My Drawings and Paintings Were Done As an Act of Protest
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Global Demand for Italian Art: Milan Modern and Contemporary
Press release | Milan FOR IMMEDIATE R E L E A S E | 22 M a r c h 2 0 1 6 GLOBAL DEMAND FOR ITALIAN ART: MILAN MODERN AND CONTEMPORARY ALIGHIERO BOETTI (1940-1994) Mappa Executed in 1983 €800,000-1,200,000 Milan – Christie’s will present the annual sale of Milan Modern and Contemporary on 5 & 6 April 2016 at Palazzo Clerici, Milan. Following the strong results of last year’s auction, which was 100% sold in the evening section, realising over €20 million – a record for this category in Italy – and saw bidders from over 20 countries, this year continues to meet the ever-growing appetite for Italian art. The auction will offer a wide array of the great Post-War figures including Lucio Fontana, Alberto Burri, Enrico Castellani and Piero Manzoni; favourites from the Arte Povera canon – Alighiero Boetti, Pier Paolo Calzolari and Giulio Paolini; Pop art pioneers Mimmo Rotella and Tano Festa; as well as Modern classics by Gino Severini and Giacomo Balla. Highlights include an intricate and colourful embroidery, which forms part of Alighiero Boetti’s most famous ‘Mappe’ (Maps) series of artworks (1983, estimate: €800,000-1,200,000, illustrated above). Renato Pennisi, Director and Senior Specialist, Head of Sale, Christie's Italy: "We are pleased to present a rich array of works, which show the great variety of twentieth century Italian art movements. We are offering masterpieces ranging from early Futurism, Arte Povera icons through to the Masters of the Second World War - Fontana, Burri and Manzoni - and sections devoted to Pop art and Optical art." FUTURISMO: THE FIRST AVANT-GARDE Headlining the auction are a pair of works that epitomise the revolutionary nature of the Futurist movement; Gino Severini’s Tango Argentino (executed in 1913, estimate: €400,000- 700,000, pictured above) and Giacomo Balla’s Complesso colorato di frastuono + velocitá (c.1914, estimate: €400,000-600,000, pictured right) are presented alongside works by Roberto Marcello Iras Baldessari and Gerardo Dottori. -
AGOSTINO BONALUMI: All the Shapes of Space / 1959 - 1976 4 October – 15 November 2013
AGOSTINO BONALUMI: All the Shapes of Space / 1959 - 1976 4 October – 15 November 2013 ROBILANT + VOENA 38 Dover Street, London W1S 4NL First Solo Exhibition in the UK in over 50 years. Organized in cooperation with the Archivio Bonalumi. Exhibition curated and monograph edited by Francesca Pola under the supervision of the artist. Including over 20 works by Agostino Bonalumi alongside works by Fontana, Manzoni, Dadamaino and Castellani. Featuring loans from public and private collections, as well as works for sale. To include Blu Abitabile, 1967 – an installation not exhibited since 1970. Artist may be available for interview by special advance agreement. ROBILANT + VOENA are pleased to announce an exhibition of the Italian artist Agostino Bonalumi, opening in October at their London gallery. This long-overdue project will be the first solo presentation of this significant artist in the UK since 1960. Organized in cooperation with the artist and the Archivio Bonalumi, the exhibition will examine the work of Bonalumi during the 1960s and 1970s in relationship with the other artists of the Azimut group. The exhibition will bring together pivotal examples of Bonalumi´s shaped canvas with early experimental works by his friends and collaborators in the Azimut project: Enrico Castellani, Piero Manzoni, Dadamaino, and their guide Lucio Fontana. A selection of Bonalumi’s paintings from the beginning of the 60s to the late 70s, including some unpublished and never before exhibited canvases from Italian private collections, will form the core of the exhibition and will reaffirm the important role played by this internationally lesser known artist in the development of Modern Art in Italy. -
