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A Finding Aid to the Werner Drewes Papers, 1838-2015, Bulk 1890-1990, in the Archives of American Art
A Finding Aid to the Werner Drewes Papers, 1838-2015, bulk 1890-1990, in the Archives of American Art Stephanie Ashley Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee. 2014 September 2 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1838-1980s........................................................... 5 Series 2: Correspondence, -
Bauhaus 1 Bauhaus
Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. -
American Prints 1860-1960
American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago. -
The Marli Hoppe-Ritter Collection Homage to The
The Marli Hoppe-Ritter Collection Homage to the Square – the title of Josef Albers’s celebrated series of paintings – could be taken to describe the Marli Hoppe-Ritter Collection. Marli Hoppe-Ritter, founder of MUSEUM RITTER and co-owner of the RITTER SPORT company, has collected art based on the square ever since the early 1990s. By now, over 1,200 works exemplifying 20th and 21st century geometric abstraction have been amassed to build collection with a unique profile. What at first glance looks like a successful marketing coup for the famous square chocolate bar proves to have a stringent art history concept: the history and development of constructive-concrete art from its beginnings to the present, as exemplified by the geometrical figure. At the dawn of the 20th century, the square was made famous as a subject for art by the Russian Suprematist Kazimir Malevich, who saw it as a symbol of a creative new beginning beyond materiality and fixed purpose. A small Malevich drawing from 1915 forms a cornerstone as it were of the Marli Hoppe-Ritter Collection, which has been followed by further works of early Modernism, including the Constructivists Alexander Rodchenko and El Lissitzky, the De Stijl artist Theo van Doesburg, and the Bauhaus protagonists Andor Weininger and Josef Albers. Other approaches have been brought together that also focus on the square: the works of the Zurich Concretists Max Bill, Camille Graeser, Verena Loewensberg and Richard Paul Lohse, whose legacy has been taken up by the Italian Arte Programmata with Grazia Varisco and Alberto Biasi, Op Art by Victor Vasarely and the ZERO group with Heinz Mack and Günther Uecker, accompanied by further variations by among others Rita Ernst, Hans Jörg Glattfelder, Dóra Maurer, Vera Molnár, and Esther Stocker. -
Oli Sihvonen Ellipse Paintings from the 1960'S
JAMES KELLY CONTEMPORARY - PRESS RELEASE 1601 Paseo de Peralta - Santa Fe, NM 87501 - 505.989.1601 Oli Sihvonen Ellipse Paintings from the 1960's Opening Reception: Friday, October 19, 2007, 5:00-7:00 pm Exhibition Dates: October 19 - December 8, 2007 Contact: Hannah Hughes: [email protected] Oli Sihvonen. Triad on Blue, 1965. Oil on canvas. 72 x 84 inches James Kelly Contemporary is pleased to present an exhibition of Oli Sihvonen's ellipse paintings from the 1960's. The sheer visual power, subtlety and elegance of his work stake a claim for his place in the history of twentieth century painting. His work is a variety of hard-edge painting, indebted to Albers and Mondrian on the one hand, but also to Matisse. As critic Paul Goodman, wrote in 1956, "Sihvonen's loving attention to the precise millimeter and the precise hue on the spectrum pays off in a floating and exciting calm and emotion; the picture is in motion, the colors leave their forms and come back changed. The canvas seems to generate its own light, not otherwise than in a bright noonday sun or in mysterious moonlight; there is a fullness of light." Sihvonen expanded upon a few motifs over long periods of time. This exhibition will focus on the ellipses. Within self-imposed formal limits, Sihvonen was able to invent complex variations embodying his "notions of multi-temporality: flow, rhythm, beat, [and] growth" in a static painting. Oli Sihvonen was born in 1921 in Brooklyn and grew up in Connecticut. He attended Black Mountain College where he was deeply influenced by the teaching of Josef Albers and his friendships with Buckminster Fuller, John Cage, and others. -
