Isa Genzken Born 1948 in Bad Oldesloe, Germany
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The Stuttgart Region – Where Growth Meets Innovation Design: Atelier Brückner/Ph Oto: M
The Stuttgart Region – Where Growth Meets Innovation oto: M. Jungblut Design: Atelier Brückner/Ph CERN, Universe of Particles/ Mercedes-Benz B-Class F-Cell, Daimler AG Mercedes-Benz The Stuttgart Region at a Glance Situated in the federal state of Baden- The Stuttgart Region is the birthplace and Württemberg in the southwest of Germa- home of Gottlieb Daimler and Robert ny, the Stuttgart Region comprises the Bosch, two important figures in the history City of Stuttgart (the state capital) and its of the motor car. Even today, vehicle five surrounding counties. With a popula- design and production as well as engineer- tion of 2.7 million, the area boasts a highly ing in general are a vital part of the region’s advanced industrial infrastructure and economy. Besides its traditional strengths, enjoys a well-earned reputation for its eco- the Stuttgart Region is also well known nomic strength, cutting-edge technology for its strong creative industries and its and exceptionally high quality of life. The enthusiasm for research and development. region has its own parliamentary assembly, ensuring fast and effective decision-mak- All these factors make the Stuttgart ing on regional issues such as local public Region one of the most dynamic and effi- transport, regional planning and business cient regions in the world – innovative in development. approach, international in outlook. Stuttgart Region Key Economic Data Population: 2.7 million from 170 countries Area: 3,654 km2 Population density: 724 per km2 People in employment: 1.5 million Stuttgart Region GDP: 109.8 billion e Corporate R&D expenditure as % of GDP: 7.5 Export rate of manufacturing industry: 63.4 % Productivity: 72,991 e/employee Per capita income: 37,936 e Data based on reports by Wirtschaftsförderung Region Stuttgart GmbH, Verband Region Stuttgart, IHK Region Stuttgart and Statistisches Landesamt Baden-Württemberg, 2014 Stuttgart-Marketing GmbH Oliver Schuster A Great Place to Live and Work Top Quality of Life Germany‘s Culture Capitals 1. -
Full Program & Logistics Hna 2018
Thank you for wearing your badge at all locations. You will need to be able to identify at any moment during the conference. WIFI at Het Pand (GHENT) Network: UGentGuest Login: guestHna1 Password: 57deRGj4 3 WELCOME Welcome to Ghent and Bruges for the 2018 Historians of Netherlandish Art Conference! This is the ninth international quadrennial conference of HNA and the first on the campus of Ghent University. HNA will move to a triennial format with our next conference in 2021. HNA is extremely grateful to Ghent University, Groeningemuseum Bruges, St. John’s Hospital Bruges, and Het Grootseminarie Bruges for placing lecture halls at our disposal and for hosting workshops. HNA would like to express its gratitude in particular to Prof. dr. Maximiliaan Martens and Prof. dr. Koenraad Jonckheere for the initiative and the negotiation of these arrangements. HNA and Ghent University are thankful to the many sponsors who have contributed so generously to this event. A generous grant from the Samuel H. Kress Foundation provided travel assistance for some of our North American speakers and chairs. The opening reception is offered by the city of Ghent, for which we thank Annelies Storms, City Councillor of Culture, in particular. We are grateful to our colleagues of the Museum of Fine Arts Ghent for the reception on Thursday and for offering free admission to conference participants. Also the Museum Het Zotte Kunstkabinet in Mechelen offers free entrance during the conference, for which we are grateful. In addition we also like to thank the sponsoring publishers, who will exhibit books on Thursday. This conference would not have been possible without the efforts of numerous individuals. -
Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27Th, 2019
Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27th, 2019 www.stanfordauctioneers.com | [email protected] 1: RUDOLF KOPPITZ - Zwei Bruder USD 1,200 - 1,500 Rudolf Koppitz (Czech/Austrian, 1884-1936). "Zwei Bruder [Two Brothers]". Original vintage photometalgraph. c1930. Printed 1936. Stamped with the photographer's name, verso. Edition unknown, probably very small. High-quality archival paper. Ample margins. Very fine printing quality. Very good to fine condition. Image size: 8 1/8 x 7 7/8 in. (206 x 200 mm). Authorized and supervised by Koppitz shortly before his death in 1936. [25832-2-800] 2: CLEMENTINE HUNTER - Zinnias in a Blue Pot USD 3,500 - 4,000 Clementine Hunter (American, 1886/1887-1988). "Zinnias in a Blue Pot". Gouache on paper. c1973. Signed lower right. Very good to fine condition; would be fine save a few very small paint spots, upper rght. Overall size: 15 3/8 x 11 3/4 in. (391 x 298 mm). Clementine Reuben Hunter, a self-taught African-American folk artist, was born at Hidden Hill, a cotton plantation close to Cloutierville, Louisiana. When she was 14 she moved to the Melrose Plantation in Cane River County. She is often referred to as "the black Grandma Moses." Her works in gouache are rare. The last auction record of her work in that medium that we could find was "Untitled," sold for $3,000 at Sotheby's New York, 12/19/2003, lot 1029. [29827-3-2400] 3: PAUL KLEE - Zerstoerung und Hoffnung USD 800 - 1,000 Paul Klee (Swiss/German, 1879 - 1940). -
R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985). -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Curriculum Vitae of Maryan Wynn Ainsworth
Curriculum Vitae of Maryan Wynn Ainsworth Department of European Paintings The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028 Phone: (212) 396-5172 Fax: (212) 396-5052 e-mail: [email protected] EDUCATION Yale University, New Haven, Conn., Department of History of Art Ph.D., May 1982 M. Phil., May 1976 Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry” Oberlin College, Oberlin, Ohio, Department of Art History M.A., May 1973 B.A., January 1972 Master’s thesis, “The Master of St. Gudule” Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77) PROFESSIONAL EXPERIENCE The Metropolitan Museum of Art, New York Department of European Paintings Curator of European Paintings, 2002–present Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with emphasis on the integration of technical examination of paintings with art-historical information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century Netherlandish and German paintings in the collection; teaching courses on connoisseurship and Northern Renaissance paintings topics for Barnard College and Columbia University; directing the Slifka Fellowship program for art historians at the graduate level; departmental liaison and coordinator, European Paintings volunteers (2008–16) Paintings Conservation, Conservation Department Senior Research Fellow, 1992–2001 Research Fellow, 1987–92 Senior Research Associate, 1982–87 Research Investigator, 1981–82 Interdisciplinary research -
Fernand Khnopff (1858-1921)
Sura Levine exhibition review of Fernand Khnopff (1858-1921) Nineteenth-Century Art Worldwide 4, no. 1 (Spring 2005) Citation: Sura Levine, exhibition review of “Fernand Khnopff (1858-1921),” Nineteenth- Century Art Worldwide 4, no. 1 (Spring 2005), http://www.19thc-artworldwide.org/ spring05/233-fernand-khnopff. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2005 Nineteenth-Century Art Worldwide Levine: Fernand Khnopff (1858-1921) Nineteenth-Century Art Worldwide 4, no. 1 (Spring 2005) Fernand Khnopff (1858-1921) organized by the Musées Royaux des Beaux-Arts de Belgique, Brussels, under the patronage of Their Majesties the King and Queen of the Belgians, 16 January-9 May 2004 Smaller versions of the exhibition at Museum der Moderne, Rupertinum, Salzburg, Austria, 15 June-29 August 2004 and The McMullen Museum of Art, Boston College, Boston, Massachusetts, 19 September-5 December 2004. The fully illustrated Fernand Khnopff (1858-1921) catalogue is available in cloth and paperback editions in French, Flemish, German, and English. 49.80 Euros 287 pages. Essays by Frederik Leen, Jeffery Howe, Dominique Marechal, Laurent Busine, Michael Sagroske, Joris Van Grieken, Anne Adriaens-Panier, and Sophie Van Vliet. "In the end, he [Fernand Khnopff] had to arrive at the symbol, the supreme union of perception and feeling." Emile Verhaeren[1] In the past decade, the Royal Museums of Fine Arts in Brussels has been the organizing institution of a small group of important exhibitions of works by some of the foremost figures of Belgian modernism, including James Ensor, Réné Magritte, and Paul Delvaux. -
