Tate Papers Issue 12 2009: Hans Haccke
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Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
N. 17 Dicembre 2017/Marzo 2018 a Painting by Hans Haacke
n. 17 dicembre 2017/marzo 2018 A Painting by Hans Haacke : Dematerializing Labor di Andreas Petrossiants Artistic activity is a mode – a singular form – of labor power . Antonio Negri, 2008 1 To center an essay concerning the more - than - expansive discursive field denoted by «painting», on just one work by Hans Haacke, might at first glance seem misplaced. However, while Haacke’s work was surely instrumental for the shifts in Western artistic pra ctice comprising the «conceptual turn» of the 1960s and the parallel «dematerialization» of the art object, his painting Taking Stock (unfinished) (1983 - 1984 ) not only brings such broad period generalizations into question, but also examines the labor invo lved in producing (the value of) a painting [fig. 1]. Taking Stock (unfinished) , first exhibited at the Tate Gallery in 1984, depicts Margaret Thatcher in the style of Victorian portraiture, encoded with information concerning the careers and art collectio ns of Charles and Doris Saatchi, as well as their ties to Thatcher and her reactionary government. Referring specifically to the medium and style of the work, Haacke remarks that it was produced to cite and critique how Thatcher «expressly promotes Victori an values, nineteenth century conservative policies at the end of the twentieth century». He continues: « Thatcher would like to rule an imperial Britain. The Falklands War was typical of this mentality». 2 This essay proposes to displace and problematize the traditional discourses applied to historicizing conceptual art, and to describe how Haacke employs both physical «painterly» and immaterial conceptual labor to produce a material object. He fosters a str ategy mirroring the changes in the structure and critical position of the (art) worker 1 during the late 1960s. -
EXPEDITION GRIMM As the Climax to Year of the Grimms 2013, the Federal State of Hessen Will Present the Exhibition EXPEDITION GRIMM, in the Documenta Hall in Kassel
PRESS RELEASE EXPEDITION GRIMM As the climax to Year of the Grimms 2013, the Federal State of Hessen will present the exhibition EXPEDITION GRIMM, in the documenta Hall in Kassel. This extensive show will examine the exciting life and diverse work of the two brothers Jacob and Wilhelm Grimm. Jacob and Wilhelm Grimm are famous around the world, especially for their Children's and Household Tales, which have been translated into roughly 160 languages and which, alongside Luther’s Bible, are among the most commonly translated of German books. But the Brothers Grimm were more than just collectors of fairy tales. They have left behind many traces as philologists, legal historians and politicians; with their German Grammar and German Dictionary they laid the foundations for German philology. To celebrate the Grimm brothers’ huge significance for German cultural history, the Federal State of Hessen has launched this exhibition, EXPEDITION GRIMM. Hessen’s Minister of Science and Art, Eva Kühne-Hörmann, explains the purpose of the show, which she herself proposed: “There are many fascinating connections between the life and works of the Brothers Grimm, and their home country of Hessen. We want to use our exhibition to demonstrate that fact and, above all, to make it clear there’s so much more to the Grimms than just fairy tales.” In three showcases in the documenta Hall in Kassel, EXPEDITION GRIMM displays valuable manuscripts and personal memorabilia of the brothers, and places them in the context of the volatile political circumstances of the time. Works by their artist brother, Ludwig Emil, also show how the Grimm family used to live. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
Press Release Zurich, 3 February 2017 Hans Haacke Receives The
