30041 Inventaris Van Het Archief Van Het Stedelijk Museum
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University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Masterthes R.B.Fokker
Masterthesis Richard Fokker Studentnummer 3037142 Willem de Kooning en de Grote Verhalen Kunstgeschiedenis UU 2010 Begeleidend docent Dr. Hestia Bavelaar Moderne en Eigentijdse Kunst 2 Omslagfoto (z.j.): Bert Stern (1929). Willem de Kooning poseert voor Suburb in Havanna uit 1958, olieverf op doek, 203,2 x 177,8 cm. 3 WILLEM DE KOONING EN DE GROTE VERHALEN Masterthesis Richard Fokker Studentnummer 3037142 Kunstgeschiedenis UU 2010 Begeleidend docent Dr. Hestia Bavelaar Moderne en Eigentijdse Kunst 4 INHOUDSOPGAVE VOORWOORD ........................................................................................... 5 INLEIDING .................................................................................................. 6 HOOFDSTUK 1 ROTTERDAM - NEW YORK ........................................ 10 HOOFDSTUK 2 KUNST EN VLIEGWERK .............................................. 21 HOOFDSTUK 3 WILLEM SANDBERG EN WILLEM DE KOONING ... 40 HOOFDSTUK 4 EDY DE WILDE EN WILLEM DE KOONING ............ 61 CONCLUSIES .............................................................................................. 82 LITERATUURLIJST ................................................................................... 86 BIJLAGEN ................................................................................................... 89 5 VOORWOORD Bij deze dank ik de medewerkers van de archieven van het Van Abbemuseum Eindhoven en het Stedelijk Museum Amsterdam voor hun inspanningen, onmisbaar voor de totstandkoming van deze masterthesis. Mijn dank gaat tevens -
Oral History Interview with Anne Wilson, 2012 July 6-7
Oral history interview with Anne Wilson, 2012 July 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Transcription of this oral history interview was made possible by a grant from the Smithsonian Women's Committee. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Anne Wilson on July 6 and 7, 2012. The interview took place in the artist's studio in Evanston, Illinois, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Anne Wilson and Mija Riedel have reviewed the transcript. Their heavy corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Anne Wilson at the artist's studio in Evanston, Illinois, on July 6, 2012, for the Smithsonian Institution's Archives of American Art. This is disc number one. So, Anne, let's just take care of some of the early biographical information first. You were born in Detroit in 1949? ANNE WILSON: I was. MS. RIEDEL: Okay. And would you tell me your parents' names? MS. -
Floriade , Verleden, Heden En Toekomst. Een Analyse Van Het Grootste Evenement Van Nederland
Floriade , verleden, heden en toekomst. Een analyse van het grootste evenement van Nederland 5-10-2015 International Destination Strategies Floriade , verleden, heden en toekomst. Inleiding Pagina 2 1. Floriade 1960 Rotterdam 3 2. Floriade 1972 Amsterdam 3-4 3. Floriade 1982 Amsterdam 5-6 4. Floriade 1992 Zoetermeer 7-9 5. Floriade 2002 Hoofddorp 10-13 6. Floriade 2012 Venlo 14-17 7. De bouw kosten van het tentoonstelling platform voor een Floriade 18-20 8. De Floriade en de begrippen “omzet, verlies en winst” 21-23 9. De oorzaken van dalende bezoekersaantallen van Floriade’s sinds 1992 24-31 10. De economische motivatie om een Floriade te organiseren 32-34 11. Financiële en organisatorische evaluaties van Floriades 35-37 12. De NTR 38-40 13. De kandidaten Floriade 2022 41 14. De politieke motivatie om een Floriade te organiseren 42 15. De Floriade 2022 Almere 43-49 16. De toekomst van de Floriade 50 Slotopmerkingen 51 Uitgave 4, Oktober 2015 Pagina 1 Floriade , verleden, heden en toekomst. Inleiding De Floriade is het grootste evenement met betalende bezoekers van Nederland en tevens de enige door de BIE (Bureau International des Exposition, Paris) erkende wereldtentoonstelling, welke elke 10 jaar in ons land plaats vindt. De afgelopen 34 jaar is ondergetekende in diverse functies betrokken geweest bij de Floriades 1982, 1992, 2002 en 2012. Mede op basis van deze ervaring is dit document opgesteld. Het doel van het document is een beter inzicht te geven in de problematieken welke spelen met betrekking tot de organisatie van een Floriade en hoe deze worden veroorzaakt. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