18ª Bienal De São Paulo
CATÁLOGO GERAL 18~ BIENAL INTERNACIONAL DE SÃO PAULO 4 de Outubro a 15 de .... 0::;;"'-<:;;, de 1985 G GERAL Fundação Bienal de São Paulo Pavilhão Engenheiro Armando Arruda Pereira Parque Ibirapuera . São Paulo· Brasil Patrocínio Oficial Governo Federal Presidente José Sarney Ministério da Cultura Aluísio Pimenta, Ministro Ministério das Relações Exteriores Olavo Egydio Setubal, Ministro Governo do Estado de São Paulo Governador André Franco Montara Secretaria de Estado da Cultura Jorge da Cunha Lima, Secretário Prefeitura do Municipio de São Paulo Prefeito Mário Covas Secretaria Municipal da Cultura Gianfrancesco Guarnieri, Secretário • 2 • Fundação Bienal de São Paulo Presidente Perpétuo Diretoria Executiva Francisco Matarazzo Sobrinho (1898/1977) Roberto Muylaert - Presidente Conselho de Honra Mário Pimenta Camargo 1- 10 Vice-Presidente Oscar P. Landmann - Presidente Pedro D'Alessio - 2.0 Vice-Presidente Luiz Femando Rodrigues Alves Henrique Pereira Gomes Luiz Diederichsen Villares João Augusto Pereira de Queiroz João Marino Stella Teixeira de Barros Conselho de Administração Thomaz Jorge Farkas José E. Mindlin - Presidente Comissão de Arte e Cultura Ermelino Matarazzo - Vice-Presidente Sábato Antonio Magaldi - Presidente Aldo Calvo João Marino - Representante da Benedito José Soares de Mello Pati Diretoria Executiva Ema Gordon Klabin Erich Humberg Casimiro Xavier de Mendonça Francisco Luiz de Almeida Salles Fábio Luiz Pereira de Magalhães Hasso Weiszflog Glauco Pinto de Moraes João Fernando de Almeida Prado Representante da Secretaria Municipal Justo Pinheiro da Fonseca de Cultura e .Associação Profissional Oscar P. Landmann de Artista Piásticos de S.P. Oswaldo Arthur Bratke Oswaldo Silva Luiz Diederichsen Villares Roberto Pinto de Souza Renina Katz Sábato Antonio Magaldi Representante da Associação Sebastião Almeida Prado Sampaio Profissional de Artistas Plásticos de S.P. -
Koen Vanmechelen
KOEN VANMECHELEN COSMOPOLITAN CHICKEN PROJECT - PLANETARY COMMUNITY CHICKEN Foundations MOUTH CC®P INDEX BIOCULTURAL DIVERSITY - KOEN VANMECHELEN ARTIST STATEMENT THE COSMOPOLITAN CHICKEN PROJECT THE IDEA THIS IS NOT A CHICKEN ART + CHICKEN = SCIENCE (1) EXHIBITIONS THE PLANETARY COMMUNITY CHICKEN THE IDEA THE NECESSITY OF COMBINING THE GLOBAL WITH THE LOCAL ART + CHICKEN = SCIENCE (2) EXHIBITIONS AND PROJECTS BELGIUM ZIMBABWE DETROIT ART AND SCIENCE ADDITIONAL DOCUMENTATION ARTIST BIOGRAPHY LABIOMISTA PRESS VIDEO REFERENCES PUBLICATIONS BIOCULTURAL DIVERSITY KOEN VANMECHELEN Domestication - CCP, 2011 © Koen Vanmechelen BIOCULTURAL DIVERSITY ARTIST STATEMENT My work is guided by the belief that every organism needs another organism to survive - and that only through diversity do we achieve adaptability and resilience. If there’s one secret in life, it’s that everything is dual. Chicken and egg, cause and effect, good and bad, construction and destruction: everything exists in relation to the Other. I see the chicken as a