View allAll Photos Tagged Penck
Born Ralf Winkler in Dresden, Germany in 1939, A.R. Penck is the pseudonym for the artist, a name he used as he attempted to go under the radar to exhibit his artworks for the international audience while being actively pursued by the East Germany communist regime. His relationship with Galerie Michael Werner is significant, as it was this gallery where Penck would have his first public one-man show in 1969.
Penck’s paintings are known by its flat and pictographic imagery of human figures seen in Egyptian hieroglyphs—what the critics called “neo-primitivist”—and other totemic forms. His early works suggest influence from Picasso, but having been turned down by academies in Dresden and East Berlin in his academic years, his work is different than those with more formal attitudes.
Besides art, Penck also has his love for jazz music. A keen drummer, he took every opportunity to play with the best jazz musicians of the late 1980s. His love for music has obvious influence, as his paintings also often feature lively improvisation of forms and compositions.
A.R. Penck lives and works in Berlin, Düsseldorf, Dublin and New York.
A.R. Penck
City of Memories, 2005
Acrylic on canvas
63 x 78 3/4 inches
160 x 200 cm
# A.R. Penck
en.wikipedia.org/wiki/A._R._Penck
www.moma.org/collection/artist.php?artist_id=4546
# Michael Werner Gallery
4 East 77th Street
New York, NY 10075
USA
22 Upper Brook Street
London W1K 7PZ
United Kingdom
# SML Data
+ Date: 2013-05-23T16:11:00+0800
+ Dimensions: 3663 x 2938
+ Exposure: 1/30 sec at f/4.0
+ Focal Length: 36 mm
+ ISO: 100
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40mm f/4L USM
+ GPS: 22°16'58" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.13897
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Painting by A.R. Penck (Ralf Winkler): City of Memories, 2005 (Acrylic on canvas)” / Michael Werner Gallery / Art Basel Hong Kong 2013 / SML.20130523.6D.13897
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #painting #acrylic #ARPenck #Penck #MichaelWerner #GalerieMichaelWerner #Germany #DE
Expo KEITH HARING hasta el 27 de Septiembre 2012.
Galería de Arte Centro Extensión UC.
Alameda 390, Santiago (Chile)
Lunes a Sábado de 10 a 20 hrs. / Entrada Liberada.
-------
KEITH HARING (1958 - 1990)
Desde muy pequeño empezó a dibujar inspirándose en los dibujos animados de la televisión. Estudió arte en la Ivy School of Art de Pittsburgh, donde comenzó a hacer serigrafías para imprimir en camisetas. Y posteriormente continúo sus estudios en la Escuela de Artes Visuales de Nueva York durante 1978 y 1979, donde estuvo influenciado por Keith Sonnler y Joseph Kossuth que le animaron a formarse como artista conceptual tras la experimentacion con la forma y el color.
En el verano de 1979 realizó una performance titulada Poetry-Word-Things, en el Club 57 de Manhattan. En 1980 comenzó a hacer grafitis, dibujando con rotulador imágenes similares a dibujos animados sobre anuncios en el metro de Nueva York. Más tarde le siguieron unas historietas dibujadas con tiza blanca sobre los paneles negros del metro reservados para publicidad. Fue arrestado en varias ocasiones por dañar la propiedad pública.
Keith Haring intentó combinar en su obra el arte, la música y la moda, rompiendo barreras entre estos campos. La iconografía era una mezcla de elementos sexuales con platillos volantes, personas y perros, animales y figuras danzando; a los que se añadieron más tarde figuras corriendo, bebés gateando, halos, pirámides, televisiones, teléfonos y referencias a la energía nuclear; el tratamiento de Keith Haring de temas como el poder y el miedo a la tecnología sugiere angustia y refleja su inquietud moral. Su primera exposición individual fue en la galería Tony Shafrazi de Nueva York, en 1982.
Perro rojo (1985), escultura ubicada en Ulm, Baden-Württemberg, Alemania.
El soporte pictórico que utilizaba Haring era variado y accesible (papel, fibra de vidrio, lienzo, piezas de acero esmaltado, camisetas, vasos y vaciados en escayola de obras de arte conocidas); sus fuentes son el arte esquimal, africano, maya y de los aborígenes, así como la caligrafía china, los all-over de Alechinsky, Andy Warhol y Mark Tobey, a partir de los cuales evolucionó hacia su estilo semiabstracto característico, una especie de new wave azteca que recuerda a Pollock y a Penck. Gruesas líneas negras bordean figuras esquemáticas en unas composiciones dominadas por un horror vacui evidente que vibran con una energía irresistible y llamativa. El estilo de Haring refleja el ethos de la generación pop y de la cultura callejera del East Village (Manhattan). Intentó plantear las cosas de la manera más simple posible. Como Warhol, Haring abrazó la cultura demótica, es decir, una combinación de moda, arte y música, rompiendo barreras entre estas manifestaciones para darles una mayor extensión; este factor es básico para entender su éxito comercial en todo el mundo, en varios géneros, incluyendo murales, escultura, posters y pintura corporal.
En 1986 pintó un trozo del muro de Berlín. En ese mismo año abrió la boutique Pop Shop, en la que vendía sus productos. En 1989 creó la Fundación Keith Haring cuyo objetivo es luchar por la solución de los problemas sociales. Murió víctima del sida en Nueva York, el 16 de febrero de 1990.
--------
más graff nacional en:
www.facebook.com/LosMurosNosHablan
entrevistas - videos - informaciones - opiniones + fotos
contacto: leoncalquin@gmail.com
Expo KEITH HARING hasta el 27 de Septiembre 2012.
Galería de Arte Centro Extensión UC.
Alameda 390, Santiago (Chile)
Lunes a Sábado de 10 a 20 hrs. / Entrada Liberada.
