Complete Dissertation
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This Part That Seemingly Needs to Get out Through
This Part That Seemingly Needs to Get Out This multiplicity of positions reinforces yet through a Place in My Body again the complex dimension of this topic and the difficulty of setting it within a rigid This exhibition is a proposal that tests its framework. But however complicated such own approach and methodology and an initiative might prove to be, it is to be accepts its own inevitably fragmentary hoped that it will draw attention to a vast nature, induced by instances of institutional social and cultural phenomenon—emigration conditioning, as well as by the intrinsic and exile during the Cold War—that is volatility of the subject. It is a reflection on a essential to an understanding of the way in phenomenon examined all too little in the which the artistic field was configured in context of Romanian contemporary art: the Romania, with an undeniable impact on how migration of Romanian artists to the West it looks today. In times of global migration, during the communist period, and focuses when mobility and human interactions unfold more closely on the late 1960s and the according to completely different 1970s. Restricting the scope of the coordinates, it is important that we examination even further, it is important to remember a period when the chance to point out that the exhibition highlights the travel abroad could completely and careers of artists active in Bucharest before irrevocably change the course of a person’s emigrating to the West at various times. life. Reactivating the memory of those Some among them are figures well known decades today becomes all the more internationally, albeit not yet fully assimilated necessary since a fast approaching into the canons of world art history. -
Museums of Contemporary Art in Preexisting Buildings: Constraints and Architecture the Case Study of Punta Della Dogana and Fondazione Prada
MUSEUMS OF CONTEMPORARY ART IN PREEXISTING BUILDINGS: CONSTRAINTS AND ARCHITECTURE THE CASE STUDY OF PUNTA DELLA DOGANA AND FONDAZIONE PRADA Thesis Supervisors: Professor Bárbara Coutinho Professor Fulvio Lenzo Author: Beatriz Loreto Crespo de Jesus Agostinho Extended Abstract The present article regards the process of converting preexisting buildings into museums of contemporary art using two study cases: Punta della Dogana, in Venice, and Fondazione Prada, in Milan. Additionally, this investigation aims to identify the factors and the limitations that affect the development of the adjacent architectural project and to understand the architectural solutions created in each case. With these goals in mind it was necessary to contextualise, historically, the museological institution as well as the evolution of its morphology. At the same time, a detailed analysis of the two case studies took place starting by the systematisation of technical drawings, bibliographic research and numerous visits to the respective locations. The dissertation document is made up by five chapters from which the first consists of the introductory guide lines for the investigation and the last two being the reached conclusions followed by the used bibliography. On the second chapter, a brief study regarding the History and the Architecture of museums of art takes place, focusing on the period inbetween the 18th century and the 20th century. The museum, being an entity with multiple dimensions - mission, programmes, morphology, among others – needs to adapt to its surrounding circumstances in order to survive (Schubert, 2009: 11). Since the 18th century this institution has changed accordingly to the social shifts affecting society, therefore, influencing all of its dimensions and its relation with the public. -
Hanne Darboven Abstract Correspondence