Harun Farocki Against What? Against Whom? Edited by Antje Ehmann and Kodwo Eshun
Harun Farocki Against What? Against Whom? edited by Antje Ehmann and Kodwo Eshun Harun Farocki Against What? Against Whom? Harun Farocki Against What? Against Whom? edited by Antje Ehmann and Kodwo Eshun Nora Alter | Michael Baute | Rainer Bellenbaum | Raymond Bellour | James Benning | Christa Bliimlinger | Nicole Brenez || Sabeth Buchmann | Alice Creischer | Georges Didi-Huberman | Diedrich Diederichsen f Antje Ehmann | Thomas Elsaesser j Kodwo Eshun | Harun Farocki | Tom Holert | Ute Holl | Ruchir Joshi | Klaus Kreimeier | Sylvie Lindeperg | Volker Pantenburg | Raqs Media Collective | Bert Rebhandl | Wolfgang Schmidt | Andreas Siekmann | Florian Zeyfang Koenig Books Raven Row Contributions Forewords 006 Filmography 009 List of Installations 021 Sylvie Lindeperg us €nde Lives, Revenant ima es. On Harun I arocki’s Film Respite 028 James Benning ay I , 1944 and the Sommer of ?§3 035 Georges Didi-Huberman Sow to Open your yes 038 Diedrich Diederichsen a aS eath 051 Thomas Elsaesser olocayst emory as the Episten oSo y of For ettin Re wind an ostponement in Respite 057 Harun Farocki ross Influence/Soft ontage 069 Tom Holert Tabular Ima es. On The m Ian of all Days (1970) and Something Self Explanatory (lSx) (1971) 075 Volker Pantenburg Manual. arun arocu’s Instructional Wlor 093 Christa Bliimlinger Mer ory and Monta e. C n the Installation vunter-Music 101 Sabeth Buchmann, Rainer Bellenbaum et een the aces 110 Alice Creischer, Andreas Siekmann o ars, S hoot-ouis and . art Sot @s 116 Bert Rebhandl inemy at the (<ate. Harun FarocEti’s Work 011 -
Willi Baumeister Book in English
/ CREATOR FROM THE UNKNOWN 1955 – 1889 Willi Baumeister (1889–1955) is one of Modernism’s most significant artists. A central theme in his work was the search for universal reference points and the sources of artistic creation: Creativity as a never-ending process of discovery. baumeister As a painter and art professor, Baumeister campaigned for open Brigitte Pedde artistic exchange. With the present volume, the Willi Baumeister willi Stiftung is striking out in a new direction. For the first time ever, an introduction to the work of a seminal artist of the modern age is freely available on the Internet as a high-quality open access art book. WWW.WILLI-baumeister.COM Brigitte Pedde WILLI BAUMEISTER 1889–1955 Translated by Michael Hariton eBook PUBLISHED BY THE WILLI Baumeister STIFTUNG ISBN 978-3-7375-0982-4 9 783737 509824 Brigitte Pedde WILLI BAUMEISTER 1889–1955 CREATOR FROM THE UNKNOWN Translated by Michael Hariton PUBLISHED BY THE WILLI BAUMEISTER STIFTUNG Brigitte Pedde AUTHOR Henrike Noetzold DESIGN Reinhard Truckenmüller PHOTOS Cristjane Schuessler PROJECT COORDINATOR / IMAGE EDITOR Bernd Langner ONLINE EDITOR Michael Hariton (for Mondo Agit) TRANSLATION Elliot Anderson (for Mondo Agit) COPY EDITOR Willi Baumeister Stiftung PUBLISHER epubli GmbH MANUFACTURED AND PUBLISHED BY This work is licensed under a Creative Commons license agreement: LICENSE Attribution - NonCommercial - ShareAlike 3.0 Germany License. To view the terms of the license, please follow the URL: http://creativecommons.org/licenses/by-nc-sa/3.0/deed.de Felicitas -
Willi Baumeister International Willi Baumeister and European Modernity 1920S–1950S
Willi Baumeister International Willi Baumeister and European Modernity 1920s–1950s November 21, 2014 — March 29, 2015 Works by Willi Baumeister 1909–1955. Works from the Baumeister Collection by Josef Albers, Hans Arp, Julius Bissier, Georges Braques, Carlo Carrà, Marc Chagall, Albert Gleizes, Roberta González, Camille Graeser, Hans Hartung, Wassily Kandinsky, Paul Klee, Franz Krause, Le Corbusier, Fernand Léger, El Lissitzky, August Macke, Otto Meyer-Amden, Joan Miró, László Moholy-Nagy, Amédée Ozenfant, Pablo Picasso, Oskar Schlemmer, Kurt Schwitters, Michel Seuphor, Gino Severini, Zao Wou-Ki From the Daimler Art Collection: Hans Arp, Willi Baumeister, Max Bill, Camille Graeser, Otto Meyer-Amden, Oskar Schlemmer, Georges Vantongerloo Daimler Contemporary Berlin Potsdamer Platz Berlin Introduction Renate Wiehager Stuttgart artist Willi