-------
KEITH HARING (1958 - 1990)
Desde muy pequeño empezó a dibujar inspirándose en los dibujos animados de la televisión. Estudió arte en la Ivy School of Art de Pittsburgh, donde comenzó a hacer serigrafías para imprimir en camisetas. Y posteriormente continúo sus estudios en la Escuela de Artes Visuales de Nueva York durante 1978 y 1979, donde estuvo influenciado por Keith Sonnler y Joseph Kossuth que le animaron a formarse como artista conceptual tras la experimentacion con la forma y el color.
En el verano de 1979 realizó una performance titulada Poetry-Word-Things, en el Club 57 de Manhattan. En 1980 comenzó a hacer grafitis, dibujando con rotulador imágenes similares a dibujos animados sobre anuncios en el metro de Nueva York. Más tarde le siguieron unas historietas dibujadas con tiza blanca sobre los paneles negros del metro reservados para publicidad. Fue arrestado en varias ocasiones por dañar la propiedad pública.
Keith Haring intentó combinar en su obra el arte, la música y la moda, rompiendo barreras entre estos campos. La iconografía era una mezcla de elementos sexuales con platillos volantes, personas y perros, animales y figuras danzando; a los que se añadieron más tarde figuras corriendo, bebés gateando, halos, pirámides, televisiones, teléfonos y referencias a la energía nuclear; el tratamiento de Keith Haring de temas como el poder y el miedo a la tecnología sugiere angustia y refleja su inquietud moral. Su primera exposición individual fue en la galería Tony Shafrazi de Nueva York, en 1982.
Perro rojo (1985), escultura ubicada en Ulm, Baden-Württemberg, Alemania.
El soporte pictórico que utilizaba Haring era variado y accesible (papel, fibra de vidrio, lienzo, piezas de acero esmaltado, camisetas, vasos y vaciados en escayola de obras de arte conocidas); sus fuentes son el arte esquimal, africano, maya y de los aborígenes, así como la caligrafía china, los all-over de Alechinsky, Andy Warhol y Mark Tobey, a partir de los cuales evolucionó hacia su estilo semiabstracto característico, una especie de new wave azteca que recuerda a Pollock y a Penck. Gruesas líneas negras bordean figuras esquemáticas en unas composiciones dominadas por un horror vacui evidente que vibran con una energía irresistible y llamativa. El estilo de Haring refleja el ethos de la generación pop y de la cultura callejera del East Village (Manhattan). Intentó plantear las cosas de la manera más simple posible. Como Warhol, Haring abrazó la cultura demótica, es decir, una combinación de moda, arte y música, rompiendo barreras entre estas manifestaciones para darles una mayor extensión; este factor es básico para entender su éxito comercial en todo el mundo, en varios géneros, incluyendo murales, escultura, posters y pintura corporal.
En 1986 pintó un trozo del muro de Berlín. En ese mismo año abrió la boutique Pop Shop, en la que vendía sus productos. En 1989 creó la Fundación Keith Haring cuyo objetivo es luchar por la solución de los problemas sociales. Murió víctima del sida en Nueva York, el 16 de febrero de 1990.
--------
más graff nacional en:
www.facebook.com/LosMurosNosHablan
entrevistas - videos - informaciones - opiniones + fotos
contacto: leoncalquin@gmail.com
A 1953 VW Beetle Formed into a Perfect Sphere
This work is by Indonesian artist Ichwan Noor (b. 1963), an artist born in Jakarta and studied at the Indonesian Art Institute, Yogyakarta. He got his idea of this piece from his personal perception that objects are products of a transportation culture, which induced hints and signs of spiritual emotion.
Ichwan Noor
Beetle Sphere, 2013
Aluminium, polyester, real parts from VW beetle '53, paint
180 x 180 x 180 cm
# Ichwan Noor
www.artbaselhongkong-online.com/?Action=showProduct&i...
www.mondecor.com/kuratorial/ichwan-noor-solo-exhibition-e...
# Art:1 by Mondecor Gallery
Jl. Rajawali Selatan Raya no. 3
Jakarta 10720
Indonesia
A SURVEY OF ARTISTS' EPHEMERA, 1960-1999.
edited by SArephen Leiber.
Santa Monica, Smart Art Press, for 12 october - 8 december 2oo1. issuedas [--?--] vol.3 nr.76. ISBN 1-889195-48-o.
11 x 9-1/16, 32 sheets white claycoat & 16 sheets white bond folded to 12 signatures of 4 sheets each with single leaf white claycoat tipped to front of 1st bond leaf & full folded sheet of white bond tipped to rear of the last signaturee, all sewn pearl white in 13 stitches & glued into white Torréon Cotton laid endpapers & 11-5/16 x 9-7/16 blue cloth-covered boards printed tan silkscreen front cover only with 5/8" red & yellow head- & tailband appliqués, interiors all printed offset, claycoat primarily 4-colour process with clear base printed under all illuss. (all but 22 pp), bond all black only (last leaf blank), in white matte PVC chromecoat dustjacket with 5-1/16" flaps printed 4-colour process offset recto only.
cover by Dave Muller.
