You See was derived from the work in the show by Pipilotti Rist (2003) of the same name. -
AD Presentation for Exhibitors.Pdf
16. 18. 18 IMPRESSIONEN 2017 IMPORTANT REGISTRATION INFORMATION / THE APPLICATION DEADLINE FOR ART DÜSSELDORF IS MAY 8, 2018. / REGISTRATIONS FOR ART DÜSSELDORF CAN BE SUBMITTED ONLINE ONLY. / THE REGISTRATION FEE CAN BE PAID BY CREDIT CARD ONLY. / PLEASE REGISTER ONLINE AT: WWW.ART-DUS.DE KEY PARAMETER / NOV 16 – 18, 2018 / PREVIEW: NOV 15, 2018 / AROUND 100 ESTABLISHED AND YOUNG REGIONAL AND INTERNATIONAL GALLERIES / AROUND 40,000 VISITORS / MODERN AND CONTEMPORARY ART (1945-2018) / LOCATION: AREAL BÖHLER - 2 HALLS - 12,000 SQM GROSS EXHIBITION SPACE IMPRESSIONEN 2017 PRESS COMMENTS ON THE PREMIERE 2017 „THIS YEAR, FOR THE FIRST YEAR, DÜSSELDORF HOSTED ITS OWN ART FAIR. THE OPENING WAS A GLITZY EVENT– AN ENORMOUS HANGAR SWARMING WITH WEALTHY COLLECTORS IN EXPENSIVE CLOTHES.“ (BBC) „ART DÜSSELDORF WINS OVER THE RHINELAND´S COLLECTORS.“ (THE ART NEWSPAPER) „ART DÜSSELDORF DARES TO LAUNCH A NEW ART FAIR IN THE RHINELAND - THE PREMIERE WITH 80 GALLERIES IS A SUCCESS.“ (TAGESSPIEGEL) „ART DÜSSELDORF FULFILLED ALL THE REQUIREMENTS FOR VISITORS TO BECOME CUSTOMERS – NO MATTER WHETHER REGIONAL OR NOT.“ (WELT - N24) „THE NEW ART FAIR IN THE FORMER INDUSTRIAL COMPLEX AREAL BÖHLER KICKS OFF WITH AN ENTHRALLING SHOW, WHICH RECEIVES THE HIGHEST OF PRAISE.“ (WESTDEUTSCHE ZEITUNG) „A DIGESTIBLE, PLEASANT AND HIGH-QUALITY EXHIBITION WITH WIDE CORRIDORS AND LARGE STANDS THAT MAKE A VISIT A RELAXING EXPERIENCE.“ (H.ART MAGAZINE) IMPRESSIONEN 2017 MEMBERS OF THE SELECTION COMMITTEE VERONIQUE ANSORGE, DAVID ZWIRNER (NEW YORK, LONDON) CRISTINA GUERRA, CRISTINA -
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. -
Daniel Richter Biography
DANIEL RICHTER BIOGRAPHY Born in Eutin, Germany, 1962. Lives and works in Berlin, Germany. Education: Hochschule für bildende Künste Hamburg, Germany, 1995 Academic Positions: 2006 Professor, Academy of Fine Arts Vienna, Austria 2005 Professor, Berlin University of the Arts, Germany 2003 Guest Professor, Hochschule für bildende Künste Hamburg, Germany Selected Solo Exhibitions: 2021 “Daniel Richter: Shellshock,” GRIMM, Amsterdam, Netherlands, June 17 – July 21, 2021 2020 “Daniel Richter: So Long, Daddy,” Galerie Thaddaeus Ropac, Salzburg, Vienna, June 6 – July 18, 2020 2019 “Daniel Richter,” Grimm Gallery, New York, NY, November 12 – December 22, 2019 “Daniel Richter: H.P. (jah allo),” Regen Projects, Los Angeles, CA, June 29 – August 17, 2019 2018 “Daniel Richter: I Should Have Known Better,” Galerie Thaddaeus Ropac, London, UK, September 4 – 29, 2018 2017 “Music for Orgies,” Grimm Gallery, Amsterdam, Netherlands, November 24, 2017 – January 6, 2018 “Daniel Richter: Le Freak,” Galerie Thaddaeus Ropac, Paris, France, June 22 – July 29, 2017 “Daniel Richter: Grafik über Alles,” Galerie Sabine Knust, Munich, Germany, June 2 – July 15, 2017 “im Atelier Liebermann: Daniel Richter/Jack Bilbo,” Stiftung Brandenburger Tor, Max Liebermann Haus, Berlin, Germany, April 28 – May 18, 2017; catalogue 2016 “Daniel Richter: Lonely Old Slogans,” Louisiana Museum of Modern Art, Humlebæk, Denmark, September 8, 2016 – January 8, 2017; travels to 21er Haus, Vienna, Austria, February 3 – June 5, 2017; Camden Arts Centre, London, UK, July 2 – September 17, 2017; catalogue “Daniel Richter: wild thing,” Regen Projects, Los Angeles, CA, June 25 – August 20, 2016 “Daniel Richter: Half-Naked Truth,” Galerie Thaddaeus Ropac, Salzburg Villa Kast, Austria, January 23 – March 12, 2016 2015 “Daniel Richter. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
October 22, 2011 Participants
EYES WIDE SHUT: CONTEMPORARY DRAWINGS FROM GERMANY September 15 – October 22, 2011 Participants Andy Hope 1930 was born in Munich and lives and works in Berlin. Recent solo exhibitions include the Contemporary Art Center Malaga, Malaga; The Freud Museum, London; and Sammlung Goetz, Munich. His work has recently been included in exhibitions at the MMK Museum für Moderne Kunst, Frankfurt; Hamburger Bahnhof, Berlin; and the Kunsthalle Düsseldorf. Ulla von Brandenburg was born in Karlsruhe and lives and works in Paris. Recent solo exhibitions include Art : Concept, Paris; K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf; and Le Plateau, FRAC, Ile de France, Paris. Her work has recently been included in exhibitions at 11e Biennale de Lyon; the Museum of Contemporary Art, Detroit; and Hamburger Kunsthalle, Hamburg. Ralf Ziervogel was born in Clausthal-Zellerfeld, Germany