DOCSLIB.ORG

Marcel Broodthaers 1969 Galerie Gerda Bassenge

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Marcel Broodthaers 1969 Galerie Gerda Bassenge Antiquariat Querido – Frank Hermann Kunst nach 1945 Roßstraße 13 · 40476 Düsseldorf · Tel. +49 2 11 / 15 96 96 01 Fotografi e · Architektur · Design · Kunst bis 1945 Blücherstraße 7 · 40477 Düsseldorf · Tel. +49 2 11 / 51 50 23 34 Mo bis 17.00 Uhr / Di + Fr bis 15.00 Uhr, Mi + Do bis 19.00 Uhr und nach Vereinbarung Live in your head [email protected] www.antiquariat-querido.de Stadtsparkasse Düsseldorf SWIFT-BIC: DUSSDEDDXXX Antiquariat Querido · Roßstraße 13 · 40476 Düsseldorf IBAN: DE 38 3005 0110 0010 1833 66 Kunst nach 1945 USt-ID-Nr. DE 171/397705 StNr. 105/5108/1390 Künstlerbücher · Galeriekataloge · Künstlermonografi en Werkverzeichnisse · Einladungskarten · Plakate Editionen · Multiple · Grafi ken Die angebotenen Titel sind in guter bis sehr guter Erhaltung. Etwaige Mängel sind möglichst detailliert beschrieben. Alle Bücher können in unserem Ladenlokal Roßstraße 13 angesehen werden. Das Angebot ist freibleibend, Lieferzwang besteht nicht. Die Bestellungen werden in der Reihenfolge des Eingangs ausgeführt. Alle Preise verstehen sich in Euro. Der Versand erfolgt zu Lasten und Risiko des Bestellers, telefonisch erfolgte Bestellung bitten wir per E-Mail oder Fax zu bestätigen. Bei begründeter Beanstandung wird jede Lieferung innerhalb 14 Tagen zurückgenommen. Eigentumsvorbehalte nach § 455 BGB. Erfüllungsort und Gerichtsstand ist Düsseldorf. Rechnungen sind zahlbar innerhalb 14 Tagen ohne Abzüge. Wir sind stets am Erwerb von Büchern unserer Fachgebiete interessiert und kaufen Einzelstücke wie auch ganze Bibliotheken. Wir freuen uns über Ihre Angebote. Antiquariat Querido · Blücherstraße 7 · 40477 Düsseldorf Fotografi e · ArchitekturKatalog 10 · Design · Kunst bis 1945 All items are in fi ne condition, unless otherwise stated. Please ask for specifi c description by e-mail Monografi en und Kataloge zu: Fotografi e im 20. und 21. Jahrhundert ([email protected]) or telephone. All items are displayed in our bookshop Roßstraße 13. Architektur · Design · Alte Kunst · Kunst bis 1945 Please place your order by e-mail or telephone. All goods are only dispatched after full payment of the price. The goods are dispatched at the risk of the purchaser. Transport and insurance costs will Kunstwissenschaft · Fotografi en · Grafi ken be borne, unless otherwise agreed, by the purchaser. Clients from abroad please use credit cards or advance payment. We accept Visa, MasterCard or American Express. All prices are in Euro! In the event of dispute the exclusive court of jurisdiction is Düsseldorf. Ankauf aus2018 den Spezialgebieten Umschlag siehe Nr. 174 Kataloggestaltung: Edgar Droste-Orlowski Vorwort "Live in your head. When Attitudes Become Form (Wenn Attitüden Form werden)" überschrieb Harald nicht zu ferner Zeit als Teil der Kommunikation verschwinden und nur noch Teil der internationalen Szeemann die von ihm inszenierte Ausstellung vom 22.3. bis 27.4.1969 in der Kunsthalle Bern. Antiquariatsgeschichte sein". Nach den bereits viel beachteten und auch reich besuchten Ausstellungen "Licht und Bewegung" Nun könnten wir uns zurücklehnen und denken, dass wir uns durch die doch sehr enge Spezialisie­ zur kinetischen Kunst sowie "Weiß auf Weiß" zur Monochromie war "Live in your head" die bahn­ rung und die Hinwendung zur Kunst auch jenseits der Dokumentation schon so sehr vom klassischen brechende Ausstellung, die zwar am Ende zum Zerwürfnis mit dem Kuratorium der Kunsthalle führte Antiquariatshandel zurückgezogen haben, dass es uns kaum betrifft. Aber da schließt sich vielleicht und Szeemanns Kündigung nach sich zog, ihm jedoch den Weg zu anerkannten neuen kuratori­ zu früh der Kreis, ist doch auch der Kunsthandel als solches von diesen Phänomenen betroffen. schen Denk­ und Gestaltungsweisen ebnete. Wir möchten lieber auch in Zukunft den Spagat wagen zwischen digitalisierter und analoger Arbeit, Was aber schlägt nun eine Brücke von diesem Meilenstein der Ausstellungsgeschichte in der zweiten zwischen dem nun bald auch schon anachronistischen Ladenlokal, dem analog erstellten Katalog, Hälfte des 20. Jahrhunderts zu einem Antiquariatskatalog in den buchhändlerisch krisengeschüt­ der, wie der vorliegende, nicht selten eine Vorbereitungszeit von bis zu zwei Jahren braucht, und telten späten Zehnerjahren des 21. Jahrhunderts? dem täglich­alltäglichen Bedienen der Plattformen im Internet, ohne die ein zeitgemäßes Arbeiten Szeemann schreibt zur Erläuterung des Konzeptes seiner Schau: "Die Ausstellung >Wenn Attitü­ eben auch nicht mehr möglich sein kann. Aber entscheidend für die Idee des klassischen Print­ den Form werden (Werke – Konzepte – Vorgänge – Situationen – Information)< wirkt gegenüber kataloges ist eigentlich etwas viel Wichtigeres: Das, was sich auf diesen meist 80 bis 180 Seiten ihren Vorgängerinnen seltsam uneinheitlich und kompliziert, als eine Addition von Erzählungen in spiegelt, das lange gesuchte oder erstmals gesehene, das, was zwischen A und Z die Verbindungen Ich­Form". Damit ist zumindest der Brückenaufgang schon einmal erreicht. Der hier vorliegenden herstellt und Strukturen schafft, dieses "Live in your head" macht den eigentlichen Unterschied und zehnte Katalog ist zwar nicht wie einige seiner Vorgänger einem Künstler (Daniel Spoerri, Sigmar das macht es lohnend, damit weiter zu machen. Und da wir das auch vorhaben, steht bereits das Polke oder Raymond Pettibon) oder einem künstlerischen Statement (Konzeptkunst und Arte Povera) Projekt Katalog 11 in den mühsamen Startlöchern für 2019. Und dann ist da Katalog 12 … aber gewidmet, verbindet aber bewusst auch einige Stränge und Linien, die allen anderen Katalogen so weit möchte ich jetzt gar nicht denken, sondern lieber an dieser Stelle denen danken, die auf zu Grunde lagen. Wenn man mag, könnte man sie so benennen: Werke – Konzepte – Vorgänge – allen drei Ebenen jeden Tag dafür sorgen, dass wir dieses Ziel auch erreichen: Heinke Schmitz, Situationen – Information. Und sie sind natürlich so etwas wie eine Folge von Erzählungen in Ich­ Petra Hermann und Jan Orlowski. Und natürlich Edgar Droste­Orlowski, ohne dessen immer wieder­ Form, subjektiv in einen Kanon gebracht. Das mag interpretatorisch etwas frech erscheinen, anma­ kehrende Ausdauer und Geduld dieses Papier hier nicht bedruckt wäre. ßend ist es aber nicht, wenn man es vor dem Hintergrund sieht, dass zum Beispiel ein Katalog wie Da dieser Katalog als Nummer 10 auch ein kleines Jubiläum darstellt und daher