316 contributors ID'd:
Martine Aballéa, Kim Abeles, Marina Abramovic, Gordon Adams, Bas Jan Ader, Todd Alden, Terry Allen, Francis Alÿs, Laurie Anderson, Carl Andre, Pat Andrea, Ant Farm, Eleanor Antin, Stephen Antonakos, Shigeo Anzai, Shusaku Arakawa, Stel[ios ]Arc[adiou], Keith Arnatt, Michael Asher, David Askevold, Tim Ayres, Lutz Bacher, John Baldessari, Robert Barry, Peter Barton, Lothar Baumgarten, Iain Baxter, Ingrid Baxter, Bill Beirne, Larry Bell, Barton Lidice Benes, Lynda Benglis, Billy Al Bengston, Bob Benson, Wallace Berman, Joseph Beuys, Patrick Blackwell, Julien Blaine, Alighiero Boetti, Christian Boltanski, Jonathan Borofsky, Jean-François Bory, Louise Bourgeois, George Brecht, A.A.Bronson, Marcel Broodthaers, Gunter Brus, Mark Brusse, Chris Burden, Daniel Buren, Werner Büttner, James Lee Byars, Andre Cadere, Luis Camnitzer, Ernest Caramelle, José Luis Castillejo, Jose Guillermo Castillo, Guglielmo Achille Cavellini, Alan Charlton, Claude Closky, Bruce Conner, José Cortés, Meg Cranston, Martin Creed, Joyce Cutler-Shaw, Hanne Darboven, Lowell Darling, Leonardo Da Vinci, Augusto De Campos, Anny De Decker, Tony Delap, Walter De Mareia, Niki De Saint Phalle, Jan Dibbets, Erik Dietman, Jiri Georg Dokoupil, Oliver Dowling, Peter Downsbrough, Marcel Duchamp, Barbara Duff, Sam Durant, Bruni Encke, "Endart", Pieter Engels, Donald Evans, John Fekner, Hans-Peter Feldmann, Jory Felice, Arman[d Fernandez], Rafael Ferrer, Tony Figallo, Robert Filliou, Ian Hamilton Finlay, Sabato Fiorello, Joel Fisher, Dan Flavin, Sylvie Fleury, Llyn Foulkes, Terry Fox, Howard Fried, Hamish Fulton, Gran Fury, Isa Genzken, Jochen Gerz, Paul-Armand Gette, David Gilhooly, Felix Gonzalez-Torres, Arthur Gordon, Camille Gordon, Dan Graham, Rodney Graham, Rodney Alan Greenblatt, Nigel Greenwood, Joseph Grigely, Red Grooms, Aaronel Gruber, Guerrilla Girls, Hans Haacke, M.Haberland, Jonas Hafner, [--?--] Haigh, Keith Haring, Helen Mayer Harrison, Newton Harrison, Michael Harvey, Itsuko Hsegawa, Michael Heizer, George Herms, Lynn Hershman, Dick Higgins, Jenny Holzer, Davi Det Hompson, Sam Hsieh, Tehching Hsieh, Douglas Huebler, Robert Huot, General Idea, [Tak]Ay-O Iijima, Robert Indiana, Jim Iserman, Ray Johnson, Donald Judd, Stephen Kaltenbach, Tadeusz Kantor, Allan Kaprow, Mike Kelley, János Kender, Gary Neill Kennedy, Karen Kilimnik, Ben Kinmojnt, Martin Kippenberger, Robin Klassnik, Yves Klein, Imi Knoebel, Alison Knowles, Vitaly Komar, Walter König, Jeff Koons, Harmony Korine, Jaroslaw Kozlowski, Rosalind Kraus, Ruth Krauss, Barbara Kruger, Suzanne Lacey, Sean Landers, Thomas Lanigan-Schmidt, Dirk Larsen, Louise Lawler, [Frank] U[we ]Lay[siepen], Jean Le Gac, Steven Leiber, Annie Leibovitz, Cary Leibowitz, John Lennon, Claude Lévêque, Les Levine, Sol LeWitt, Roy Lichtenstein, Sharon Lockhart, Richard J.Long, Chip Lord, Reiner Lucassen, George Maciunas, Peter Mackertick, Kiki Maier-Kahn, Walter Marchetti, Tomás Marco, Brice Marden, Tom Marioni, Daniel Joseph Martinez, Herta [Masarié], Luis Mataix, Yutaka Matsuzawa, Gordon Matta-Clark, Roger Matthys, Roger Mazarguil, John McCracken, Fred W.McDarrah, David McDermott, Peter McGough, Jerry McMillan, Alexander Melamid, Annette Messager, Joe Messinger, Gustav Metzger, Doug Michels, Talmage Minter, Anne Moeglin-Delacroix, Pieter Laurens Mol, Linda Montano, Peter Moore, Robert Morris, Oliver Mosset, Dave Muller, Maurizio Nannucci, Bruce Naumann, Toni Negri, Max Neuhaus, bpNichol, George Nicolaidis, Richard Nonas, Jim Nutt, Antoinette Ohannessian, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Marcus Oppitz, Gabriel Orozco, Nam June Paik, Michel Parmentier, Martin Parr, Felix Partz, George [Passmore], Tom Patchett, Izhar Patkin, A.R.Penck, Charles Penwarden, Raymond Pettibon, Adrian Piper, Genesis P-Orridge, Liliamna Porter, Lucio Pozzi, Gilbert [Prousch], Tom Puckey, Ted Purves, Patricia Railing, Arnulf Rainer, Robert Rauschenberg, Man Ray, Jamelle Reiring, James Riddle, Klaus Rinke, Larry Rivers, Dorothea Rockburne, Nigel Rolfe, Kay Rosen, Martha Rosler, Diter Rot, Ralph Rugoff, Allen Ruppersberg, Edward Ruscha, Fred Sandback, [--?--] Schwitt, Sarah Seager, Richard Serra, Judith Shea, Bonnie Sherk, Cindy Sherman, Chieko Shiomi, Mieko Shiomi, Harry Shunk, Seth Siegelaud, Phillips Simkin, Folker Skulima, Alexis Smith, Kiki Smith, Robert Smithson, Keith Sonnier, Daniel Spoerri, Marlene Steeruwitz, Philip Steinmetz, Johannes Stüttgen, Mitcxhell Syrop, Ernest T, Taroop & Glabel, N.E.Thing Co.Ltd, Jean Tinguely, Laureana Toledo, Niele Toroni, Endre Tót, David Tremlett, Bernard Tschumi, Richard Tuttle, Cy Twombly, Uri Tzaig, Timm Ulrichs, Lily Van Der Stokker, Ger Van Elk, [Joep] Van Lieshout, Ben Vautier, Jessica Voorsanger, Wolf Vostell, [Jos?] Vulto, Andy Warhol, Minoru Watanabe, Robert Watts, Jan Webb, Lawrence Weiner, Reindeer Werk, Pae White, Joyce Wieland, Hannah Wilke, Ian Wilson, Christopher Wool, Tadasu Yamamoto, Marian Zazeela, Jorge Zontal.