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Josef Albers (D), John M Armleder (CH), Hans/Jean Arp (F), Horst Bartnig (D), Martin Boyce (GB), Katja Davar (GB), Adolf Fleischmann (D), Sylvie Fleury (CH), Günter Fruhtrunk (D), Walter Giers (D), Camille Graeser (CH), Guan Xiao (CHN), Gregor Hildebrandt (D), Bernhard Höke (D), Markus Huemer (A), Takehito Koganezawa (J), Alicja Kwade (PL), Hartmut Landauer (D), Verena Loewensberg (CH), Robert Longo (USA), Ma Qiusha (CHN), Rune Mields (D), Kirsten Mosher (USA), Brian O’Doherty (IRL), Park Chan-kyong (ROK), Peter Roehr (D), Ugo Rondinone (CH), Lerato Shadi (ZA), Roman Signer (CH), K.R.H. Sonderborg (DK), Anton Stankowski (D), John Tremblay (USA), Rosemarie Trockel (D), Andrew Tshabangu (ZA), Timm Ulrichs (D), Xavier Veilhan (F), Xu Zhen produced by Madeln Company (CHN), Michael Zahn (USA), Heimo Zobernig (A) Videos, Audio and Sound Works, Sound Sculptures, Pictures, Graphics Compiled and arranged by Gerwald Rockenschaub July 7, 2019—February 2, 2020 Curator and Editor Renate Wiehager Contents 6 Introduction Sound on the 4th Floor Renate Wiehager 27 On Visual Codes and the Imaginary Soundtrack Interview with Gerwald Rockenschaub Nadine Isabelle Henrich and Sarah Maske 33 Composition in Music and Art Sarah Maske 39 Acoustic Immersion Strategies in Contemporary Art Nadine Isabelle Henrich 47 Words from Mouth to Abyss Friederike Horstmann 54 Sound—Structuring, Scattering, Mixing Sarah Maske 61 Instrument n°4, 2018 Xavier Veilhan 64 “Air to party in”—Rhythm as an Artistic Strategy in Painting, Photography and Video Nadine Isabelle Henrich 70 Exhibition views 78 List of works _ Gerwald Rockenschaub, design for exhibition display ›Sound on the 4th Floor‹ 4 5 Introduction _ Gerwald Rockenschaub, graphic draft for the exhibition Sound on the 4th Floor ›Sound on the 4th Floor‹, 2019 Renate Wiehager Seeing Sound spond to the theme in their motifs, whereby the term is reduced to a functional acronym: ‘Sot4thF’. -
Oli Sihvonen Energy Fields, Life As a Painter Selections from His Career
JAMES KELLY CONTEMPORARY - PRESS RELEASE 550 S. Guadalupe St. - Santa Fe, NM 87501 - 505.989.1601 Oli Sihvonen Energy Fields, Life as a Painter Selections from His Career Opening Reception: Friday, February 10, 2012, 5:00-7:00 pm Exhibition Dates: February 10 – March 24, 2012 Contact: James Kelly: [email protected] Oli Sihvonen, “Ladder”, 1984, oil on canvas, 68 x 72 inches James Kelly Contemporary is pleased to present an exhibition of paintings by Oli Sihvonen (1921-1991). This exhibition will be the second presented by the Gallery, the first being a 2007 show of “Ellipse Paintings from the 1960s.” Oli Sihvonen was born in 1921 in Brooklyn, NY of Finnish ancestry. He attended classes at the Art Students League, New York, from 1938 to 1941, before serving in the U.S. Army in WWII. Upon his return to the U.S. after the war, Sihvonen entered the important Black Mountain College in North Carolina, where he met and became lifelong friends with people such as architect Buckminster Fuller, composer John Cage, dancer/choreographer Merce Cunningham and poet Robert Creeley. At Black Mountain College, Sihvonen studied with Josef Albers, former instructor at the Bauhaus, whose color theories had a lifelong influence on the artist’s work. In the late 1950s, Sihvonen moved to Taos, New Mexico, and became an influential member of the group of painters known as the Taos Moderns. He remained in Taos for more than a decade, after which he returned to New York where he lived and worked until his death in 1991. Sihvonen’s work is a kind of Hard-Edge painting, indebted to Albers and Piet Mondrian on the one hand, but also to Pierre Matisse. -
Painting and Sculpture from Classical Modernism to the Present Day
Opening Exhibition 23 May 2015 – 9 October 2016 Painting and Sculpture From Classical Modernism to the Present Day KUNSTMUSEUM LIECHTENSTEIN Dear Visitors, The Hilti Art Foundation annexe rings in a new era in the fifteenth year of Kunstmuseum Liechtenstein. The new exhibition building of the Hilti Art Foundation opens its doors to public on 23 May 2015. For Kunstmuseum Liechtenstein this means a substantial and lasting consolidation of the previous collaboration that has been in place with the Hilti Art Foundation since its foundation in 2000. Our thanks are due in particular to Michael Hilti, one of the key figures responsible for initiating Kunstmuseum Liechtenstein. A visible symbol of this bond is reflected in the design of the new building by the Basel-based architects Morger + Dettli, who designed the upright white cube as a counterpart to the horizontal black cube of the Kunstmuseum. The accord that exists between the two buildings both inside and out lends form to the sense of both togetherness and independence. Loans in special exhibitions, but particularly the large exhibition of the Hilti Art Foundation in 2005, gave visitors an impressive first glimpse of this private art collection comprising works from the late 19th century to the present. We very much look forward to the future permanent presence of this extra ordinary collection. The emphasis of the Hilti Art Foundation collection is the ideal complement to the state collection of Kunstmuseum Liechtenstein. A long-standing wish has thus been realised, that is, to showcase to the public threads of development in the history of art from the pioneers of modernism to our present day. -
Jan Henderikse to Infinity