umfangreicher aus­ der zur Ausstellung "Live in your head. When Attitudes Become Form” eine ganz besondere Rolle gefallen ist, haben wir an den Schluss ein Inhaltsverzeichnis sowie ein Register aller Künstlernamen auch für denjenigen spielen kann, der zur Zeit dieser Ausstellung gerade eingeschult wurde, also gesetzt, auch wenn diese in den Titelaufnahmen versteckt erscheinen (siehe Seiten 188–192). von der Existenz der Ausstellung und des Kataloges nicht die geringste Idee haben konnte. Oder der durch Idee und Konzeption der "documenta 5" von 1972 zahllose Jahre später Orientierung Frank Hermann, im Dezember 2017 gewinnt für die Documenta­Schauen seiner Zeit. Und damit ergibt sich dann fast auch schon der – vielleicht auch nur persönliche – Brückenschlag. Das Hier und Jetzt in der Kunst wie auch im Leben aus den Strukturen und Vernetzungen seiner Entwicklung zu verstehen und ableiten zu können, ist doch letztlich ein wesentlicher Aspekt des Sammelns, Archivierens und Forschens. Und der klassi­ sche Antiquariatskatalog war lange Zeit ein verbindendes Element hierfür. Nun hat sich nicht nur das Sammeln in den eigentlich noch wenigen Jahren nach der Kommerzi­ alisierung des Internets evident verändert, auch das Kaufen an sich und noch wesentlicher das Ver­ kaufen hat zu einer völlig neuen Form gefunden. Das brachte mit sich, dass in Zeiten von PDF und Internet der Antiquariatskatalog als Printmedium nahezu als obsolet betrachtet werden kann. Aber Strukturveränderungen und Wandel müssen ja nicht unbedingt Teufelswerk sein. In vielerlei Hinsicht hat das Internet – wir sind seit 1996 auf den noch existierenden Plattformen vertreten und damit immerhin geradezu Pioniere – Handelswege erschlossen, die zur damaligen Zeit nur mit großen PANAMARENKO HANS HAACKE MARTIN KIPPENBERGER SIGMAR POLKE JOSEPH BEUYS GERHARD RICHTER CHRISTIAN BOLTANSKI GÜNTHER UECKER MARCEL Investitionen und Mühen erreicht werden konnten. Kunden in nahezu allen Teilen der Erde zu errei­ DUCHAMP YVES KLEIN OTTO PIENE DANIEL RICHTER PIERRE ALECHINSKY GEORG SIGMAR POLKE BASELITZ HANNE DARBOVEN IAN HAMILTON FINLEY PER KIRKEBY PANAMARENKO BERND & HILLA BECHER ERIC FISCHL DAN FLAVIN GILBERT & GEORGE WOLF VO- STELL EMMETT WILLIAMS ERWIN WURM DANIEL SPOERRI ANDY WARHOL EDWARD- Als höhere RUSCHA FERDINAND KRIWET HEINZ MACK MARCUS LÜPERTZ A R PENCK SOL LE WITT CARL ANDRE WERNER BÜTTNER SHERRIE LEVINE PIERO MANZONI BLINKY PALERMO MERET OPPENHEIM THOMAS SCHÜTTE DAVID SALLE DAMIEN HIRST JO- NATHAN MEESE JULIAN SCHNABEL KIKI SMITH GÜNTHER FÖRG HEIMO ZOBERNIG Wesen KARL OTTO GÖTZ DICK HIGGINS ACHIM DUCHOW ANDREAS GURSKY RUPPRECHT chen oder gar dauerhaft zu gewinnen ist auch ein Verdienst des Internethandels. Dennoch wird mehr GEIGER GÜNTHER FRUHTRUNK NIKI DE SAINT PHALLE FISHLI & WEISS GOTTHARD GRAUBNER HERBERT ZANGS JEAN TINGUELY JEAN-MICHEL BASQUIAT MATTHEW befahlen … BARNEY HANS-PETER FELDMANN PETER DOIG ULRICH ERBEN HANS HARTUNG DO-- ROTHY IANNONE THOMAS RUFF GERHARD HOEHME HUBERT KIECOL IMI KNOE BEL OTTO MUEL THOMAS STRUTH ANDERS PETERSEN ARNULF RAINER REINER RUTHENBECK JOSEPH KOSUTH HELMUT FEDERLE WOLFGANG TILLMANS GERT & UWE TOBIAS RICHARD SERRA
Load more

Recommended publications
  • Hans Ulrich Obrist a Brief History of Curating
    Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist.