Nichol inclusion:
i) calendar (p.1o8; concrete poem, halftoned colour reduction of the Openings Press edition)
also includes:
ii) EXTRA ART: SURVEYING ARTISTS' EPHEMERA, 1960-1999, by Todd Alden & Steven Leiber (pp.21-36; prose in 2o parts; with passing reference to Nichol in part 11, VISUAL POETRY (p.27))
Sindy made a day trip to Dresden last Saturday where she wanted to meet a friend. He cancelled the meeting and so I decided to drive to Dresden and meet her instead of him. We had a nice day with sushi, mulled wine at the Christmas market and watching football at a sports bar.
The guy on the top of the building is a sculpture of A. R. Penck. He looked so crazy that I had to take a picture of him.
Saturday, 08.12.2012
Institut d’art Städel et galerie municipale - raccourci en « Städel » ((de) Städelsches Kunstinstitut), cet institut d'art est l’un des plus importants et des plus célèbres musées d’art en Allemagne, situé à Francfort-sur-le-Main. Véritable joyau et cœur de la « Rive des musées » de la ville.
Le Städel est essentiellement dédié à l'art européen du XIVe au XXe siècle. Avec ses 2 700 peintures, ses 600 sculptures et ses 100 000 œuvres graphiques, cette institution fondée en 1815 par Johann Friedrich Staedel - au départ pour abriter sa propre collection privée - compte parmi les collections les plus importantes du monde en présentant un panorama de l'histoire de l'art européen sur près de 700 ans, en passant par Hans Holbein l'Ancien, Hans Holbein le Jeune, Andrea Mantegna, Matthias Grünewald, Altdorfer, Fra Angelico, Francesco Mantegna, Cranach, Botticelli, Dürer, Rembrandt, Veneto, Jan van Eyck et Vermeer jusqu'à Monet, Cézanne, Edgar Degas, Henri Matisse et Pierre-Auguste Renoir, pour finir par Penck, Baselitz et Bacon. Le bâtiment actuel du Städel, dans lequel l'ensemble de la collection fut installée en 1878, fut sérieusement endommagé par les bombardements des Alliés pendant la Seconde Guerre Mondiale. Heureusement les oeuvres avaient été transférées à d'autres endroits le temps du conflit.
Couple
bit.ly/bwoUkb The Kunstmuseum Basel houses the largest and most significant public art collection in Switzerland, and is listed as a heritage site of national significance. Its lineage extends back to the Amerbach Cabinet purchased by the city of Basel in 1661, which made it the first municipally owned museum. Its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600 and on the art of the 19th to 21st centuries. The Kunstmuseum possesses the largest collection of works by the Holbein family. Further examples of Renaissance art include important pieces by such masters as Konrad Witz, Hans Baldung (called Grien), Martin Schongauer, Lucas Cranach the Elder and Mathias Grünewald. The main features of the 17th and 18th centuries are the Flemish and Dutch schools (e.g. Peter Paul Rubens, Rembrandt, Jan Brueghel the Elder), German and Dutch still life painting. Key works from the 19th century include the Impressionists represented by Édouard Manet, Claude Monet, Paul Gauguin, Paul Cézanne as well as the paintings by Vincent van Gogh and Switzerland’s Arnold Böcklin and Ferdinand Hodler. In the 20th century, the focus is on works of Cubism with Picasso, Braque and Juan Gris. Expressionism is represented by such figures as Edvard Munch, Franz Marc, Oskar Kokoschka and Emil Nolde. The collection also includes works of art from the periods of Constructivism, Dadaism and Surrealism and American art since 1950. Further highlights are the unique compilations of works from Pablo Picasso, Fernand Léger, Paul Klee, Alberto Giacometti and Marc Chagall. In the realm of more recent and contemporary art, the collection maintains substantial complexes of works by Swiss, German, Italian, and American artists, including Joseph Beuys, Andy Warhol, Jasper Johns, Georg Baselitz, A.R. Penck, Brice Marden, Bruce Nauman, Jonathan Borofsky, Roni Horn, Francesco Clemente, Mimmo Paladino, Enzo Cucchi, Walter Dahn, Martin Disler, Siegfried Anzinger, Leiko Ikemura, Markus Raetz, Robert Therrien, Rosemarie Trockel and Robert Gober.
en.wikipedia.org/wiki/Ludwig_Ganghofer
Ludwig Ganghofer (July 7, 1855 - July 24, 1920) was a German writer who became famous for his homeland novels.
Born in Kaufbeuren, he graduated from a gymnasium in 1873 and subsequently worked as a fitter in Augsburg engine works. In 1875, he entered Munich Polytechnic as a student of mechanical engineering, but eventually changed his major to history of literature and philosophy, which subjects he studied in Munich, Berlin and Leipzig. In 1879, he was awarded a doctorate from the University of Leipzig.
Ganghofer wrote his first play „Der Herrgottschnitzer von Ammergau“ (The Crucifix Carver of Ammergau) in 1880 for the Munich Gärtnerplatz Theatre. It was so successful that it was performed 19 times. But his break-through was a guest performance of this play in Berlin, where it was staged more than 100 times. Subsequently, Ganghofer worked as dramaturge at the Vienna Ringtheatre (1881), as a freelance writer for the family paper Die Gartenlaube and as a feuilleton editor of the Wiener Tagblatt (1886–1891). Since 1891, he was working mainly as a writer of Alpine novels, inspired by the sojourns at his hunting lodge near Leutasch in Tyrol; but he also produced e.g. Hugo von Hofmannsthal's play „Der Tor und der Tod“. He also founded the Munich Literary Society.