1 Hanne Darboven Abstract Correspondence Hanne Darboven Abstract Correspondence Published on the occasion of the exhibition Hanne Darboven, A Survey April 11 - May 24, 2013 Castelli “i can’t describe so i will write”: Hanne Darboven’s Abstract Correspondence Cathleen Chaffee “The simplest thing we could say would be that art—all art, abstract or not— reveals what the subject makes of its condition—the condition of language. It shows what the subject … invents to face the paradox of a condition on which we are dependent but which to a large, definitive extent we cannot control.”1 – Birgit Pelzer For many years, I have had a maxim on composition by Hanne Darboven pinned above my writing desk, a statement she repeated so often it became a kind of manifesto: “I do like to write and I don’t like to read / one plus one is one two.”2 When Darboven was alive, I repeated the adage because it was affirming and even encouraging to know that she was probably sitting at a desk in Harburg, near Hamburg laying words, numbers, and symbols down on the page, diligently completing sheaves of work. The idea that made her pick up a pen each day may opposite page have required research and been difficult to conceptualize, but writing it out, 15/2/74 - 4/3/74. NYC “TODAY”, 1974 giving it symbolic form, was just a matter of time. However, it was not just the Pen and marker on amount of writing Darboven seemed to so fluidly produce that made her inspi- a 32-page notebook 1 3 8 /4 x 5 /4 inches rational as a writer; it was her approach to the reader. -
Piero Manzoni ‘Materials of His Time’ and ‘Lines’
Press Release Piero Manzoni ‘Materials of His Time’ and ‘Lines’ Hauser & Wirth New York, 22nd Street 25 April – 26 July 2019 Opening reception: Thursday 25 April, 6 – 8 pm New York... Hauser & Wirth is pleased to present two concurrent exhibitions devoted to Piero Manzoni, a seminal figure of postwar Italian Art and progenitor of Conceptualism. During a brief but influential career that ended upon his untimely death in 1963, Manzoni evolved from a self-taught abstract painter into an artistic disruptor. Curated by Rosalia Pasqualino di Marineo, director of the Piero Manzoni Foundation in Milan, the exhibitions ‘Piero Manzoni. Materials of His Time’ and ‘Piero Manzoni. Lines’ unfold over two floors and focus on Manzoni’s most significant bodies of work: his Achromes (paintings without color) and Linee (Lines) series. On view in the second floor gallery, ‘Materials of His Time’ features more than 70 of Manzoni’s radical Achromes and surveys the artist’s revolutionary approach to unconventional materials, such as sewn cloth, cotton balls, fiberglass, bread rolls, synthetic and natural fur, straw, cobalt chloride, polystyrene, stones, and more. Travelling from Hauser & Wirth Los Angeles, the exhibition situates Manzoni as a peer of such artists as Lucio Fontana and Yves Klein, whose experiments continue to influence contemporary art-making today. ‘Materials of His Time’ also presents, for the first time in New York, the items on a wish list Manzoni outlined in a 1961 letter to his friend Henk Peeters: a room all in white fur, and another coated in fluorescent paint, totally immersing the visitor in white light. -
Company Profile
COMPANY PROFILE JUNE 2015 INFO FILES • The Prada Group • Creativity and manufacturing • Raw materials • Logistics • Distribution • Licences and Joint Ventures • Prada Group figures June 2015 www.pradagroup.com 1 “Careful observation of and curiosity about the world, society, and culture are at the core of Prada’s creativity and modernity. This pursuit has pushed Prada beyond the physical limitations of boutiques and showrooms, provoked an interaction with different and seemingly distant worlds, and introduced a new way to create a natural, almost fashionless fashion.” Miuccia Prada and Patrizio Bertelli June 2015 www.pradagroup.com 2 THE PRADA GROUP Prada was founded in 1913 by Mario Prada, Miuccia Prada’s grandfather, in Milan. Located in the prestigious Galleria Vittorio Emanuele II, Prada was an exclusive, stylish store selling luggage, accessories and luxury goods, in fine materials and of sophisticated workmanship. The Milan store quickly became a firm favourite with the aristocracy and the most sophisticated members of the European elite. In 1919 Prada received the warrant of “Official Supplier