metaphor for man, and the egg both as a metaphor for the world and as a laboratory for the future. The egg is a protected environment and a source of life. It is also a cage, a restriction from which we have to break free. The chicken is the most domesticated animal in the world, indispensable to society. The chickens we know today are artificial human design constructs. Through a process of inbreeding, they have become indigenous breeds that reflect the cultural characteristics of a particular nation. I’m not sure we ought to create a frame around a living object. My art is an attempt to disrupt that process and think about a new kind of evolution. -
Else Alfelt, Lotti Van Der Gaag, and Defining Cobra
WAS THE MATTER SETTLED? ELSE ALFELT, LOTTI VAN DER GAAG, AND DEFINING COBRA Kari Boroff A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2020 Committee: Katerina Ruedi Ray, Advisor Mille Guldbeck Andrew Hershberger © 2020 Kari Boroff All Rights Reserved iii ABSTRACT Katerina Ruedi Ray, Advisor The CoBrA art movement (1948-1951) stands prominently among the few European avant-garde groups formed in the aftermath of World War II. Emphasizing international collaboration, rejecting the past, and embracing spontaneity and intuition, CoBrA artists created artworks expressing fundamental human creativity. Although the group was dominated by men, a small number of women were associated with CoBrA, two of whom continue to be the subject of debate within CoBrA scholarship to this day: the Danish painter Else Alfelt (1910-1974) and the Dutch sculptor Lotti van der Gaag (1923-1999), known as “Lotti.” In contributing to this debate, I address the work and CoBrA membership status of Alfelt and Lotti by comparing their artworks to CoBrA’s two main manifestoes, texts that together provide the clearest definition of the group’s overall ideas and theories. Alfelt, while recognized as a full CoBrA member, created structured, geometric paintings, influenced by German Expressionism and traditional Japanese art; I thus argue that her work does not fit the group’s formal aesthetic or philosophy. Conversely Lotti, who was never asked to join CoBrA, and was rejected from exhibiting with the group, produced sculptures with rough, intuitive, and childlike forms that clearly do fit CoBrA’s ideas as presented in its two manifestoes. -
Jaarverslag 2017 Jaarverslag
Jaarverslag 2017 Jaarverslag 2017 Stichting Nederlands Literatuurmuseum en en Literatuurarchief Literatuurmuseum Stichting Nederlands Literatuurarchief Prins Willem-Alexanderhof 5 2595 BE Den Haag Postbus 90515, 2509 LM Den Haag telefoon 070 333 9666 Op de hoogte blijven? Volg ons: @litmuseum en/of @kinderboekenmus Stichting Nederlands Literatuurmuseum en www.literatuurmuseum.nl www.kinderboekenmuseum.nl Literatuurarchief Voorwoord 5 Aanwinsten 7 Archief Literatuurmuseum.nl 10 Onderzoek en wetenschap 13 Publicaties 14 6 Bruiklenen 15 Erfgoedinspectie en plannen 15 Literatuurmuseum en Tentoonstellingen 17 Educatie 21 Kinderboekenmuseum Evenementen 24 Marketing en Publieksbereik 28 16 Samenwerking 32 Organisatie Raad van Toezicht 36 Personeel 36 35 Financiën en cultureel Ondernemerschap 41 Huisvesting 41 ondernemerschap Prestatiedoelstellingen 41 39 Aanwinsten 42 Bijlagen Schenkers en bruikleengevers 48 42 Voorwoord at een jaar en wat een hoog bezoekcijfer: Met de komst van een hoofd Collecties W101.014 om precies te zijn. Ruim 50 % per 1 februari 2018 zullen deze plannen meer dan het aantal