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084/13 Raubkunst Und Restitution Der Fall Gurlitt Und Die Aufarbeitung
Wissenschaftliche Dienste Ausarbeitung Raubkunst und Restitution Der Fall Gurlitt und die Aufarbeitung der NS-Kunstpolitik © 2013 Deutscher Bundestag WD 10- 3000 - 084/13 Wissenschaftliche Dienste Ausarbeitung Seite 2 WD 10- 3000 - 084/13 Raubkunst und Restitution Der Fall Gurlitt und die Aufarbeitung der NS-Kunstpolitik Verfasser: Aktenzeichen: WD 10- 3000 - 084/13 Abschluss der Arbeit: 11. Dezember 2013 Fachbereich: WD 10: Kultur, Medien und Sport Telefon: Ausarbeitungen und andere Informationsangebote der Wissenschaftlichen Dienste geben nicht die Auffassung des Deutschen Bundestages, eines seiner Organe oder der Bundestagsverwaltung wieder. Vielmehr liegen sie in der fachlichen Verantwortung der Verfasserinnen und Verfasser sowie der Fachbereichsleitung. Der Deutsche Bundestag behält sich die Rechte der Veröffentlichung und Verbreitung vor. Beides bedarf der Zustimmung der Leitung der Abteilung W, Platz der Republik 1, 11011 Berlin. Wissenschaftliche Dienste Ausarbeitung Seite 3 WD 10- 3000 - 084/13 Inhaltsverzeichnis 1. Einleitung 4 2. NS-verfolgungsbedingt entzogene Kulturgüter („NS- Raubkunst“) 6 3. Die Aktion „Entartete Kunst“ und die nationalsozialistische Kunst- und Kulturpolitik 16 4. Die Rückführung kriegsbedingt verlagerter Kulturgüter 25 5. Der Fall Gurlitt und seine Aufarbeitung 28 5.1. Einrichtung einer Task Force 30 5.2. Schwierige Rechtslage 31 5.3. Unklare Perspektiven 35 6. Literatur 38 7. Anlagen 44 Wissenschaftliche Dienste Ausarbeitung Seite 4 WD 10- 3000 - 084/13 1. Einleitung Am 4. November 2013 enthüllte das Magazin „Focus“, dass bei einer Wohnungsdurchsuchung im Rahmen eines Steuervergehens bei Cornelius Gurlitt etwa 1400 Bilder beschlagnahmt wurden. Es handelt sich hierbei um die sogenannte Sammlung Hildebrand Gurlitt. Hildebrand Gurlitt war einer von vier Kunsthändlern, die während der Zeit des Nationalsozialismus mit der Verwertung beschlagnahmter Kunstwerke beauftragt waren. -
Read a Free Sample
MARCEL BROODTHAERS A RETROSPECTIVE Manuel J. Borja-Villel Christophe Cherix With contributions by Benjamin H. D. Buchloh Cathleen Chaffee Jean-François Chevrier Kim Conaty Thierry de Duve Rafael García Doris Krystof Christian Rattemeyer Sam Sackeroff Teresa Velázquez Francesca Wilmott The Museum of Modern Art, New York Museo Nacional Centro de Arte Reina Sofía, Madrid CONTENTS Directors’ Foreword / 7 Glenn D. Lowry, Manuel J. Borja-Villel, and Marion Ackermann Acknowledgments Maria Gilissen Broodthaers, followed by a conversation with Yola Minatchy / 9 Manuel J. Borja-Villel and Christophe Cherix / 12 I Am Not a Filmmaker: Notes on a Retrospective / 16 Manuel J. Borja-Villel and Christophe Cherix Rhetoric, System D; or Poetry in Bad Weather / 22 Jean-François Chevrier Figure Zero / 30 Thierry de Duve First and Last: Two Books by Marcel Broodthaers / 40 Benjamin H. D. Buchloh Poetry, Photographs, and Films Sam Sackeroff and Teresa Velázquez 52 Objects Rafael García and Francesca Wilmott 76 The Object and Its Reproduction Francesca Wilmott 116 Literary Exhibitions Sam Sackeroff 136 Le Corbeau et le Renard 140 Exposition littéraire autour de Mallarmé 156 Musée–Museum Christian Rattemeyer 166 Musée d’Art Moderne, Département des Aigles 172 The Düsseldorf Years Doris Krystof 216 Related Works 224 Emblems of Authority Cathleen Chaffee 248 Paintings Kim Conaty 270 Décors Cathleen Chaffee 290 Exhibition History / 330 Selected Bibliography / 336 Catalogue of the Exhibition and Illustrated Works / 340 Trustees of The Museum of Modern Art / 350 6 7 DIRECTORS’ FOREWORD Marcel Broodthaers is an artist’s artist. Although he is not generally widely known, he has had a profound influence on the generations of artists that have followed, and any museum committed to contemporary art crosses path with his legacy at some point. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Grußwort Grußwort Biografie Wolfgang Gurlitt Leben Und Wirken