    [Show full text]
  • Vol. 10, Issue 5
    Vol. 10, Issue 5 LISLE PARK DISTRICT SENIOR CENTER 630-969-0992 • 1925 Ohio Street, Lisle, IL 60532 Northeast entrance of the Recreation Center ISSUE PREVIEW HOURS Monday - Friday GET IN ON THE CHESS CLUB ACTION! 8:30am - 4:00pm The Senior Center Chess Club provides friendly and fun chess action. Players of all levels of chess CLOSED experience are welcome to join this dedicated group. Thursday, November 24 Basic knowledge of chess is expected. It is entirely Friday, November 25 free to participate. See page 4 for more information. REGISTRATION INFORMATION How to Register Registration is accepted in person at the Senior Center, by mail, charge by phone 630-969-0992, or online at LisleParkDistrict.org in the order in which received. 3 MARK YOUR CALENDAR RESIDENT Lisle Park District taxpayers Save the date for these fun programs & trips! • Sat., October 8 - Online Sunday Fun-Day - Page 6 • Mon., October 10 - Walk-in, New Years at Noon - Page 8 phone or mail TRIAD Bingo Jingo - Page 8 NONRESIDENT News & Views - Page 9 • Sat., October 22 - Online A Fireside Christmas - Page 13 • Mon., October 24 - Walk-in, Winter Overnight - Page 15 phone or mail Sponsored by We treat your family, like our family... Generation after Generation... *You must be a current Lisle Savings Bank online customer. Please don’t hesitate to ask us for assistance. Registration Information HOW TO REGISTER SENIOR CENTER TEAM Registration by Phone or Walk-In Debbie Breihan Phone and walk-in registrations will be accepted Senior Citizen Coordinator during regular business hours of 8:30am - 4:00pm 630-353-4344 at the Senior Center front desk.
    [Show full text]
  • MARY SHELLEY (Run), P
    JUNE 018 GAZETTE 2 ■ Vol. 46, No. 6 Rediscovering Rediscovering Alain Tanner LA SALAMANDRE, June 9, 14 MORE FRIDAY MATINEES! OPEN-CAPTIONED SCREENINGS! ALSO: 164 N. State Street Trnka, Inoue, Gunn, Clouzot www.siskelfilmcenter.org CHICAGO PREMIERE! THOMAS PIPER IN PERSON! 2017, Thomas Piper, USA, 75 min. “A pleasure on multiple fronts: sensorially, conceptually, narratively.”—Jennifer Reut, Landscape Architecture Magazine Five seasons in the gardens and career of Dutch garden designer Piet Oudolf, creator of Chicago’s acclaimed Lurie Garden in Millennium Park, are traced in this lush documentary that blooms with details of Oudolf’s other high-profile projects including Manhattan’s High Line and the waterfront Battery Gardens. Beginning with an autumn walk through the designer’s own sprawling but intricately planted garden in the Dutch village of Hummelo, the film conveys his deep and thoughtful appreciation for botanical life in all its seasons. DCP digital. (BS) Director Thomas Piper will be present for audience discussion on Friday at 7:45 pm. The 7:45 pm screening on Fri., June 15, is a Movie Club event (see p. 3). FIVE June 15—21 Fri., 6/15 at 2:15 pm, 6 pm, and 7:45 pm; Sat., 6/16 at 6:15 pm; SEASONS Sun., 6/17 at 2 pm; Mon., 6/18 at 6 pm; THE GARDENS Tue., 6/19 at 8:15 pm; OF PIET OUDOLF Wed., 6/20 at 6 pm; Thu., 6/21 at 8:30 pm CHICAGO PREMIERE! “Vivid and beautifully meditative memory piece on BOOM the downtown New York art and music scene of the late 1970s and early ‘80s.” THEFOR LATE TEENAGE REAL: YEARS —Chris Barsanti, The Playlist OF JEAN-MICHEL BASQUIAT 2017, Sara Driver, USA, 78 min.