bezoekers van vorig jaar. voortvarend worden uitgevoerd. Het feit dat Een geweldige prestatie, vooral ook omdat de het museum nog altijd kampt met financiële gemiddelde toename van het museumbezoek in problemen als gevolg van de forse structurele Nederland 8,7% bedroeg. bezuinigingen in 2012 zullen we maar modieus als een ‘uitdaging’ typeren. Het is natuurlijk maar de vraag of deze aantallen in 2018 geconsolideerd kunnen De huisvesting ten slotte legde ook in het worden. Daar zullen we niettemin hard aan verslagjaar een groot beslag op de tijd. werken. De cijfers zijn in ieder geval een Bovendien frustreerde de onzekerheid op bemoedigende steun in de rug om de ingeslagen huisvestingsgebied de bedrijfsvoering in weg te vervolgen. -
2021 - 1 / Februari
2021 - 1 / februari nieuws- en informatieblad BELANGRIJKE DATA • Schriftelijke ALV, reageren op stukken vóór 15 maart, zie pag. 6. IN DIT NUMMER • 10 jaar Rond 1900 (pag. 2). • Van de voorzitter (pag. 3). • Uitstel excursies (pag. 5). • Uitnodiging schriftelijke algemene ledenvergadering (ALV) (pag. 6). • Gezocht: werk van Johanna van Eijbergen (pag. 7). • Vrouwelijke kunstenaars rond 1900 (pag. 8). • Adco, Erica, Irene en Confido en de NV Groninger Steenfabrieken (pag. 14). • Nieuwe kunstenaarsmonografieën: Jan Willem (Willy) Sluiter (pag. 21) en NV Hengelosche Trijpweverij (pag. 24). • Kunst bij huis: Het dressoir van C.A. Lion Cachet (pag. 28). • Uitgelicht Drents Museum: Dromerige verstilling in het werk van Johan Cohen Gosschalk (pag. 30). • Korte mededelingen (pag. 31). • Boekbesprekingen: Art nouveau in Amsterdam (pag. 32) en Liebermann in Amsterdam (pag. 37). • Nieuwe uitgaven (pag. 39). • Digitale presentaties van enkele Nederlandse musea (pag. 42). • Tentoonstellingsagenda (pag. 44). VERENIGINGVVNK Nieuwsbrief 2021 nr 1 VRIENDENpagina 1 NIEUWE KUNST 1900 10 JAAR ROND 1900 werd vroeg het bestuur in 2009 om de nieuwsbrief als A5-boekje en in kleur vorm te geven. Het eerste nummer verscheen Eef de Hilster in december 2009 maar heette toen nog Nieuwsbrief. Voor u ligt de 49e editie van de Rond In 2010 vond ik dat de nieuwsbrief 1900. Februari 2011 – nu 10 jaar geleden wel eens een eigen naam en logo mocht - verscheen het nieuws- en informatieblad hebben. Daarvoor heb ik het bestuur een van de VVNK voor het eerst onder de naam paar suggesties voorgelegd waaronder de Rond 1900. versie waar u nu al 10 jaar aan gewend bent. Als vormgever ben ik sinds het voorjaar In deze 10 jaar is de voornaamste wijziging van 2007 betrokken bij de productie van dat het blad dikker is geworden. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details The Everyday Practice and Performance of European Politics: An Ethnography of the European Parliament. Amy Busby Candidate Number: 58390 Registration Number: 20913681 Supervisors: Prof Paul Taggart & Dr Jon Mitchell Thesis Submitted for the Degree of Doctor of Philosophy in Contemporary European Studies University of Sussex August 2013 Statement: I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature: 2 Acknowledgements: In this thesis, an understanding of ethnographers as bricoleurs is presented. The researcher is understood as a jack-of-all-trades and research as an interactive process shaped by the setting and participants at that moment. Much of this can also be said of the doctoral process and experience. This thesis has been shaped by the people and places I have encountered during my journey which could not have been completed without the support, faith, and goodwill of those I would like to thank here. -