Hemma Schmutz 9 Grußwort Marlene Lauter 11 Grußwort Dank 13 Biografie Wolfgang Gurlitt 17 Elisabeth Nowak-Thaller 33 Leben und Wirken Wolfgang Gurlitts Versuch einer Rekonstruktion Meike Hoffmann 61, 65 „Alte Streite verbinden" Hildebrand und Wolfgang Gurlitt Sonja Feßel 71,83 Kunst leben. Expressionistische Wohnräume zwischen Kunstförderung, Galerieerweiterung und extravagantem Lifestyle Stiftung Lilly Christiansen-Agoston im LENTOS Kunstmuseum Linz 95 Vanessa-Maria Voigt 105, 111 Lilly Christiansen und Wolfgang Gurlitt Aus Gurlitts Mappen / Der Verleger Wolfgang Gurlitt 119 Bernd Ernsting 127 Über Stock und Stein Wolfgang Gurlitts Editions-Galopp um 1920 Künstlerinnen der Galerie Gurlitt in Berlin 145 Katrin Schmidt 153 „Ausstellen - eine Kunst für sich" Die Galerie Fritz Gurlitt in Berlin (1880-1943) Charlotte Berend - Anita Berber 161 Abbey Rees-Hales 165 „Mit einer ziemlich weitgehenden weiblichen Indiskretion" Ein Mappenwerk Charlotte Berends über Anita Berber im Gurlitt-Verlag 5 Netzwerke mit Künstlern und Künstlerinnen 169 Max Pechstein Aya Soika 177, 181 Ein Exklusivvertrag mit Folgen Max Pechstein und Wolfgang Gurlitt Jeanne Mammen 187 Camilla Smith 199 Sex sells! Wolfgang Gurlitt gibt bei Jeanne Mammen eine Serie erotischer Lithografien in Auftrag Eric Isenburger 209 Gregory Hahn 217, 221 Zeuge, Sachverständiger, Freund Wolfgang Gurlitt und der Exilmaler Eric Isenburger Oskar Kokoschka 229 Elisabeth Nowak-Thaller 237 Wolfgang Gurlitt und der „beste deutsche Maler" Oskar Kokoschka Alfred Kubin 249 Brigitte Beutner 261 Die Kubin-Sammlung -
Real Presences Marcel Broodthaers Today 11 September 2010 – 16 January 2011 Kunsthalle Düsseldorf and Kunstverein Für Die Rheinlande Und Westfalen
Real presences Marcel Broodthaers today 11 September 2010 – 16 January 2011 Kunsthalle Düsseldorf and Kunstverein für die Rheinlande und Westfalen This joint exhibition by the Kunsthalle Düsseldorf and Kunstverein für die Rheinlande und Westfalen presents selected works by international artists that make explicit reference to Marcel Broodthaers or that examine and further develop motifs from his oeuvre. These motifs include those that question the museum as an institution, examine imagination and outer appearance as a deconstruction of the cinematic image, and explore the relationship between language, writing and images. Ideas that were dealt with much later under the heading of institutional criticism also turn up in Broodthaers’ work, whose radical, pioneering qualities survive to this day. The exhibition conveys the Quadriennale theme “Kunstgegenwärtig” (art in the present) through the participating artists’ relationship with Broodthaers. By referring to Broodthaers’ work in a variety of ways and thus acknowledging him as a source of inspiration, they demonstrate the relevance and “real presence” of his oeuvre, even in his absence. Tacita Dean’s work Parrot depicts a parrot under palm trees in front of the Atomium in Brussels. The photograph, which the artist came across at a Brussels flea market, seems to be a rebus, a riddle to which there can be only one answer: Broodthaers. Dean is interested in exploring what is hidden and what is visible, especially with regard to unusual places and their past and present. Her films are infused with a painter’s sensibility and reflect absence and disappearance with unsettling intensity while at the same time questioning the very medium in which they are made. -
Food Art: Is It Collectible? Sharon Hecker Have You Ever Wondered