and lives and works in Berlin. Recent solo exhibitions include the K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf; ARNDT, Berlin; and Galerie Charim, Vienna. His work has recently been included in exhibitions at the Deutsche Bank Collection, Frankfurt am Main; La maison rouge, Paris; and K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Marc Brandenburg was born in Berlin and lives and works in Berlin. Recent solo exhibitions include Hamburger Kunsthalle, Hamburg; Galerie Thaddaeus Ropac, Paris; Museum für Moderne Kunst, Frankfurt. His work has recently been included in exhibitions at the Museum of Modern Art, New York; Middlesbrough Institute of Modern Art, Middlesbrough; and Sammlung Harald Falckenberg, Hamburg. Jonathan Meese was born in Tokyo and lives and works in Berlin. Recent solo exhibitions include Galerie Daniel Templon, Paris; the Museum of Contemporary Art, Miami; and the Contemporary Art Centre of Malaga, Spain. -
Joseph Beuys 1 Joseph Beuys
Joseph Beuys 1 Joseph Beuys Joseph Beuys Offset poster for Beuys' 1974 US lecture-series "Energy Plan for the Western Man", organised by Ronald Feldman Gallery - Courtesy Ronald Feldman Fine Arts, New York Born May 12, 1921Krefeld, Germany Died January 23, 1986 (aged 64)Düsseldorf Nationality German Field Performances, sculpture, visual art, aesthetics, social philosophy Training Kunstakademie Düsseldorf Joseph Beuys (German pronunciation: [ˈjoːzɛf ˈbɔʏs]; May 12, 1921, Krefeld – January 23, 1986, Düsseldorf) was a German performance artist, sculptor, installation artist, graphic artist, art theorist and pedagogue of art. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate, even acrimonious public debate, but he is now regarded as one of the most influential artists of the 20th century.[1] [2] Biography Childhood and early life in the Third Reich (1921-1941) Joseph Beuys was the son of the merchant Josef Jakob Beuys (1888–1958) and Johanna Maria Margarete Beuys (born Hülsermann, 1889–1974). The parents had moved from Geldern to Krefeld in 1910, and Beuys was born there on May 12, 1921. In autumn of that year the family moved to Kleve, an industrial town in the Lower Rhine region of Germany, close to the Dutch border. There, Joseph attended primary school (Katholische Volksschule) and secondary/high- school (Staatliches Gymnasium Cleve, now the Freiherr-vom-Stein-Gymnasium). His teachers considered him to have a talent for drawing; he also took piano- and cello lessons. -
Leidenschaft Ist Unser Antrieb« | Works from the Collection Kunstraum Am Limes in Memoriam Dr. Axel Ciesielski Exhibition
»Leidenschaft ist unser Antrieb« | Works from the Collection Kunstraum am Limes In Memoriam Dr. Axel Ciesielski Exhibition: 04.09.2020 – 31.10.2020 Opening reception: 04.09.2020, 11 am - 9 pm For many years Galerie Christian Lethert and the Kunstraum am Limes - Sammlung Zeitgenössischer Kunst have been collaborated closely. Therefore we are delighted to present parts of the collection in Cologne in memory of Dr. Axel Ciesielski (1944-2019). In addition to this first exhibition cooperation, Galerie Christian Lethert will continue to work with Kunstraum am Limes and will also take care of the collection in the future. The exhibition title »Leidenschaft ist unser Antrieb« (»Passion is our motivation«) quotes a Sigmar Polke edition from 1999. At the same time it describes what drove Ciesielski to build up his collection: the fascination and passion for contemporary art. A gallery visit in 1997 laid the foundation for the collection, which today comprises important works by Sigmar Polke and his teacher K.O. Goetz, as well as by Beuys students Imi Knoebel, Felix Droese and Katharina Sieverding. A younger generation of artists is also represented, such as Gereon Krebber, Alicja Kwade, Daniel Lergon and Jorinde Voigt. The ceramic tradition of the region is also reflected in the numerous pieces in the collection and thus Ciesielski's affinity to his native region. With his enthusiasm for art and the desire to share it with others – "Art must be visible", as the passionate collector always emphasized –, the Kunstraum am Limes - Sammlung Zeitgenössischer Kunst in Hillscheid was founded in 2005. The exhibition in Cologne brings together works by 29 artists from the collection, including the grid picture "Biertisch" (1999) by Sigmar Polke, the work "Kunst=Kapital" (1980) by Joseph Beuys and the original wall painting "Blaues Dreieck", which Blinky Palermo mounted above a door in the Galerie Klein in Bonn in 1972.