CHARLES HENRI MARIE VAN WIJK (The Hague 1875 – the Hague 1917)
CHARLES HENRI MARIE VAN WIJK (The Hague 1875 – The Hague 1917) Oude Vrouw haar Linnen Verstellende (Old Woman Mending her Linen) signed, inscribed, and dated CH.V. Wyk SCULPT 9 (?) on the base bronze, golden-brown patina 5 height: 15 ¼ inches (39.4 cm.), width: 8 /8 1 inches (22.5 cm.), depth: 12 /16 inches (31.4 cm.) PROVENANCE Private Collection, Illinois, until 2015 RELATED LITERATURE B.L. Voskuil, Jr., Tentoonstelling van bronzen door Charles van Wijk, Amsterdam, October 1901, no. 13, unpaginated Frank Buffa en Zonen, Tentoonstelling van beeldhouwwerken door Charles van Wijk, Amsterdam, 1910, no. 17 Maatschappij Arti et Amicitae, Amsterdam, 1911, no. 251 Veiling Nalatenschap Charles van Wijk, Kunstzaal Kleykamp, The Hague, November 27, 1917, lot 23 Helena Stork, “Oudje (of ‘Verstelwerk’)” in Charles van Wijk, exhibition catalog, Katwijks Museum, Katwijk, July 3 - September 25, 1999, p. 67 Charles van Wijk’s (or Wyk) practical training began in the foundry of his father Henry B. van Wijk in The Hague. Van Wijk’s skills in sculpting were obvious from a young age and encouraged by his father. Drawing lessons began with his uncle Arie Stortenbeker, an amateur painter, and at the age of twelve he was enrolled at the Royal Academy of Arts in The Hague. The chief instructor was the Belgian sculptor Antoine ‘Eugene’ Lacomblé who taught Van Wijk the art of modeling. The painter Fridolin Becker, another professor at the academy during this period, was also influential. Throughout his formal studies he continued to work in his father’s shop. After completing his schooling, Van Wijk was granted an internship at the famous Parisian foundry F. -
The Late Walasse Ting
Jul 01, 2011 10:34 +08 The Late Walasse Ting Renowned Chinese-Western visual artist and poet, Walasse Ting, departed peacefully on May 17, 2010 from a severe brain hemorrhage since 2002 at a tender age of 80 years old. He was formerly known as Ding Xingquan. Completely self-taught, his signature style is a beautiful fusion of Western art and his Chinese roots. Ting’s paintings were that of Chinese calligraphic black outlines, with fluorescent colors where subjects usually consisted of nude women and cats, birds and other animals. Having briefly studied at Shanghai Art Academy, Ting travelled to France in 1946 where he lived as a struggling poor artist for the next 6 years. It was during this time that he changed his name to Walasse, adopting the last three letters of the Fauvist icon’s name, Henri Matisse whose works he had encountered. The first few years in Paris saw Ting forging a close friendship with Pierre Alechinsky, a Belgian painter who acquainted him with the momentary but significant northern European avant-garde artists’ group CoBrA, which included members like Karel Appel and Asger Jorn. During this period, Ting was highly exposed to Abstract Expressionism and works of Pablo Picasso, which shaped him as an artist to be. The highlight of Ting’s career was in 1964 when he befriended abstract expressionist painter and print maker, Sam Francis whom he was highly influenced by. Together, they worked on “One Cent Life”, a collection of 62 lithographs from 28 artists including famous Andy Warhol, Roy Lichtenstein, Tom Wesselmann, James Rosenquist, Asger Jorn, and Karel Appel. -
JOURNAL Studio Koen Vanmechelen Genk N°2 05 JUL 19