press release JAN HENDERIKSE TO INFINITY Galerie Schoots + Van Duyse, Antwerp, and Kunstzolder.be, Lembeke Curator: Antoon Melissen JAN HENDERIKSE TO INFINITY Summary From 28 June to 27 September, Galerie Schoots + Van Duyse in 100 words and Kunstzolder.be are staging an exhibition in Antwerp by Dutch artist Jan Henderikse (Delft, 1937), curated by independent publicist-curator Antoon Melissen. Henderikse, co-founder of the Dutch Nul Group in 1961, already moved to Dusseldorf in 1959, at that time the cradle of the international ZERO movement. ‘Jan Henderikse - ZERO to Infinity’ features work both from the Nul period and from later, including the most recent work from 2015. Furthermore, several large assemblages made in 1965-1967 from the collection of the artist have never previously been exhibited. JAN HENDERIKSE TO INFINITY Consistent with the increasing interest and revaluation of the international ZERO movement, Galerie Schoots + Van Duyse and Kunstzolder.be are organizing a major presentation by Jan Henderikse in Antwerp. In 1961, Henderikse (together with Armando, Henk Peeters and Jan Schoonhoven), was co-founder of the Dutch Nul Group, the artists’ group that expressly sought contact with the international ZERO movement and its sympathizers. Since 2000, Henderikse has been working both in New York and in his studio in Antwerp and is thus, together with Paul van Hoeydonck, one of the last artists of the ‘ZERO generation’ still active in Belgium. Under the title ‘Jan Henderikse - ZERO to Infinity’, independent publicist-curator Antoon Melissen has compiled an exhibition that contrasts early work from the Nul era with new work. Several large assemblages made in 1965-1967 from the collection of the artist have never previously been shown and are premiered in the exhibition. -
Mainframe Experimentalism
MAINFRAME EXPERIMENTALISM Early Computing and the Foundations of the Digital Arts Edited by Hannah B Higgins and Douglas Kahn Q3 UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London 4 INFORMATION AESTHETICS AND THE STUTTGART SCHOOL Christoph Kllitsch In the mid-1960s, mainframe computer art emerged from an adventurous en counter among a new information aesthetic, political ideologies, and technical possibilities. In Stuttgart, new computer technology invited speculation about the nature of art, beauty, and mechanical production. Here a new generation of artist-scientists believed the computer would enable them to break with the speculative and subjective approach to making and evaluating art. The main frame Denkmaschirzen1 (thinking machines) offered users the limited computing capacities of the time, forcing the computer artist to program carefully, to use the resources as economically as possible, and, through an extreme economy of means, to break down visual problems into small, elegantly designed pieces. Through an analysis of the early work of a few members of the Stuttgart school, the artistic range of early mainframe computer art, as well as its rigorous theoretical basis, will be discussed. The chronological beginning of the Stuttgart school falls somewhere between December 1964, when an article titled "Statistische Graphik" (Statistical graphic) by Georg Nees appeared in the journal Grundlagenstudien aus Kybernetik und Geisteswissenschaft (GrKG; Fundamentals in cybernetics and humanities), and February 5, 1965, when the -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Yaacov Agam. Transformable - Transformables
1 [AGAM]..YAACOV AGAM. New York, Marlborough-Gerson Gallery 1966. 22x21. 52 pp. including 4 pages on one folding leaf. More than 70 photos and reproductions including 10 in colour. Pictorial wrappers. 200 2 [AGAM]..YAACOV AGAM. TRANSFORMABLE - TRANSFORMABLES. New York, Galerie Denise René, 1971. 26x21. 52 pp. + 6 opaque leaves with drawings. 76 photos, 26 full-page including 2 in colour, plus 12 portrait photos etc. Pictorial wrappers. Exhibition publication with introduction by Jean-Jacques Lévèque. 300 4 3 Alechinsky, Pierre / Christian Dotremont. ABSTRATES. Printed in Denmark (Copenhagen) by Permild & Rosengreen 1963. Colour lithograph 64x87 with text rendered in "tapuscrit. No. 14 of 25 numbered copies, signed in pencil by Alechinsky. This copy also has a pencil inscription "Pour mon ami Rune J. / Christian Dotremont" (to the Swedish artist Rune Jansson). Very weak damp streak in lower left corner, otherwise fine. A collaboration of the two Cobra co-founders consisting of a vivid colour print made by Alechinsky around a text by Dotremont. 5000 4 Alechinsky, Pierre. L'AVENIR DE LA PROPRIETÉ. (Paris), Yves Rivière, 1972. 31x21. 64 pp. + a loosely inserted colour etching signed by Alechinsky. 35 facsimile reproductions including 15 full- or double-page. A beautiful copy in pictorial covers with protective glassine wrapper, kept in the original decorated slipcase. No. 159 of 999 copies, signed by Alechinsky and Rivière. From the total edition of 999, this is one of 151 copies numbered 100-250 and provided with an original colour etching printed on an 18th-century manuscript leaf. The etching is signed by Alechinsky and numbered 59 (of 151 plus 16 H.C.