Press release Zurich, 3 February 2017 Hans Haacke receives the Roswitha Haftmann Prize Hans Haacke (b. 1936) receives Europe’s best endowed art award, worth CHF 150,000, from the Roswitha Haftmann Foundation. The Board of the Roswitha Haftmann Foundation has decided to award the Roswitha Haftmann Prize to Hans Haacke in recognition of his life’s work. The jury praised his courageous and unflinching commitment over many decades and his ability to foster debate on social issues through provocative art, but also his intellectual brilliance and the formal quality of his works. Hans Haacke was born in Cologne in 1936 and has lived in New York since 1965. He has aroused particular controversy for the political aspects of his work. CONCEPTUAL ART AND LAND ART Haacke studied at the Staatliche Werkakademie, Kassel, from 1956 to 1960. His early works already revolved around systems and processes and analysed their workings – and failures. The young artist presented interactions between physical and biological systems, animals, plants and states of water and wind; he also made forays into land art. From 1970 onwards, he increasingly turned his attention to political developments and the mechanisms of manipula- tion – of opinions, sensibilities and historical facts. MARKET, POLITICS, MORALITY The abrupt cancellation of his exhibition at New York’s Guggenheim Museum in 1971, which was to include his ‘Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971’, on property ownership and speculation, led to a heated debate on the politics of conceptual art. In Cologne in 1974 he put forward a provocative project on the provenance of a still life by Edouard Manet purchased for the Wallraf Richartz Museum on the initiative of the then chairman of its patron association Hermann Josef Abs, and turned the spotlight on his role in the Third Reich. -
Hans Haacke Biography
P A U L A C O O P E R G A L L E R Y Hans Haacke Biography 1936 Born Cologne, Germany 1956-60 Staatliche Werkakademie (State Art Academy), Kassel, Staatsexamen (equivalent of M.F.A.) 1960-61 Stanley William Hayter's Atelier 17, Paris 1961 Tyler School of Fine Arts, Temple University, Philadelphia 1962 Moves to New York 1963-65 Return to Cologne. Teaches at Pädagogische Hochschule, Kettwig, and other institutions 1966-67 Teaches at University of Washington, Seattle; Douglas College, Rutgers University, New Jersey; Philadelphia College of Art 1967 - 2002 Teaches at Cooper Union, New York (Professor of Art Emeritus) 1973 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1979 Guest Professorship, Gesamthochschule, Essen 1994 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1997 Regents Lecturer, University of California, Berkeley Lives in New York (since 1965) Awards 1960 Deutscher Akademischer Austauschdienst (DAAD) 1961 Fulbright Fellowship 1973 John Simon Guggenheim Foundation Fellowship 1978 National Endowment for the Arts 1991 College Art Association Distinguished Artist Award for Lifetime Achievement Deutscher Kritikerpreis for 1990 Honorary Doctorate in Fine Arts, Oberlin College 1993 Golden Lion (shared with Nam June Paik), Venice Biennale 1997 Kurt-Eisner-Foundation, Munich Honorary Doctorate Bauhaus-Universität Weimar 2001 Prize of Helmut-Kraft-Stiftung, Stuttgart 2002 College Art Association Distinguished Teaching of Art Award 2004 Peter-Weiss-Preis, Bochum 2008 Honorary Doctorate, San Francisco Art Institute -
Inhuman Julieta Aranda Dora Budor Andrea Crespo Nicolas Deshayes Aleksandra Domanović David Douard Jana Euler Cécile B
Inhuman Julieta Aranda Dora Budor Andrea Crespo Nicolas Deshayes Aleksandra Domanović David Douard Jana Euler Cécile B. Evans Melanie Gilligan Oliver Laric Johannes Paul Raether Pamela Rosenkranz Stewart Uoo Lu Yang Anicka Yi Curated by Susanne Pfeffer “From the perspective of the present, the future of humanity might be monstrous… but this is not necessarily a bad thing.” —Julieta Aranda The image of the human being has changed significantly in recent decades. Techno- logical innovations, socioeconomic trans- formations, and new insights gained in neurology compel us to rethink the con- structs that define what is human and enable us to conceive them anew in the form of the inhuman. The artists participating in the exhibition “Inhuman” offer visions of the human being as a socially trained yet resistant body, transcending biologically or socially determined gender classifications, as a digitally immortal entity, or as a constantly evolving self. They visualize the constructs that define what is human and shift existing perspectives on human subjectivity and the body, thereby questioning the primacy of the human being at a fundamental level. Ground Floor Room 2 Room 1 14 15 18 Jana Euler Aleksandra Lu Yang Domanović 16 7 13 19 12 10 17 11 6 4 9 8 5 3 2 Stewart Uoo 1 23 22 Room A 20 Cécile B. Evans Foyer 21 Stewart Uoo 5 1 Security Window Grill I, 2014, Steel, enamel, rust, silicone, acrylic varnish, human hair, 203 × 93 × 16 cm 2 Security Window Grill III, 2014, Steel, enamel, rust, silicone, acrylic varnish, human hair, 53 × 192 × 103 -