Baumeister (1889–1955) is one of the The collection comprises, among others, paintings by Wassily From the outset the Daimler Art Collection has, in both its most important German artists of the postwar period and Kandinsky, Hans Arp, Fernand Léger, and Kazimir Malevich. conception and its aims, gone well beyond mere corporate- among the most significant representatives of abstract paint- The focus of the exhibition is on central groups of works by image enhancement. In fact, over the years the collection ing. His influence as an avant-garde artist, as a professor at Willi Baumeister, ranging from his constructivist phase to the has become one of the leading European Corporate Collec- the School of Decorative Arts in Frankfurt am Main and after Mauerbilder and the late Montaru paintings as well as the tions and a living part of the corporation. Since it was inau- 1946 at the Stuttgart Academy, and as a major art theoreti- Afrika series. -
International Art Exhibitions 2013.07
International 07 Art Exhibitions 2013 International 18.10.2013 > 23.02.2014 Art Exhibitions 2013 Opposite page Mauve violet et rose 1954, Oil on canvas Serge Poliakoff 89 x 116 cm Private collection The Dream of Forms © Courtesy Galerie Applicat- Prazan, Paris. Musée d’Art Moderne de la Ville de Paris Ville Moderne de la Musée d’Art A large-scale retrospective devoted to Photo: Art Digital Studio. the abstract painter Serge Poliakoff 1 (1900-69) comprising some 150 works Composition abstraite from the period 1946-69. Since 1970 à la bande bleue there has been no significant exhibition 1951, Oil on canvas of the work of this major representative 89 x 116 cm of theSchool of Paris in what became Private collection, Frankfurt his home city. Lauded by leading © All rights reserved historians of abstraction as Charles 2 Estienne, Michel Ragon and Dora Espace orangé Vallier, and championed by dealers 1948, Oil on canvas Denise René and Dina Vierny, Serge 92 x 150 cm Poliakoff drew the interest of many Musée des Beaux-Arts de Liège private collectors. The exhibition is laid © Liège, Musée des Beaux-Arts out in sequences revolving around key (BAL) works: from his exploratory years and 3 the postwar period – when he was part Jaune et noir of the abstract avant-garde, showed in 1952, Oil on canvas various salons and caught Kandinsky’s 130 x 97 cm eye – until the pared-down modernity Centre Pompidou, Musée of the late paintings (1968-69). 1 national d’art moderne- Centre de création industrielle especially sensitive approach and the © Centre Pompidou, MNAM-CCI, intense spirituality of a body of work Dist. -
Sean Scully, 1945 —
Sean Scully, 1945 — Sean Scully (b. 1945, Dublin, Ireland) is an American-Irish artist who is internationally recognised for his distinctive abstract compositions that interrogate the properties of light, colour and form. Scully studied painting at Croydon College of Art, London and Newcastle University, UK, where he began to work in abstraction. During a trip to Morocco in 1969, Scully was strongly influenced by the local textiles and rich colours of the region, which he translated into the broad horizontal stripes and deep earth tones that characterise his mature style. Scully’s travels throughout Morocco and Mexico would also prompt his decision to move from Minimalism to a more emotional and humanistic form of abstraction. Following fellowships in 1972 and 1975 at Harvard University, Scully’s paintings became increasingly monumental and sculptural, consisting of interconnected three-dimensional panels that anticipated his later sculpture practice. In 1984 he began to develop the Wall of Light series, replacing the precise stripes of his early paintings with solid blocks of colour, built with increasingly loose and feathered brushstrokes into vertical and horizontal ‘bricks’ that suggest a wall of stone. Subtle differences in colour in the paintings indicate the location in which they were created, the changing seasons and the artist’s own emotions. This series formed the subject of a major touring exhibition at The Metropolitan Museum of Art, New York in 2007. In 1984 Scully achieved international breakthrough through his inclusion in the major group exhibition An International Survey of Recent Painting and Sculpture at the Museum of Modern Art, New York.