of the Italian Royal Household”, and since then has been entitled to display the royal Savoy coat of arms and figure-of-eight knots alongside the company logo. Miuccia Prada and Patrizio Bertelli started working together in the late 70’s, laying the foundations of the international expansion that was to come. Patrizio Bertelli broke new ground in the luxury goods sector, introducing a new business model in which he kept direct, internal control over all processes, applying uncompromised quality criteria across the entire production cycle. Miuccia Prada’s creative talent and avant-garde approach attracted the attention of the global fashion industry, while her ability to look at the world from an unconventional vantage point allowed her not only to anticipate, but quite often, to set new trends. -
Futuristic Aerie with a Park View
C M Y K Nxxx,2012-05-11,C,023,Bs-4C,E1 N C23 FRIDAY, MAY 11, 2012 Futuristic Aerie With a Park View RICHARD PERRY/THE NEW YORK TIMES By CAROL VOGEL For the past 15 summers the Met’s “Tomás Saraceno on the Roof: about a dozen installers assembling his most spinning around from the perspec- roof garden has been the setting for tra- creation, which he described as “an in- N Tomás Saraceno’s imagination his Cloud City” opens Tuesday at the tive inside this giant futuristic construc- ditional sculptures by artists like Ells- ternational space station.” As pieces be- constellation of 16 joined modules Metropolitan Museum of Art. tion. worth Kelly, Jeff Koons and, last year, gan to be set in place, Mr. Saraceno under construction on the roof of Like many of Mr. Saraceno’s installa- Anthony Caro. It has also been a place sneaked a visitor inside and up a twisty tions “Cloud City” is his vision of float- I the Metropolitan Museum of Art to walk up a winding bamboo pathway gonal habitat of reflective stainless steel staircase about 20 feet above the roof ing or flying cities — places that defy will take off in a heavy puff of wind and that soared some 50 feet in an untradi- and acrylic. garden. Some of the floors were trans- float over Central Park. “The whole conventional notions of space, time and tional installation that invited visitor Called “Cloud City,” it is the largest of parent, and the walls were mirrored gravity. “You can have a feeling of thing will go into orbit,” Mr. -
Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018
works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018 Colour in Contextual Play An Installation by Joseph Kosuth Works by Enrico Castellani, Lucio Fontana, Yves Klein, Joseph Kosuth, Piero Manzoni Curated by Cornelia Lauf Neon in Contextual Play Joseph Kosuth and Arte Povera Works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf 31 October 2017 – 20 January 2018 Private View: 30 October 2017, 6 – 8 pm MAZZOLENI TURIN is proud to present a double project with American conceptual artist Joseph Kosuth (b. 1945), opening in October at its exhibition space in Piazza Solferino. Colour in Contextual Play. An Installation by Joseph Kosuth, curated by Cornelia Lauf, exhibited last Spring in the London premises of the gallery to international acclaim, includes works by Enrico Castellani (b. 1930), Lucio Fontana (1899–1968), Yves Klein (1928–1963), Piero Manzoni (1933– 1963), and Kosuth himself. This project, installed in the historic piano nobile rooms of Mazzoleni Turin, runs concurrently with a new exhibition, Neon in Contextual Play: Joseph Kosuth and Arte Povera devised especially for Mazzoleni Turin and installed in the groundfloor space, is focused on the use of Neon in the work of Joseph Kosuth and selected Arte Povera artists Mario Merz (1925-2003), Pier Paolo Calzolari (b. 1943) and Emilio Prini (1943-2016). Colour in Contextual Play juxtaposes monochrome works by Castellani, Fontana, Klein and Manzoni with works from Kosuth’s 1968 series ‘Art as Idea as Idea’. -
Download Press Release