    [Show full text]
  • Annual Report 2019-2020
    Chicano Studies Research Center Annual Report 2019-20 Submitted by Director Chon A. Noriega 1 TABLE OF CONTENTS I. DIRECTOR’S MESSAGE 3 II. DEVELOPMENT REPORT 8 III. ADMINISTRATION, STAFF, FACULTY, AND ASSOCIATES 10 IV. ACADEMIC AND COMMUNITY RELATIONS 13 V. LIBRARY AND ARCHIVE 22 VI. PRESS 37 VII. RESEARCH 51 VIII. FACILITIES 65 APPENDICES 67 2 I. DIRECTOR’S MESSAGE The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multi-disciplinary research as part of the overall mission of the university. It is one of four ethnic studies centers within the Institute of American Cultures (IAC), which reports to the UCLA Office of the Chancellor. The CSRC is also a co-founder and serves as the official archive of the Inter-University Program for Latino Research (IUPLR, est. 1983), a consortium of Latino research centers that now includes twenty-four institutions dedicated to increasing the number of scholars and intellectual leaders conducting Latino-focused research. The CSRC houses a library and special collections archive, an academic press, externally-funded research projects, community-based partnerships, competitive grant and fellowship programs, and several gift funds. It maintains a public programs calendar on campus; at local, national, and international venues; and online. The CSRC also maintains strategic research partnerships with UCLA schools, departments, and research centers, as well as with major museums across the U.S. The CSRC holds six (6) positions for faculty that are appointed in academic departments. These appointments expand the CSRC’s research capacity as well as the curriculum in Chicana/o and Latina/o studies across UCLA.
    [Show full text]
  • Epic Art Route Guide by Minivan Adventures
    Epic Art Adventures Route Guide created by To celebrate ten years of Quilt Gardens along Indiana’s Heritage Trail, the Elkhart County CVB is offering a temporary art exhibit featuring over 50 lifelike bronze sculptures by the talented Seward Johnson. This free exhibit ends October 20, 2017. Preparing for Your Epic Art Adventures Before you start on your Epic Self-Guided Tour, you will want a few things: 1) a brochure, 2) this handy Minivan Adventures route guide, and 3) a GPS navigation tool. Get a free copy of the Epic Art Adventures brochure online at EpicArtAdventures.com or in-person at the Elkhart Visitor Center (which is the first stop listed below). Since the brochure does not provide recommended driv- ing or walking routes, be sure to bring this Minivan Adventures route guide along with you to make sure that you don’t miss any of these amazingly lifelike sculptures by Seward Johnson! And finally, we found it helpful to refer back to a GPS navigation mobile app occasionally. We used the Google Maps app. An Epic Self-Guided Tour Start at the Elkhart Visitor Center at 219 Caravan. There is a mural outside the building, and inside the building, you can see Getting Involved*. While you are there, you can pick up maps/brochures. Hop in your car and head south to the Wellfield Botanic Gardens at 1011 N Main where you can see Inner World, Outer World, quilt gardens and murals. Hop back into the car and drive to the Ruthmere Museum at 302 E Beardsley to enjoy quilt gardens and A Turn of the Century.
    [Show full text]
  • Ende Der Kunst“
    Materialität und Widerstand im Zeitalter des „Ende der Kunst“ Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie (Dr. phil.) durch die Philosophische Fakultät der Heinrich-Heine-Universität Düsseldorf vorgelegt von Beatriz V. Toscano aus Düsseldorf Betreuerin: Prof. Dr. Vittoria Borsò Düsseldorf, Januar 2013 Materialität und Widerstand im Zeitalter des „Ende der Kunst“ Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie (Dr. phil.) durch die Philosophische Fakultät der Heinrich-Heine-Universität Düsseldorf vorgelegt von Beatriz V. Toscano aus Düsseldorf Betreuerin: Prof. Dr. Vittoria Borsò Düsseldorf, Januar 2013 -- Beatriz V. Toscano Materialität und Widerstand im Zeitalter des „Ende der Kunst“ INHALTSVERZEICHNIS 1. Vom Wesen der Kunst zum Ende der Kunst..................................................................... 1 2. Oppositionen – Widersprüche – Paradoxien................................................................... 10 2.1.„Les Immatériaux“ versus „Dematerialization“. Der Bericht einer Ernüchterung ... 11 2.2. Am Nullpunkt der Kunst. Die metaphysische Prägung der Avantgarde als Erbe Kants ................................................................................................................. 14 2.3. Moderne und Postmoderne: zeitgenössische Mythen? ............................................ 21 2.4. Produktion und Konzeption als paradigmatische Embleme .................................... 26 2.5. Präsentation der Repräsentation – die Pictures Generation ....................................
    [Show full text]
  • The Decorative in Twentieth Century Art: a Story of Decline and Resurgence
    THE DECORATIVE IN TWENTIETH CENTURY ART: A STORY OF DECLINE AND RESURGENCE PAMELA GAUNT A thesis submitted in fulfilment of the requirements for the degree Master of Art Theory Postgraduate Board, University of New South Wales August 2005 THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: GAUNT First name: Pamela Other name/s: Mary Abbreviation for degree as given in the University calendar: MA (Art Theory) School: School of Art History/Theory Faculty: COFA Title: The Decorative in Twentieth Century Art: A Story of Decline and Resurgence. Abstract: This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail.