Food Art: Is It Collectible? Sharon Hecker Have you ever wondered whether to collect Food Art and how does one go about it? Does it make sense for a collector or a museum to buy an artwork that can melt, rot or stink? What is the “value” of an artwork that can organically deteriorate? What kind of art historical due diligence and conservational treatments can be conducted on such a work? Art made of ephemeral material is nothing new. For the past century, artists have been experimenting with non-traditional media in art as a way of expressing their modernity: in the early 20th century, Picasso added bits of paper, string, rope and tickets to his paintings, Duchamp exhibited his Readymades, and Gabo worked with early synthetics such as plastic. As the century moved on, there was an explosion of uses of industrial materials from plastic to steel, as well as “poor” materials like coal, felt straw, tree branches, found objects, installations and performances with things found in nature. With the advent of Fluxus, Arte povera and Pop art, anything at all became fair game for making artworks. Among these experimental media was Food Art. In some cases, this medium became appreciated for its performance value and for the symbolic meaning of the food chosen by the artist. For example, Marcel Broodthaers’ signature materials, cracked eggshells and mussels, were intended as allusions to the difference between Belgian and French cultures and cuisines. Sometimes, as with Piero Manzoni’s boiled eggs in his performance Consumazione dell’arte dinamica del pubblico divorare l’arte (1960) or Felix-González-Torres’ candy installations, the food was presented to be eaten by viewers in a form of symbolic participation in the creation of the artwork. -
Orlowski, Hans
Hans Otto Orlowski, Die Stolze (The Proud One) Insterburg 1894 - 1967 Berlin oil and mixed media on wood 21 ¼ by 18 inches (54 by 45.7 cm) monogramed and dated upper left: ‘1931’ provenance: Collection Habbel, Gut Weisham; sale Ketterer Kunst GmbH, Munich, May 14, 2004, no. 69; Private Collection, South Germany exhibited: Hans Orlowski, Galerie Wolfgang Gurlitt, Berlin, 1934. literature: Fritz Schwarzenberger, Werkverzeichnis Hans Orlowski, Berlin, 1972, no. 33. note: The painter and print-maker Hans Otto Orlowski (fig. 1) was born in Insterburg near Köningsburg in East Prussia. His father was a tailor and moved the family to Köningsberg, Potsdam, and then Charlottenburg. Orlowski first studied at the Academy of Decorative Arts in Berlin from 1911 to 1915. But the First World War interrupted his studies and he served briefly as a soldier in Serbia until he was wounded. He was then employed as a draftsman in the War Ministry, but also began producing his first independent prints. In 1918 he returned to art school and became a member of the Berlin Secession, a progressive group whose members included, among others, Lovis Corinth, Käthe Kollwitz, and Emil Nolde. Orlowski graduated in 1919, and in 1921 he began teaching at the Decorative Arts Academy in Charlottenberg, where he remained until 1945. In 1924 he visited Paris, and his style evolved away from Expressionism to a more realistic, even classical, manner applied primarily to nudes. The artist’s first one man exhibition, which included the present painting, was held in Berlin in 1934 at the Wolfgang Gurlitt Gallery, which was renowned for being one of the first in Germany to show Matisse, Kokoschka, Slevogt, Corinth, and Kubin. -
The Salt Mine's Art Treasures