1 LABIOMISTA JOURNAL N°2 Studio Koen Vanmechelen Genk 05 JUL 19 LABIOMISTA 4 HET VERLANGEN Een diepgaande en unieke kruisbestuiving tussen LABIOMISTA, kunstenaar en stad, mens en maatschappij NIEUW DNA VOOR HET ONVERMIJDELIJKE IS HET STERKST. DE WERELD ZO IS LABIOMISTA GEBOREN Interview met Koen Vanmechelen Vervellen en een nieuw pantser krijgen maakt je niet alleen en Wim Dries sterker maar ook divers en vruchtbaar. Dit gebeurde niet alleen met mijn kosmopolitische kip maar ook met mezelf. 8 Van individueel kunstenaar in mijn eigen huis en tuin GLOBAL OPEN FARMS, transformeerde ik naar actueel kunstenaar in mijn atelier THE PROTOTYPE aan de kanaalkom in Hasselt om ten slotte te ‘landen’ op Thuis bij Koen en Inge een universele site, LABIOMISTA, in Genk. Vanmechelen-Kindt in Een echte mijlpaal, en dit op een gewonde plaats, niet Oudsbergen alleen door het sluiten van de voormalige mijn en dierentuin maar ook door het opentrekken van de aarde om de energie 14 naar onze huiskamers te leiden. SOTWA, EEN GESCHENK Energie die is blijven plakken in ons collectieve geheugen. DAT BLIJFT DUREN Een bron van kennis, gekenmerkt door de littekens van 15 de tijd. Littekens zijn mooi en maken emoties zichtbaar, ARCHITETTO DI LABIOMISTA ze communiceren en stellen vragen. Ik heb het gevoel dat mijn Intervista a Mario Botta werk zoekt naar deze vragen. Waardoor een eeuwigdurende beweging ontstaat, een soort perpetuum mobile. Aantrekken 18 en afstoten, of noem het passie. LABIOMISTA is een huwelijk VAN NIEUWSGIERIGHEID tussen natuur en cultuur, stad en kunstenaar, heden en EN GENEROSITEIT verleden, maar vooral een visie over een mogelijke nieuwe Door Geerdt Magiels samenleving. -
Lynn Chadwick
Lynn Chadwick 1914-2003 Born in London, UK Lived and worked in the UK SELECTED SOLO & TWO-MAN EXHIBITIONS 2019 Sculpture at RHS Wisley, Surrey, UK (forthcoming) Alberto Giacometti: A Line Through Time, Vancouver Art Gallery, CA (forthcoming) Beast of the Times, The Georg Kolbe Museum, Berlin, DE (forthcoming) 2018 GIACOMETTI-CHADWICK: FACING FEAR, Museum de Fundatie, Zwolle, NL Lynn Chadwick at Le Bristol, Le Bristol, Paris, FR Beasts, Sainsbury Centre for Visual Arts, Norwich, UK Lynn Chadwick at Cliveden, The National Trust’s Cliveden, Buckinghamshire, UK 2017 Lynn Chadwick, Ashmolean Museum, Oxford, UK (ongoing) 2016 Lynn Chadwick, The Rotunda, One Exchange Square, Hong Kong, HK (organised by McNamara Art Projects) 2015 Conjunction: Lynn Chadwick and Geoffrey Clarke, Pangolin London, London, UK Lynn Chadwick, Skulturenpark Wuppertal, Wuppertal, DE Lynn Chadwick -Draughtsman, Gallery Pangolin, Chalford, UK Lynn Chadwick, Retrospective for Two Gardens, Bardini Gardens and Boboli Gardens, Florence, IT Lynn Chadwick, Tremenheere Sculpture Gardens, Penzance, UK 2014 The Maker’s Studio, Museum in the Park, Gloucestershire, UK Lynn Chadwick a Centenary Exhibition, Osborne Samuel, London, UK Lynn Chadwick, Blain|Southern, London, UK Lynn Chadwick, Blain|Southern, Berlin, DE Lynn Chadwick, Blain|Di Donna, New York, US Lynn Chadwick RA, Royal Academy of Arts Courtyard, London, UK 2013 Lynn Chadwick. Evolution in Sculpture, Abbott Hall and Blackwell Arts and Crafts House, Cumbria, UK 2012 Lynn Chadwick. The Complete Candelabra 1959-1996, Willer, London, UK Lynn Chadwick, Beaux Arts, London, UK 2011 Lynn Chadwick: The Couple 1954-1990, Pangolin London, London, UK Lynn Chadwick (with David Farrell photographs), Osborne Samuel, London, UK Lynn Chadwick.