    [Show full text]
  • I Luoghi Del Contemporaneo. Contemporary Art Venues 2012
    Direzione generale per il paesaggio, le belle arti, l’architettura e l’arte contemporanee ; i luoghi del contemporaneo2012 contemporary art venues © Proprietà letteraria riservata Gangemi Editore spa Piazza San Pantaleo 4, Roma www.gangemieditore.it Nessuna parte di questa pubblicazione può essere memorizzata, fotocopiata o comunque riprodotta senza le dovute autorizzazioni. Le nostre edizioni sono disponibili in Italia e all’estero anche in versione ebook. Our publications, both as books and ebooks, are available in Italy and abroad. ISBN 978-88-492-7531-5 Direzione generale per il paesaggio, le belle arti, l’architettura e l’arte contemporanee i luoghi del contemporaneo2012 contemporary art venues a cura di Maria Grazia Bellisario e Angela Tecce i luoghi del contemporaneo 2012 Ministero per i beni e le attività culturali Ministro per i beni e le attività culturali Comitato Scientifico: Lo studio è stato realizzato da Lorenzo Ornaghi Maddalena Ragni, Direttore Generale PaBAAC Sottosegretario di Stato Presidente Roberto Cecchi Coordinamento Scientifico: Maria Grazia Bellisario, Carlo Fuortes Segretario Generale Direttore Servizio Architettura e Arte Contemporanee, Antonia Pasqua Recchia Coordinatore scientifico Coordinamento Operativo: Alessandro Ricci Angela Tecce, Studio e pubblicazione promossi da: Direttore Castel Sant’Elmo, Responsabile del progetto Coordinamento del Gruppo di Lavoro: Direzione Generale per il paesaggio, le belle arti, Orietta Rossi Pinelli l’architettura e l’arte contemporanee, Maria Vittoria Marini Clarelli, Servizio
    [Show full text]
  • Pop Culture and Art
    Colorado Teacher-Authored Instructional Unit Sample Visual Arts 6th Grade Unit Title: Pop Culture and Art INSTRUCTIONAL UNIT AUTHORS Pueblo County School District Amie Holmberg Brenna Reedy Colorado State University Patrick Fahey, PhD BASED ON A CURRICULUM OVERVIEW SAMPLE AUTHORED BY Denver School District Capucine Chapman Fountain School District Sean Norman Colorado’s District Sample Curriculum Project This unit was authored by a team of Colorado educators. The template provided one example of unit design that enabled teacher- authors to organize possible learning experiences, resources, differentiation, and assessments. The unit is intended to support teachers, schools, and districts as they make their own local decisions around the best instructional plans and practices for all students. DATE POSTED: MARCH 31, 2014 Colorado Teacher-Authored Sample Instructional Unit Content Area Visual Arts Grade Level 6th Grade Course Name/Course Code Sixth Grade Visual Arts Standard Grade Level Expectations (GLE) GLE Code 1. Observe and Learn to 1. The characteristics and expressive features of art and design are used in unique ways to respond to two- and VA09-GR.6-S.1-GLE.1 Comprehend three-dimensional art 2. Art created across time and cultures can exhibit stylistic differences and commonalities VA09-GR.6-S.1-GLE.2 3. Specific art vocabulary is used to describe, analyze, and interpret works of art VA09-GR.6-S.1-GLE.3 2. Envision and Critique to 1. Visual symbols and metaphors can be used to create visual expression VA09-GR.6-S.2-GLE.1 Reflect 2. Key concepts, issues, and themes connect the visual arts to other disciplines such as the humanities, sciences, VA09-GR.6-S.2-GLE.1 mathematics, social studies, and technology 3.