Hans Haacke, Or the Museum As Degenerate Utopia, Kritikos V.4, Marc
Hans Haacke, or the Museum as Degenerate Utopia, Kritikos V.4, Marc... http://intertheory.org/english.htm an international and interdisciplinary journal of postmodern cultural sound, text and image Volume 4, March 2007, ISSN 1552-5112 Hans Haacke, or the Museum as Degenerate Utopia Travis English To control a museum means precisely to control the representations of a community and its highest values and truths. Carol Duncan, “The Art Museum as Ritual” [1] Since the early 1970s, much of Hans Haacke’s work has focused on demystifying the relationship between museums and corporations. Museums present themselves to the public as the autonomous realm of the aesthetic, as the purveyors and protectors of cultural artifacts, while corporations present themselves as enlightened benefactors—patrons--truly interested in the cultural well-being of the community-at-large. In this sense, these two realms—cultural and corporate—do not hide their relations. In fact, most museums display the names of their corporate sponsors proudly on bronze plaques that imply the permanence of a grave marker, as if a symbiotic relationship has always existed between the Metropolitan Museum of Art and Bank of America, along with a host of other global corporations. Haacke’s work relies upon the strategies through which museums and corporations naturalize their interdependent relationships with each other. For Haacke, this relationship between museums and their corporate sponsors is one of exchange and not simply one of patronage. He writes, “…it is important to distinguish between the traditional notion of patronage and the public 1 von 20 11.06.2012 12:15 Hans Haacke, or the Museum as Degenerate Utopia, Kritikos V.4, Marc.. -
F Literaturverzeichnis
F Literaturverzeichnis 1 Quellen Staatsachiv Marburg HStAM Bestand 4 a Nr. 79/20: Landgraf Wilhelm VIII. Briefwechsel mit dem Obristen Baron Riedesel betreffend den Aufträgen an Simon Louis Du Ry in Rom wegen Mosaikarbeiten HStAM Bestand 4 a Nr. 80/15: Nachlassinventar Landgraf Wilhelm VIII. HStAM Bestand 4 a Nr. 90/20: Landgraf Friedrich II. Seine Rezeption zum Mit glied der arkadischen Gesellschaft in Rom, des Instituts in Bologna, der AntiquarierGesellschaft in London (1778/1779) HStAM Bestand 4 a Nr. 91/44: Voltariana, Korrespondenz Landgraf Friedrich II. mit Voltaire HStAM Bestand 4 a Nr. 91/45: Korrespondenz Landgraf Friedrich II. mit Madame Galatin in Genf HStAM Bestand 4 f Staaten F Nr. Frankreich 1703: Berichte des hessischen Gesandten v. Boden aus Paris, 1775–1782 (Provenienz Kasseler Kabinett, Paket 81) HStAM Bestand 5 Nr. 9550: Ernennung des Baumeisters Du Ry zum Professor der Architektur am Collegium Carolinum zu Kassel HStAM Bestand 5 Nr. 9640: Entwurf zu einem Reglement für das Museum Fridericianum – fol. 38: Beschreibung der Bibliothèque du Roi – fol. 1115: Projet de Réglement pour le Museum Fridericianum HStAM Bestand 5 Nr. 11384: Ernennung des königl. französischen Architekten Le Doux zum GeneralKontrolleur des Bauwesens, 1775 HStAM Bestand 5 Nr. 11385: Korrespondenz mit Le Doux, Generalkontrolleur des Bauwesens 1775–1776 HStAM Bestand 5 Nr. 11387: Personalakte Simon Louis du Ry HStAM Bestand 53 f Nr. 12: Bau des Bibliotheksgebäudes Museum Fridericia num in Kassel, 17691798 HStAM Bestand 53 f Nr. 558: Oberbaudirektion zu Kassel 1764–1802; 1814–1816 MF 353 F Literaturverzeichnis 1 Quellen HStAM Bestand 7 b 1 Nr. -
Regulations for the Use of the Document Archiv Document Und Museum Fridericianum Ggmbh