THE MAYOR GALLERY 21 Cork Street, First Floor, London W1S 3LZ T +44 (0) 20 7734 3558 www.mayorgallery.com JOSIP VANIŠTA (1924 – 2018 Croatia) The Horizontal Line 30 October – 29 November 2019 White Line on a Black Surface 1968, oil and acrylic on canvas, 100 x 130 cm At the beginning of the 1960s, a group of renowned artists was formed in Zagreb under the name Gorgona and its manifesto was published in 1961. Active from 1959 to 1966 Gorgona’s members were the painters Josip Vaništa, Julije Knifer, Marijan Jevšovar and Duro Seder, the sculptor Ivan Kožarić and the architect Miljenko Horvat, as well as the art historians and critics Radoslav Putar, Matko Meštrović and Dimitrije Bašičević. Gorgona strived towards further subversive action on all artistic fronts. Throughout the group’s work, which was not primarily focused on painting, but on ‘art as a sum of possible interpretations’, there is an evident Dadaist genesis of ideas and theoretical principles, with the aim of infiltrating art into all aspects of the socialist society of the period in the manner of Fluxus. They continuously worked towards achieving ‘a space of exercised freedom’ (Mira Gattin) by using humour, the grotesque, irony, wit and paradox, as well as by embracing the philosophy of absurdism. Of all the painting innovations introduced by the group members in the 1960s, Josip Vaništa’s concept of a single horizontal line flowing through the middle of a monochrome canvas represents the most radical summation of Gorgona’s activities and aims. According to the theorist Mira Gattin, whose work focused on the group, the concept struggles ‘with the fact that the art has been brought to the edge of existence and silence, but still contains a trace of romanticist nostalgia that brings it back from nothingness, in the context of anticipatory aesthetic categories.’ Between 1963 and 1965, Vaništa created a series of paintings consisting of a straight line crossing a monochrome surface. -
Introduction*
Introduction* CLAIRE GILMAN If Francesco Vezzoli’s recent star-studded Pirandello extravaganza at the Solomon R. Guggenheim Museum and the Senso Unico exhibition that ran con- currently at P.S.1 Contemporary Art Center are any indication, contemporary Italian art has finally arrived.1 It is ironic if not entirely surprising, however, that this moment occurs at a time when the most prominent trend in Italian art reflects no discernible concern for things Italian. Rather, the media-obsessed antics of Vezzoli or Vanessa Beecroft (featured alongside Vezzoli in Senso Unico) are better understood as exemplifying the precise eradication of national and cultural boundaries that is characteristic of today’s global media culture. Perhaps it is all the more fitting, then, that this issue of October returns to a rather different moment in Italian art history, one in which the key practition- ers acknowledged the invasion of consumer society while nonetheless striving to keep their distance; and in which artists responded to specific national condi- tions rooted in real historical imperatives. The purpose of this issue is twofold: first, to give focused scholarly attention to an area of post–World War II art history that has gained increasing curatorial exposure but still receives inadequate academic consideration. Second, in doing so, it aims to dismantle some of the misconceptions about the period, which is tra- ditionally divided into two distinct moments: the assault on painting of the 1950s and early ’60s by the triumverate Alberto Burri, Lucio Fontana, and Piero Manzoni, followed by Arte Povera’s retreat into natural materials and processes. -
Joel Shapiro 2015 Bibliography Goldberg, Edwin C., Janet Ross Marder, Sheldon Joseph Marder, and Joel Shapiro