!1 of !3 The Salt Mine´s Art Treasures English translation of article by Ulla Arnell at: http://ueforum.se/17/175/175varld1.html When World War II ended, the outside world was amazed by the art found in the salt mines of Altaussee, Austria. The bombs placed at the entrance to the mine never came to detonate and the art could be rescued. Ulla Arnell has visited Altaussee and met a strong exhibition in its right environment. On the way from Linz, the city that Hitler called his hometown and wanted to make Europe´s and the whole world´s cultural centre, I pass Attersee, one of Austria´s turquoise clear alp lakes where Klint spent his summers painting the sparkling landscape, and Mahler took inspiration for his second and third symphony. The journey continues towards Salzkammergut and turns by the popular spa and resort of Bad Ischl, where the Habsburgers had their summer residence during the18th century, then a meeting place for the superpowers´ diplomatic deliberations. It was here, after the assassination of Archduke Franz Ferdinand in 1914, that Emperor Franz Josef signed the declaration of war with Serbia, which triggered World War I. The road becomes increasingly curvy and winds up and down the outskirts of the Austrian Alps. The landscape is beautiful and idyllic as in the Sound of Music, green sloping meadows and houses with flower arrangements on their balconies and porches. Everyone who knows the Nazis’ art thefts knows that Altaussee is a symbolically loaded place with a very special relation to art, to the Third Reich, to war, to ethics and to morals. -
Marcel Broodthaers: a Retrospective
Marcel Broodthaers: A Retrospective Le surréalisme révolutionnaire 1948 Periodical 10 5/8 × 8 1/2" (27 × 21.6 cm) Two copies: The Museum of Modern Art Library, New York; Private collection, Brussels Marcel Broodthaers (Belgian, 1924–1976) Louis Bourgoignie d'écriture (Louis Bourgoignie on writing) 1954 Poetry book. Pen, ten pages with plastic cover page (each): 8 1/4 x 6 1/2" (21 x 16.5 cm); overall (closed): 8 1/4 x 6 1/2 x 1/16" (21 x 16.5 x 0.2 cm) Partial gift of the Daled Collection and partial purchase through the generosity of Maja Oeri and Hans Bodenmann, Sue and Edgar Wachenheim III, Agnes Gund, Marlene Hess and James D. Zirin, Marie-Josée and Henry R. Kravis, and Jerry I. Speyer and Katherine G. Farley, 2011 Marcel Broodthaers (Belgian, 1924–1976) "Adieu, Police!" published in Phantômas, no. 2 April 1954 Journal, letterpress printed page (each): 7 5/8 × 5 3/8" (19.4 × 13.7 cm) The Museum of Modern Art, New York. Gift of Dr. Samuel Mandel (by exchange), 2015 Marcel Broodthaers (Belgian, 1924–1976) "Le Roi midi" published in Phantômas, no. 3 September 1954 Journal, letterpress printed page (each): 7 7/8 × 5 3/8" (20 × 13.7 cm) The Museum of Modern Art, New York. Gift of Dr. Samuel Mandel (by exchange), 2015 February 7, 2016 Marcel Broodthaers: A Retrospective Page 1 of 40 Marcel Broodthaers (Belgian, 1924–1976) La Clef de l’horloge, Poème cinématographique en l’honneur de Kurt Schwitters (The key to the clock, Cinematic poem in honor of Kurt Schwitters). -
Walter Schuster Die Sammlung Gurlitt Der Neuen Galerie Der Stadt Linz.Pdf
Die "Sammlung Gurlitt" der Neuen Galerie der Stadt Linz von Mag. Dr. Walter Schuster Archiv der Stadt Linz Linz Jänner 1999 Archiv der Stadt Linz – Dokumentation "Sammlung Gurlitt" 2 Inhalt I. Die Überprüfung der "Sammlung Gurlitt" .......................................................... 3 I.1. "Sammlung Gurlitt": Begriffserklärung .................................................................. 3 I.2. Vorgangsweise ........................................................................................................ 3 I.3. Ziel der Dokumentation .......................................................................................... 4 II. Wolfgang Gurlitt und seine Tätigkeit während der NS-Zeit ............................. 6 II.1. Die "rassischen" und politischen Schwierigkeiten ............................................... 9 II.2. Das gute Verhältnis zur Landesleitung der bildenden Künste Berlin .................. 14 II.3. Die Rolle des Kunsthandels ................................................................................. 17 II.4. Der Handel mit "Entarteter Kunst" ...................................................................... 19 II.5. Der "Sonderauftrag Linz" ..................................................................................... 24 II.6. Die Übersiedlung nach Bad Aussee ..................................................................... 31 III. Der Aufbau einer "Neuen Galerie" in Linz ..................................................... 35 IV. Der Ankauf der "Sammlung Gurlitt" ............................................................. -