    [Show full text]
  • And the 126Th Annual Meeting
    CHICAGO and the 126th Annual Meeting Supplement to the 2012 Annual Meeting Program January 5–8, 2012 he American Historical Association thanks the History Channel for its sponsorship of the Presidential Reception which will take place on Friday, January 6, 2012, in the Sheraton Chicago Hotel & Towers, Chicago Ballroom X. The reception will commence immediately following Anthony Grafton's presidential address—“The Republic of Letters in the American Colonies: Francis Daniel Pastorius Makes a Notebook in the Wilderness”—at the General Meeting, which starts at 8:30 P.M. All annual meeting attendees are cordially invited to both the address and the reception afterward. Chicago and the 126th Annual Meeting Chicago v January 5–8, 2012 Published by the American Historical Association 400 A Street SE, Washington, DC 20003 | www.historians.org The photo on the cover of the Chicago River and skyline is courtesy the Chicago Convention Table of Contents & Tourism Bureau. 4 The 126th Annual Meeting 46 Restaurants in Chicago By Raymond Clemens and Patrice Olsen 4 Important Details about the 126th Annual Meeting 48 Visiting Chicago with Children By Sharon K. Tune By Daniel Greene and Lisa Meyerowitz 5 Corrections to the 50 Cultural Attractions and Events during 2012 Annual Meeting Program the Annual Meeting Compiled by Sharon K. Tune By Allison Bertke Downey 8 The 126th General Meeting 52 Forever Marilyn By Sharon K. Tune By Elizabeth Fraterrigo 10 The Future is Here: Digital Sessions at the 126th Annual Meetingl 54 The Job Center 12 At–a–Glance: Sessions of the AHA and Exhibit Hall Program Committee and AHA Affi liated Societies 54 Top Ten Job Center Tips for Candidates and Search Committees 22 Floorplans of the Sheraton Chicago, By Liz Townsend Chicago Marriott Downtown, and Westin Chicago River North 55 AHA Guidelines for the Hiring Process By the AHA Professional Division 56 Exhibitors’ Index 31 Chicago and Historians 58 Map of the Exhibit Hall 31 Slavic Chicago By Dominic A.
    [Show full text]
  • News from Hope College, Volume 27.6: June, 1996 Hope College
    Hope College Hope College Digital Commons News from Hope College Hope College Publications 1996 News from Hope College, Volume 27.6: June, 1996 Hope College Follow this and additional works at: https://digitalcommons.hope.edu/news_from_hope_college Part of the Archival Science Commons Recommended Citation Hope College, "News from Hope College, Volume 27.6: June, 1996" (1996). News from Hope College. 127. https://digitalcommons.hope.edu/news_from_hope_college/127 This Book is brought to you for free and open access by the Hope College Publications at Hope College Digital Commons. It has been accepted for inclusion in News from Hope College by an authorized administrator of Hope College Digital Commons. For more information, please contact [email protected]. Standout spring Inside This Issue sports season. H.O.P.E. winner announced ......... 2 Chimes ring again .......................... 5 Student excellence ........................ 6 HSRT’s silver season .............. 12-13 Please see page 24. PUBLISHED BY HOPE COLLEGE, HOLLAND, MICHIGAN 49423 Memory Festival The band struck up a tune during Hope's Alumni Festival and gave Betty Dowd '52 Smouse and Ken Smouse '51 a chance to do something that wasn't allowed during their student days: dance. Although campus regulations have changed in 40 years — and much of the campus too, for that matter — Hope is still Hope, as more than 900 alumni discovered during Alumni Weekend. For three days, they had a chance to celebrate where they'd come from with others who understood what that meant because they'd been there, too. And were again. More coverage of the weekend is on pages 9-11 and 14-15.
    [Show full text]
  • Form Vision Hans Theys
    Form Vision Hans Theys Form Vision Artists on Art Tornado Editions 2019 To Tamara Van San In 1983, a fellow student handed me this Banda copy, suggesting it might be interesting for me – as an aficionado of art and literature – to study the writings of Kafka without interpreting them. The origin of the book you are holding now lies within this generous gesture. Thirty years later, when I accidently rediscovered it, I realised that the text quotes a book by Susan Sontag, translated and typewritten by an unknown hand. Everyone has a sort of individual form vision. In all the greatest artists the seeds of this form vision has been present even in their early work, and to some extent their work has been a gradual unfolding of this rhythm throughout. (…) It’s something the artist can’t control – it’s his make up. (…) The less conscious you are of your own individual form rhythm, the more likely it is, I think, to get richer and fuller and develop. Henry Moore, 1941 What is important now is to recover our senses. We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. (…) The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.
    [Show full text]