His work as a voluntary war correspondent from 1915 and 1917 is less known. During those years, he wrote - besides propagandistic and little impartial war reports e.g. wie „Reise zur deutschen Front“ (Travel to the German frontlines) - a large number of War poems, which were published in Anthologies like „Eiserne Zither“ (Iron Zither) und „Neue Kriegslieder“ (New War songs), displaying a nationalist and anti-democratic attitude. Being a personal friend of Emperor Wilhelm II, Ganghofer's war reports were frequently lauding the emperor and his way of conducting the war. Even until shortly before the German capitulation, he published calls not to give up fighting. Heavily criticised by colleagues like Karl Kraus, lectures of his war-exalting oeuvres provided him an above average income.
After the end of the war, Ganghofer returned to his profession as a writer. He dedicated his last work „Das Land der Bayern in Farbenphotographie“ (The country of Bavaria in coloured photography) to "His Majesty King Ludwig III of Bavaria in deepest reverence". Shortly after, Ganghofer died in Tegernsee.
Ganghofer's works, in particular his novels, are still published nowadays. By 2004, an estimated more than 30 million copies of his works were sold. Besides, Ganghofer is one of the German writers whose works were filmed utmost, especially during the Heimatfilm era after World War II. His homeland novels earned Ganghofer the reputation as a "world of good" writer. His works which describe the life of simple, competent, honest people are often seen as Kitsch - not at least because most of them are staged against the background of an idyllic Bavarian Alps scenery.
Ganghofer's brother-in-law was the geologist and geographer Albrecht Penck, his nephew the geomorphologist Walther Penck.
Georg Baselitz (born 23 January 1938) is a German painter.
Baselitz attended the local school in Kamenz; in its in the assembly hall hung a reproduction of the 1859 painting Wermsdorfer Wald by Louis-Ferdinand von Rayski, an artist whose grasp of realism was a formative influence on Baselitz. Baselitz read the writings of Jakob Böhme. At the ages of 14 and 15, he painted portraits, religious subjects, still lifes and landscapes, some in a futuristic style.
In 1955, he applied to study at the Kunstakademie in Dresden but was rejected. In 1956, he successfully enrolled at the Hochschule für bildende und angewandte Kunst in East Berlin. There he studied under professors Walter Womacka and Herbert Behrens-Hangler, and befriended Peter Graf and Ralf Winkler (later known as A. R. Penck). After two semesters, he was expelled for "sociopolitical immaturity."
In 1957, he enrolled at the Hochschule der Künste in West Berlin. In 1961, he attended Hann Trier's master class and completed his studies there the following year. Hann Trier's classes were described as a creative environment largely dominated by the gestural abstraction of Tachism and Art Informel. At the Hochschule der Künste Baselitz immersed himself in the theories of Ernst Wilhelm Nay, Wassily Kandinsky and Kasimir Malevich. During this time he became friends with Eugen Schönebeck and Benjamin Katz. Art historian Andreas Franzke describes Baselitz primary artistic influences at this time as Jackson Pollock and Philip Gusto.
In the 1970s, Baselitz was part of a group of Neo-Expressionist German artists, occasionally identified as "Neue Wilden," focusing on deformation, the power of subject and the vibrancy of the colors.
He became famous for his upside-down images. He is seen as a revolutionary painter as he draws the viewer’s attention to his works by making them think and sparking their interest. The subjects of the paintings don’t seem to be as significant as the work’s visual insight. Throughout his career, Baselitz has varied his style, ranging from layering substances to his style, since the 1990s, which focuses more on lucidity and smooth changes. w.p.
The British Museum's Lines of Thought exhibition at the Brynmoor Jones Library, University of Hull, Hull, UK.
bit.ly/bwoUkb The Kunstmuseum Basel houses the largest and most significant public art collection in Switzerland, and is listed as a heritage site of national significance. Its lineage extends back to the Amerbach Cabinet purchased by the city of Basel in 1661, which made it the first municipally owned museum. Its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600 and on the art of the 19th to 21st centuries. The Kunstmuseum possesses the largest collection of works by the Holbein family. Further examples of Renaissance art include important pieces by such masters as Konrad Witz, Hans Baldung (called Grien), Martin Schongauer, Lucas Cranach the Elder and Mathias Grünewald. The main features of the 17th and 18th centuries are the Flemish and Dutch schools (e.g. Peter Paul Rubens, Rembrandt, Jan Brueghel the Elder), German and Dutch still life painting. Key works from the 19th century include the Impressionists represented by Édouard Manet, Claude Monet, Paul Gauguin, Paul Cézanne as well as the paintings by Vincent van Gogh and Switzerland’s Arnold Böcklin and Ferdinand Hodler. In the 20th century, the focus is on works of Cubism with Picasso, Braque and Juan Gris. Expressionism is represented by such figures as Edvard Munch, Franz Marc, Oskar Kokoschka and Emil Nolde. The collection also includes works of art from the periods of Constructivism, Dadaism and Surrealism and American art since 1950. Further highlights are the unique compilations of works from Pablo Picasso, Fernand Léger, Paul Klee, Alberto Giacometti and Marc Chagall. In the realm of more recent and contemporary art, the collection maintains substantial complexes of works by Swiss, German, Italian, and American artists, including Joseph Beuys, Andy Warhol, Jasper Johns, Georg Baselitz, A.R. Penck, Brice Marden, Bruce Nauman, Jonathan Borofsky, Roni Horn, Francesco Clemente, Mimmo Paladino, Enzo Cucchi, Walter Dahn, Martin Disler, Siegfried Anzinger, Leiko Ikemura, Markus Raetz, Robert Therrien, Rosemarie Trockel and Robert Gober.