'Netherlands Bauhaus – Pioneers of a New World
⏲ 05 February 2019, 11:42 (CET) ‘netherlands bauhaus – pioneers of a new world’ 9 February – 26 May 2019 Images and captions ‘netherlands bauhaus’, with over 800 Bauhaus objects, opens this weekend. It is the final major exhibition at Museum Boijmans Van Beuningen before its renovation. On the opening day – Saturday, February 9 – admission to the museum is free for everyone. Prior to the large-scale renovation of the museum building in Rotterdam, Museum Boijmans Van Beuningen is staging one last major exhibition in the 1500-square-metre space of the Bodon Gallery. In 2019 it is the centenary of the founding of the Bauhaus, the legendary art and design school that still has a palpable influence on contemporary design and architecture. ‘netherlands bauhaus – pioneers of a new world’ offers a unique insight into the inspiring interaction between the Netherlands and the Bauhaus. It lays bare the ‘netherlands bauhaus’ network in a large-scale survey, with over 800 objects and works of art. The exhibition is accompanied by a volume of 20 essays about the ‘netherlands bauhaus’ connections and an interactive digital tour. Bauhaus-related events are also being staged throughout Rotterdam. The exhibition will be opened by Said Kasmi, the City of Rotterdam’s Alderman for Culture, on the evening of Friday, 8 February. This is followed by Museum Boijmans Van Beuningen’s open day on Saturday, 9 February, when besides ‘netherlands bauhaus’, the exhibitions ‘When the Shutters Close: Highlights from the Collection’ and ‘Co Westerik: Everyday Wonder’ can be visited for free. Mienke Simon Thomas, Curator of Applied Art and Design: “This exhibition about the influence of the Bauhaus is a great fit with Museum Boijmans Van Beuningen and with Rotterdam: it exudes ambition, underscores the importance of cooperation and is distinctly colourful.” The exhibition Through works of art, furniture, ceramics, textiles, photographs, typography and architecture, ‘netherlands bauhaus – pioneers of a new world’ reveals the influence of the Bauhaus in the Netherlands, and vice-versa. -
Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c. -
Floriade. Verleden, Heden En Toekomst. Een Casestudie Van Een Nederlandse Wereld Tuinbouw Tentoonstelling
Floriade. Verleden, heden en toekomst. Een casestudie van een Nederlandse Wereld Tuinbouw Tentoonstelling. 1-6-2016 FLORIADE. VERLEDEN, HEDEN EN TOEKOMST. INHOUD 1. Inleiding ......................................................................................................................................................... 3 2. Samenvatting. ................................................................................................................................................ 4 3. De Internationale Bloemententoonstellingen Flora. .................................................................................... 12 4. De Floriade 1960. ......................................................................................................................................... 13 5. Floriade 1972 Amsterdam ............................................................................................................................ 14 6. Floriade 1982 Amsterdam ............................................................................................................................ 16 7. Floriade 1992 Zoetermeer ............................................................................................................................ 19 8. “Lessons learned” van Floriade 1992 ........................................................................................................... 24 9. Floriade 2002 Hoofddorp ............................................................................................................................ -
Kunst in Opdracht Zevende Expositie | Art Fund Nyenrode | Januari - Mei 2017 Een Unieke Selectie Uit De Kunstcollectie Van Postnl