documenta Untere Karlsstraße 4 [email protected] archiv D-34117 Kassel www.documenta-archiv.de T. +49 561 70727-3100 F. +49 561 70727-39 Section II Regulations for the use of Use the documenta archiv documenta und Museum § 2 Beneficiaries Fridericianum gGmbH The archival, library, and collection material is available for use by authorities, courts, and other public bodies as well as natural and legal Section I persons in accordance with the Hessian General information Archive Act and these regulations for use. § 1 Scope of application § 3 Purpose of use (1) These regulations for use apply to the The archival, library, and collection material documenta archiv and all its departments can be viewed and evaluated as long as a maintained by documenta und Museum legitimate interest in its use is demonstrated. A Fridericianum gGmbH (hereinafter referred legitimate interest is given in particular if the to as “documenta archiv”) and tothearchival, use is for personal, official, scientific, library, and collection material stored there. educational, journalistic, or commercial purposes. (2) The provisions made for the use of archival, library, and collection materials shall apply accordingly to the use of finding aids, § 4 Request for use databases, other aids, and reproductions. Reproduktionen. (1) A written application for use must be (3) In the use of archival, library, and collection submitted to the documenta archiv. materials which have been handed over to the archive by third parties (estates, photographic (2) The application for use shall state the last collections, etc.), agreements with the owners name, first name, and address of the user, if or the persons handing over the materials and applicable the name and address of the specifications made by them take precedence contracting entity/entities, as well as the over the provisions of these regulations for exact intended use, the predominant purpose use. -
EVA HESSE Born in Hamburg/D, on January 11, 1936 Studied At
EVA HESSE Born in Hamburg/D, on January 11, 1936 Studied at Cooper Union, New York, 1954-57 Received a Yale-Norfolk Fellowship, 1957 Studied at Yale University, New Haven CT, 1959 Died in New York, on May 29, 1970 Solo Exhibitions 2006 Walker Art Center, 'Eva Hesse Drawing', Minneapolis MN MOCA Museum of Contemporary Art, 'Eva Hesse Drawing', Los Angeles CA Menil Collection, 'Eva Hesse Drawing', Houston TX, cur. By Catherine de Zegher, Elisabeth Sussmann [travels to: The Drawing Center, New York; Los Angeles Museum of Contemporary Art, Los Angeles CA] The Jewish Museum, 'Eva Hesse: Sculpture', New York NY 2004 Kukje Gallery, 'Eva Hesse Transformations – The Sojourn in Germany 1964/65', Seoul/KR Hauser & Wirth, 'Eva Hesse Transformationen – Die Zeit in Deutschland 1964/65/ Transformations – The Sojourn in Germany 1964/65', Zurich/CH Kunsthalle Wien, 'Eva Hesse Transformationen – Die Zeit in Deutschland 1964/65/ Transformations – The Sojourn in Germany 1964/65', Vienna/AT 2003 Gallery Paule Anglim, San Francisco CA 2002 San Francisco Museum of Modern Art, 'Eva Hesse Retrospective', San Francisco CA Museum Wiesbaden, 'Eva Hesse Retrospective', Wiesbaden/DE Tate Modern, 'Eva Hesse Retrospective', London/GB 1998 Robert Miller Gallery, 'Black and white Paintings on paper from the Estate of Eva Hesse', New York NY 1996 Robert Miller Gallery, 'Eva Hesse: Dream Portraits, Paintings from 1960-61', New York NY Wexner Center for the Arts, Ohio State University,'Eva Hesse: Area', Columbus OH Robert Miller Gallery, 'Eva Hesse: Gouaches', New York NY -
After Hans Haacke Luke Skrebowski
This article was downloaded by: [Luke Skrebowski] On: 23 January 2013, At: 04:54 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Third Text Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ctte20 After Hans Haacke Luke Skrebowski To cite this article: Luke Skrebowski (2013): After Hans Haacke, Third Text, 27:1, 115-130 To link to this article: http://dx.doi.org/10.1080/09528822.2013.753195 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Third Text, January, 2013 Vol. 27, Issue 1, 115–130, http://dx.doi.org/10.1080/09528822.2013.753195 After Hans Haacke Tue Greenfort and Eco-Institutional Critique Luke Skrebowski A sealed transparent cube sits in the gallery space.