bit.ly/bwoUkb The Kunstmuseum Basel houses the largest and most significant public art collection in Switzerland, and is listed as a heritage site of national significance. Its lineage extends back to the Amerbach Cabinet purchased by the city of Basel in 1661, which made it the first municipally owned museum. Its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600 and on the art of the 19th to 21st centuries. The Kunstmuseum possesses the largest collection of works by the Holbein family. Further examples of Renaissance art include important pieces by such masters as Konrad Witz, Hans Baldung (called Grien), Martin Schongauer, Lucas Cranach the Elder and Mathias Grünewald. The main features of the 17th and 18th centuries are the Flemish and Dutch schools (e.g. Peter Paul Rubens, Rembrandt, Jan Brueghel the Elder), German and Dutch still life painting. Key works from the 19th century include the Impressionists represented by Édouard Manet, Claude Monet, Paul Gauguin, Paul Cézanne as well as the paintings by Vincent van Gogh and Switzerland’s Arnold Böcklin and Ferdinand Hodler. In the 20th century, the focus is on works of Cubism with Picasso, Braque and Juan Gris. Expressionism is represented by such figures as Edvard Munch, Franz Marc, Oskar Kokoschka and Emil Nolde. The collection also includes works of art from the periods of Constructivism, Dadaism and Surrealism and American art since 1950. Further highlights are the unique compilations of works from Pablo Picasso, Fernand Léger, Paul Klee, Alberto Giacometti and Marc Chagall. In the realm of more recent and contemporary art, the collection maintains substantial complexes of works by Swiss, German, Italian, and American artists, including Joseph Beuys, Andy Warhol, Jasper Johns, Georg Baselitz, A.R. Penck, Brice Marden, Bruce Nauman, Jonathan Borofsky, Roni Horn, Francesco Clemente, Mimmo Paladino, Enzo Cucchi, Walter Dahn, Martin Disler, Siegfried Anzinger, Leiko Ikemura, Markus Raetz, Robert Therrien, Rosemarie Trockel and Robert Gober.
Lüpertz, Mozart
Michael Werner collection is distinguished by the interest it bears some trends which go against established canons, especially the work of the "painter-sculptor" speaking freely and without hierarchy in the areas of painting, sculpture or drawing. Rather than presenting the avant-garde, this exhibition offers a unique perspective on the artistic creation of XX th century , and offers a different reading of modern and contemporary art. Works have in fact been selected not according to traditional classifications, but according to the affinities that bind artists, are so diverse that their practices and procedures in their relentless pursuit of new forms and figures. Works are entered in their origin, they have unheard of in the art of their time. Consolidations, reconciliations that any exposure here is atypical not conform to historical discourse, mixing works remained in the shadows and those that have become emblematic of an artistic movement.
The central reference point of the exhibition Paris - land of adoption for many foreign artists such as Wilhelm Lehmbruck and Otto Freundlich, gathered around the School of Paris - but also the starting point of interest for Michael Werner contemporary art. It is indeed from Parisian artists, in particular, Jean Fautrier and Francis Gruber, found at the Museum of Modern Art of the City of Paris in the sixties, Michael Werner began his collection and enriches more great German artists of his time over the years constituting a "Northern School", a real alternative to the Parisian scene.
Michael Werner Gallery opens Werner & Katz, Berlin in 1963 with the first exhibition of paintings by Georg Baselitz. In 1968, he moved to Cologne and New York in 1990. He discovered major artists of the postwar such as Georg Baselitz, Marcel Broodthaers, James Lee Byars, Jörg Immendorff, Markus Lüpertz, Per Kirkeby, AR Penck and Sigmar Polke and supported them throughout their careers. His vision and determination to defend with the same fervor and constancy artist for nearly fifty years give him a special place among his contemporaries. This singularity is a dual grand opening of its interests in art history from Jean Arp, Jean Fautrier, Ernst Ludwig Kirchner, Yves Klein, Piero Manzoni, Francis Picabia, Kurt Schwitters. In the 1980s, the collection of Michael Werner extends to more conceptual works, such as Marcel Broodthaers, James Lee Byars, Joseph Beuys, Robert Filliou, Tomas Schmit and Niele Toroni.
Artists exhibited:
Arman, Georg Baselitz, Joseph Beuys, Marcel Broodthaers, Günter Brus, James Lee Byars, Gaston Chaissac, André Derain, Gérard Deschamps, Otto Dix, Eilshemius Louis Michel, Étienne-Martin, Jean Fautrier, Robert Filliou, Lucio Fontana, Otto Freundlich, Francis Gruber, Raymond Hains, Antonius Höckelmann, Jörg Immendorff, Per Kirkeby, Yves Klein, Jannis Kounellis, Wilhelm Lehmbruck, Eugène Leroy, Markus Lüpertz, Henri Michaux, AR Penck, Francis Picabia, Sigmar Polke, Raymond Queneau, Bernard Réquichot, Mimmo Rotella, Tomas Schmit, Eugen Schönebeck, Friedrich Schröder-Sonnenstern, Niele Toroni, Don Van Vliet, Jacques Villeglé.