Kunst in Opdracht zevende expositie | Art Fund Nyenrode | januari - mei 2017 een unieke selectie uit de kunstcollectie van PostNL 1 Kunst en Nyenrode Het organiseren van kunstexposities op Nyenrode is onder de naam Art Fund Nyenrode begonnen als een klein initiatief van een bescheiden groep alumni, twee jaar geleden. Zij toonden zich enthousiaste kunstliefhebbers met veel ambitie en organiseerden destijds de eerste tentoonstelling met foto’s verzameld door een Nyenrode alumnus. Er had in de jaren daarvoor geen kunst gehangen aan de muren van het Albert Heijn gebouw, dus werden her en der aanpassingen gedaan Kunst in Opdracht om de ruimtes geschikt te maken voor exposities. Het bleek een dankbare investering want de Kunstzinnig verleden en heden ene tentoonstelling volgde de andere op. Museale stukken en soms zelfs kwetsbare kunstuitingen waren op onze gangen plotseling te bewonderen. Een aantal studenten ging zich verdiepen in de tentoongestelde kunst en ontpopten zich als gidsen We zijn zeer verheugd om met deze inmiddels zevende Art Fund Nyenrode tentoonstelling een voor de bezoekers. Dat was ook nieuw. Dit op zich was al een uitzonderlijke prestatie maar daar bedrijfskunstcollectie van een van Nyenrode’s Founding Father te kunnen tonen. Om juister te zijn bleef het niet bij. Het aanbod was zo interessant dat lezers van de Volkskrant zich in een oogwenk van een rechtsopvolger van de ‘Dienst der P.T.T.’, die in 1946 één van de 39 grondleggers was van wat inschreven voor exclusieve rondleidingen. Nyenrode werd een kleine galerie waarbij sommige kunst destijds het Nederlands Opleidings-Instituut voor het Buitenland heette. Nu inmiddels uitgegroeid tot ook te koop was – en ook gekocht werd. -
Sheila Hicks CV
SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2018 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018. Sheila Hicks: Send Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019. Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018. 2017 Sheila Hicks: Glossolalia, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, April 1 – November 5, 2017. Sheila Hicks: Hilos Libres. El Textil y Sus Raíces Preshispánicas, 1954-2017, Museo Amparo, Puebla, Mexico, November 4, 2017 – April 2, 2018. Sheila Hicks: Stones of Piece, Alison Jaques Gallery, London, England, October 4 – November 11, 2017. Sheila Hicks: Hop, Skip, Jump, and Fly: Escape from Gravity, High Line, New York, New York, June 2017 – March 2018. Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1 – May 20, 2018. 2016 Si j’étais de laine, m’accepteriez-vous?, galerie frank elbaz, Paris, France, September 10 – October 15, 2016. Apprentissages, Festival d’Automne, Musée Carnavalet, Paris, France, September 13 – October 2, 2016; Nanterre-Amandiers, Paris, France, December 9 – 17, 2016. Sheila Hicks: Material Voices, Joslyn Art Museum, Omaha, Nebraska, June 5 – September 4, 2016; travels to: Textile Museum of Canada, Toronto, Canada, October 6, 2016 – February 5, 2017. Sheila Hicks: Why Not?, Textiel Museum, Tilburg, The Netherlands, March 5 – June 5, 2016. -
NGA | 2017 Annual Report
N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M. -
The Urban and Cultural Climate of Rotterdam Changed Radically Between 1970 and 2000. Opinions Differ About What the Most Importa
The urban and cultural climate of Rotterdam changed radically between 1970 and 2000. Opinions differ about what the most important changes were, and when they occurred. Imagine a Metropolis shows that it was first and foremost a new perspective on Rotterdam that stimulated the development of the city during this period. If the Rotterdam of 1970 was still a city with an identity crisis that wanted to be small rather than large and cosy rather than commercial, by 2000 Rotterdam had the image of the most metropolitan of all Dutch cities. Artists and other cultural practitioners – a group these days termed the ‘creative class’ – were the first to advance this metropolitan vision, thereby paving the way for the New Rotterdam that would begin to take concrete shape at the end of the 1980s. Imagine a Metropolis goes on to show that this New Rotterdam is returning to its nineteenth-century identity and the developments of the inter-war years and the period of post-war reconstruction. For Nina and Maria IMAGINE A METROPOLIS ROTTERDAM’S CREATIVE CLASS, 1970-2000 PATRICIA VAN ULZEN 010 Publishers, Rotterdam 2007 This publication was produced in association with Stichting Kunstpublicaties Rotterdam. On February 2, 2007, it was defended as a Ph.D. thesis at the Erasmus University, Rotterdam. The thesis supervisor was Prof. Dr. Marlite Halbertsma. The research and this book were both made possible by the generous support of the Faculty of History and Arts at the Erasmus University Rotterdam, G.Ph. Verhagen-Stichting, Stichting Kunstpublicaties Rotterdam, J.E. Jurriaanse Stichting, Prins Bernhard Cultuurfonds Zuid-Holland and the Netherlands Architecture Fund.