New Media and the White Cube
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences September 2007 Within, Without: New Media and the White Cube Alexandra T. Nemerov University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Recommended Citation Nemerov, Alexandra T., "Within, Without: New Media and the White Cube" 03 September 2007. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/71. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/71 For more information, please contact [email protected]. Within, Without: New Media and the White Cube Keywords New Media, White Cube, Postmodernism, Interviews, Humanities, Visual Studies, Ingrid Schaffner, Schaffner, Ingrid This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/71 Within, Without: New Media and the White Cube Visual Studies Senior Honors Thesis University of Pennsylvania Alexandra Nemerov Table of Contents: Introduction……………………………………………….2 Postmodernism……………………………………………6 New Media……………………………………………….16 Interviews………………………………………………...38 Barbara London………………………………...39 Roberto Bocci ………………………………….46 Douglas Crimp………………………………….52 Golan Levin…………………………………….59 Frazer Ward…………………………………….70 Works Cited……………………………………………….80 Within, Without: Nemerov 2 A new artistic platform has emerged, one reflecting and facilitating a global society’s obsession with endlessly updating, installing, applying, connecting, and configuring its representations of human experience. New Media, or digitally generated art, has become a paradigm for artists concerned with entering and mediating our relationship to technology while underscoring the increasingly surrogate experience technology affords in its supplanting of human relationships and interactions. As with any term associated with technology, New Media’s definition is constantly outdated, expanded, and updated. -
Lovis Corinth Aus Der Sammlung Wolfgang Gurlitt
Lovis Corinth aus der Sammlung Wolfgang Gurlitt 1888 in Berlin als Sohn des Kunsthändlers Fritz Gurlitt geboren Studium der Kunstgeschichte; Ausbildung als Buchhändler und Verleger 1914 übernimmt die väterliche Galerie; wird u. a. der Verleger der Graphik Corinths und bringt in der „Gurlitt-Presse“ zahlreiche von ihm gestaltete Bücher heraus; er stellt außerdem Slevogt, Munch, Matisse und Gauguin aus und ist freundschaftlich mit Ko- koschka und Kubin verbunden; 1915 Alleinvertretungsrecht für Max Pechsteins Werke 1917 Max Pechstein gestaltet die Fenster im Hause Gurlitt mit Glasmalereien aus Dank- barkeit für Reisekostenzuschüsse für die Südsee-Expedition 1919-1923 publiziert 4 Verlagsalmanache mit Originalgraphiken und kunsthistorischen Beiträgen 1920 gründet als einziger Nicht-Jude unter den jüdischen Verlegern Berlins einen Verlag für jüdische Kunst und Kultur seit 1933 wegen seiner teilweise jüdischen Abstammung (seine Großmutter ist Jüdin, was ihn zum „Mischling 2. Grades“ macht) ist er sich zahlreichen Repressalien ausgesetzt; gleichzeitig beteiligt er sich am Handel mit „entarteter“ und zwangsenteigneter Kunst, außerdem erwirbt er hierbei Werke für seine private Sammlung; anders als sein Cou- sin Hildebrand Gurlitt ist er jedoch mit dem „Sonderauftrag Linz“ nur am Rande be- fasst 1937 Willibald Gurlitt, der Onkel Wolfgangs muss seinen Lehrstuhl als Ordinarius an der Universität Freiburg aufgeben 1938 Wolfgangs Bruder Manfred emigriert, nachdem er 1933 als Dirigent an der Berliner Staatsoper entlassen wurde 1940 seine jüdische Lebensgefährtin