Disembarked refugees arrive at MArsa Open Center in Maltese Police buses. --- The 32 rescuees of Sea-Watch 3, who had been rescued on 22.12.2018 and afterwards stranded at sea for 18 days due to the EU's denial of a Port of Safety, as well as 17 more from Sea-Eye's Professor Albrecht Penck, disembark in Malta on January, 09, 2019. The disembarkation was conducted by the Armed Forces of Malta (AFM), who pickeed up the guests from the two ships and disembarked them in the AFM station at Hay Wharf, Malta. Subsequently they where brought to the Marsa Open Center in Marsa by the Maltese authorities.
bit.ly/bwoUkb The Kunstmuseum Basel houses the largest and most significant public art collection in Switzerland, and is listed as a heritage site of national significance. Its lineage extends back to the Amerbach Cabinet purchased by the city of Basel in 1661, which made it the first municipally owned museum. Its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600 and on the art of the 19th to 21st centuries. The Kunstmuseum possesses the largest collection of works by the Holbein family. Further examples of Renaissance art include important pieces by such masters as Konrad Witz, Hans Baldung (called Grien), Martin Schongauer, Lucas Cranach the Elder and Mathias Grünewald. The main features of the 17th and 18th centuries are the Flemish and Dutch schools (e.g. Peter Paul Rubens, Rembrandt, Jan Brueghel the Elder), German and Dutch still life painting. Key works from the 19th century include the Impressionists represented by Édouard Manet, Claude Monet, Paul Gauguin, Paul Cézanne as well as the paintings by Vincent van Gogh and Switzerland’s Arnold Böcklin and Ferdinand Hodler. In the 20th century, the focus is on works of Cubism with Picasso, Braque and Juan Gris. Expressionism is represented by such figures as Edvard Munch, Franz Marc, Oskar Kokoschka and Emil Nolde. The collection also includes works of art from the periods of Constructivism, Dadaism and Surrealism and American art since 1950. Further highlights are the unique compilations of works from Pablo Picasso, Fernand Léger, Paul Klee, Alberto Giacometti and Marc Chagall. In the realm of more recent and contemporary art, the collection maintains substantial complexes of works by Swiss, German, Italian, and American artists, including Joseph Beuys, Andy Warhol, Jasper Johns, Georg Baselitz, A.R. Penck, Brice Marden, Bruce Nauman, Jonathan Borofsky, Roni Horn, Francesco Clemente, Mimmo Paladino, Enzo Cucchi, Walter Dahn, Martin Disler, Siegfried Anzinger, Leiko Ikemura, Markus Raetz, Robert Therrien, Rosemarie Trockel and Robert Gober.
Corporate headquarters of Deutsche Telekom in Bonn. Just one more photo in my ongoing project "x-mas in the twenty-first century".
bit.ly/bwoUkb The Kunstmuseum Basel houses the largest and most significant public art collection in Switzerland, and is listed as a heritage site of national significance. Its lineage extends back to the Amerbach Cabinet purchased by the city of Basel in 1661, which made it the first municipally owned museum. Its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600 and on the art of the 19th to 21st centuries. The Kunstmuseum possesses the largest collection of works by the Holbein family. Further examples of Renaissance art include important pieces by such masters as Konrad Witz, Hans Baldung (called Grien), Martin Schongauer, Lucas Cranach the Elder and Mathias Grünewald. The main features of the 17th and 18th centuries are the Flemish and Dutch schools (e.g. Peter Paul Rubens, Rembrandt, Jan Brueghel the Elder), German and Dutch still life painting. Key works from the 19th century include the Impressionists represented by Édouard Manet, Claude Monet, Paul Gauguin, Paul Cézanne as well as the paintings by Vincent van Gogh and Switzerland’s Arnold Böcklin and Ferdinand Hodler. In the 20th century, the focus is on works of Cubism with Picasso, Braque and Juan Gris. Expressionism is represented by such figures as Edvard Munch, Franz Marc, Oskar Kokoschka and Emil Nolde. The collection also includes works of art from the periods of Constructivism, Dadaism and Surrealism and American art since 1950. Further highlights are the unique compilations of works from Pablo Picasso, Fernand Léger, Paul Klee, Alberto Giacometti and Marc Chagall. In the realm of more recent and contemporary art, the collection maintains substantial complexes of works by Swiss, German, Italian, and American artists, including Joseph Beuys, Andy Warhol, Jasper Johns, Georg Baselitz, A.R. Penck, Brice Marden, Bruce Nauman, Jonathan Borofsky, Roni Horn, Francesco Clemente, Mimmo Paladino, Enzo Cucchi, Walter Dahn, Martin Disler, Siegfried Anzinger, Leiko Ikemura, Markus Raetz, Robert Therrien, Rosemarie Trockel and Robert Gober.
Wilsdruffer Vorstadt | Ostra-Allee
Bronze sculpture on the roof of the art-hotel: "standard T (x)" by A. R. Penck, 1995.
The Stedelijk Museum Amsterdam (Dutch pronunciation: [ˈsteːdələk myˈzeːjʏm ˌɑmstərˈdɑm]; Municipal Museum Amsterdam), colloquially known as the Stedelijk, is a museum for modern art, contemporary art, and design located in Amsterdam, Netherlands.
The 19th-century building was designed by Adriaan Willem Weissman and the 21st century wing with the current entrance was designed by Benthem Crouwel Architects. It is located at the Museum Square in the borough Amsterdam South, where it is close to the Van Gogh Museum, the Rijksmuseum, and the Concertgebouw.
The collection comprises modern and contemporary art and design from the early 20th century up to the 21st century. It features artists such as Vincent van Gogh, Wassily Kandinsky, Ernst Ludwig Kirchner, Marc Chagall, Henri Matisse, Jackson Pollock, Karel Appel, Andy Warhol, Willem de Kooning, Marlene Dumas, Lucio Fontana, and Gilbert & George.
In 2015, the museum had an estimated 675,000 visitors.
History
19th century
The Stedelijk Museum, Amsterdam, opened on 14 September 1895 as an initiative of the local authority and private individuals. The Dutch Neo-Renaissance style museum building was designed by Dutch architect Adriaan Willem Weissman [arz; de; nl] as part of a modernization project spearheaded by local citizens starting in 1850. The construction of the building was largely funded in 1890 by Sophia Adriana de Bruyn. Specifically, it was built under the Vereeniging tot het Vormen van een Verzameling van Hedendaagsche Kunst (VVHK, Society for the formation of a public collection of contemporary art), which was founded in 1874, to house de Bruyn's collection of art and antiques that she donated to the city along with a considerable sum of money. The Van Eeghen family also contributed to the construction costs and donated paintings from the collection of Christiaan Pieter van Eeghen. The building was constructed between 1891 and 1895 at Paulus Potterstraat, a short walking distance from the Rijksmuseum. The museum's original collection included militaria of the Amsterdam militia, Asiatic art, and artifacts from the Museum of Chronometry and the Medical-Pharmaceutical Museum.