Joel Shapiro 2015 Bibliography Goldberg, Edwin C., Janet Ross Marder, Sheldon Joseph Marder, and Joel Shapiro. Mishkan HaNefesh: Machzor for the Days of Awe. New York: CCAR Press, 2015: illustrated. International Sculpture Center Lifetime Achievement Award Gala Honoring Joel Shapiro. New York: International Sculpture Center; Sculpture Magazine, 2014. Miller, Dana, ed. Whitney Museum of American Art: Handbook of the Collection. Text by Adam D. Weinberg. New York: Whitney Museum of American Art, 2015: 344, illustrated. 2014 Joel Shapiro (exhibition catalogue). Texts by Lorand Hegyi and Richard Shiff. Saint-Étienne, France: Musée de l'Art Moderne Saint-Etienne Métropole, 2014. Joel Shapiro: Works on Paper 2011–2013 (exhibition catalogue). Text by Peter Cole. New York: Pace Gallery, 2014. 2013 Delong, Lea Rosson, ed. Des Moines Art Center Collects. Des Moines, Iowa: Des Moines Art Center, 2013: 84, 85, illustrated. Drawing Line into Form: Works on Paper by Sculptors from the Collection of BNY Mellon (exhibition catalogue). Text by Rock Hushka. Tacoma, Washington: Tacoma Art Museum, 2013: 9, illustrated. From Picasso to Jasper Johns. Aldo Crommelynck’s Workshop (exhibition catalogue). Paris: Bibliothèque nationale de France, 2014: 91, illustrated. Joel Shapiro: Sculpture and Drawings 1969–1972 (exhibition catalogue). New York: Craig F. Starr Gallery, New York, 2013. Kiasma Hits: Kiasma Collections (exhibition catalogue).Helsinki: Kiasma Museum of Contemporary Art, 2013: 118, illustrated. Pierrette Bloch. Zurich: JPR Ringier, 2013: 54, illustrated. 2012 Davidson Collects: 100 Writers Respond to Art. Texts by Brad Thomas, Jessica A. Cooley et al. Davidson, North Carolina: Davidson College, 2012: 230–231, illustrated. Joel Shapiro: Untitled (exhibition catalogue). Texts by Kimberly Davenport and Richard Shiff. -
Untitled (Forever), 2017
PUBLISHERS DISTRIBUTED BY D.A.P. SP21 CATALOG CAPTIONS PAGE 6: Georgia O’Keeffe, Series I—No. 3, 1918. Oil on Actes Sud | Archive of Modern Conflict | Arquine | Art / Books | Art Gallery of York board, 20 × 16”. Milwaukee Art Museum. Gift of Jane University | Art Insights | Art Issues Press | Artspace Books | Aspen Art Museum | Atelier Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. PAGE 7: Georgia O’Keeffe, Black Mesa Éditions | Atlas Press | August Editions | Badlands Unlimited | Berkeley Art Museum | Landscape, New Mexico / Out Back of Marie’s II, 1930. Oil on canvas. 24.5 x 36”. Georgia O’Keeffe Museum, Gift Blank Forms | Bokförlaget Stolpe | Bywater Bros. Editions | Cabinet | Cahiers d’Art of the Burnett Foundation. PAGE 8: (Upper) Emil Bisttram, | Canada | Candela Books | Carnegie Museum Of Art | Carpenter Center | Center For Creative Forces, 1936. Oil on canvas, 36 x 27”. Private collection, Courtesy Aaron Payne Fine Art, Santa Fe. Art, Design and Visual Culture, UMBC | Chris Boot | Circle Books | Contemporary Art (Lower) Raymond Jonson, Casein Tempera No. 1, 1939. Casein on canvas, 22 x 35”. Albuquerque Museum, gift Museum, Houston | Contemporary Art Museum, St Louis | Cooper-Hewitt | Corraini of Rose Silva and Evelyn Gutierrez. PAGE 9: (Upper) The Editions | DABA Press | Damiani | Dancing Foxes Press | Deitch Projects Archive | Sun, c. 1955. Oil on board, 6.2 × 5.5”. Private collection. © Estate of Leonora Carrington. PAGE 10: (Upper left) DelMonico Books | Design Museum | Deste Foundation for Contemporary Art | Dia Hayao Miyazaki, [Woman] imageboard, Nausicaä of the Valley of the Wind (1984). © Studio Ghibli. (Upper right) Center For The Arts | Dis Voir, Editions | Drawing Center | Dumont | Dung Beetle | Hayao Miyazaki, [Castle in the Sky] imageboard, Castle Dust to Digital | Eakins Press | Ediciones Poligrafa | Edition Patrick Frey | Editions in the Sky (1986). -
Passie of Professie. Galeries En Kunsthandel in Nederland
UvA-DARE (Digital Academic Repository) Passie of professie. Galeries en kunsthandel in Nederland Gubbels, T. Publication date 1999 Link to publication Citation for published version (APA): Gubbels, T. (1999). Passie of professie. Galeries en kunsthandel in Nederland. Uniepers. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 Expansie, differentiatie en distinctie 1985-1995 Gevestigde galeries in soorten en maten De oudere generatie 'Geen enkele galerie in Nederland heeft het zo lang volgehouden als Espace.' aldus H. Koomen-de Langen en J. Torringa in de catalogus die ter gelegenheid van het veertigja rig bestaan van de galerie verscheen.1 Espace vierde in 1997 haar jubileum met een ten toonstelling in het Frans Halsmuseum in Haarlem, de stad waar de galerie de eerste vier jaar van haar bestaan gevestigd was.