20th century
n 1905, Cornelis Baard was appointed curator of the Stedelijk and promoted to museum director in 1920. During his time as curator, the local authority began building its own collection of modern art. The Great Depression in the Netherlands led to municipal cutbacks and an increased need for policy reviews in the first half of the 1930s. In 1932, a purchasing committee was established with two members from the VVHK and two from the local authority. These four figures oversaw all art purchases for the museum, notably works of Hague and Amsterdam Impressionism and pieces by international contemporaries.
The museum began actively acquiring art in 1930. In 1933, M.B.B. Nijkerk's collection of books came to the Stedelijk, which was later expanded to include aesthetic book design and typography. The Museum of Applied Art opened on the ground floor of the west wing on 15 December 1934. This collection included furniture, glass, pottery, and china, graphic design and posters, textiles, small sculptures and masks, batik, metalwork, and stained glass with an emphasis on Dutch work from around the turn of the century.
In 1936, David Röell, who had previously worked at the Rijksmuseum and was secretary of the VVHK, took over as museum director. Röell appointed Willem Sandberg as the new curator in January 1938. Sandberg eventually took over as director of the museum in 1945. By 1962, the VVHK handed over most of its collection, including works by George Hendrik Breitner, Paul Cézanne, Jean-Baptiste-Camille Corot, Gustave Courbet, Vincent van Gogh, and Johan Jongkind.
Under the direction of Sandberg, the Stedelijk started a department of applied art in 1945 and a department of prints and drawings in 1954. At the start of 1950, the Stedelijk also began to present modern music. In 1952, it became host to the newly established Nederlands Filmmuseum, and started showing films. The annex known as the Sandberg Wing was built in 1954 to accommodate experimental art. By 1956, a reading room, print room, a museum restaurant and garden, and a new auditorium for film screenings and musical performances were added.[9] Sandberg acquired a group of works by Russian artist Kazimir Malevich in 1958. In the same year, Sandberg began acquiring photography for the museum's collection; the Stedelijk was the first western European museum for modern art to collect photography. The collection includes seminal photographers of both the Dutch and international avant-garde in the interbellum period (such as Erwin Blumenfeld, László Moholy-Nagy and Man Ray), an extensive selection of post-war Dutch photographers (including Eva Besnyö, Ed van der Elsken and Cas Oorthuys), artist portraits, photojournalism, and autonomous fine art photography from the 1970s onward.
During World War II, the Stedelijk collection and that of the Amsterdam Museum were transferred for safekeeping to a bunker in the sand-hills near Santpoort. Museum staff took turns keeping watch. Sandberg narrowly managed to evade arrest: in 1943, when a German search party was sent to apprehend him, Sandberg fled by bicycle into the dunes. Despite the upheavals of war, the Stedelijk continued to hold exhibitions.
Works by Ernst Ludwig Kirchner and Henri Matisse were added to the collection at the end of the 1940s and 1950s. During this time, the Stedelijk also acquired artworks by De Stijl and related international movements such as Russian Constructivism and Bauhaus.
Edy de Wilde, who had run the Van Abbe Museum in Eindhoven, took over as director from 1963 to 1985. He began the first collection of American contemporary art at the Stedelijk. Under his direction, in 1971, debates about the museum's social and educational functions sparked the formation of a communications department. In the early 1970s, the museum made its first acquisitions of video art by European artists including Dibbets and Gilbert & George. Today, the collection of video art contains around 900 works and installations, including works by Nam June Paik, Bill Viola and Bruce Nauman. By the mid-1970s, after the last period rooms were closed, the Stedelijk became exclusively a museum for modern art.
21st century
In 2001, drawings by Kazimir Malevich and other Russian avant-garde artists from the collection of the Khardzhiev-Chaga Cultural Centre were added to the museum's collection of Ukrainian/Russian/Soviet art.
At the end of 2003, the Adriaan Willem Weissman building was closed at the insistence of the fire department; renovation work began. The Stedelijk took up temporary residence in the old Post CS Building [nl], where it would remain for 4.5 years. In 2005, the museum established a partnership with The Broere Charitable Foundation; on behalf of the Monique Zajfen Collection, the museum acquired contemporary European artworks, which were placed at the museum on long-term loan. In 2006, debates and lectures were organized in the context of the exhibition 'Mapping the City', which explored the relationship of artists to the city. Space was created called the 'Docking Station' for monthly presentations of work by emerging artists. In 2008, 'Other voices, other rooms', an exhibition highlighting the video work of Andy Warhol, drew 600,000 visitors.
In 2006, the city council privatized the Stedelijk. It became a more businesslike enterprise that leases the museum building from the city and, on behalf of the council, mounts exhibitions and manages, maintains, and adds to the municipal collection.
Starting in late 2008, the Stedelijk underwent major construction. In response to this, the museum started the "Stedelijk goes to Town" project to maintain a visual presence within the city of Amsterdam while the building was being renovated. The project ran until the latter half of 2009 and featured a series of workshops, lectures, and presentations in various locations throughout Amsterdam.
From August 2010 until January 2011, the Stedelijk Museum opened its doors with a unique program called "The Temporary Stedelijk" in the restored, yet unfinished historical building. After welcoming 'art, artists and the public' back through its doors, the Stedelijk continued with this temporary program. "The Temporary Stedelijk 2" opened in March 2011 and focused on the renowned collection of modern and contemporary art and design. The exhibition showcased the breadth of the museum's collection and exhibited works by Piet Mondrian, Kazimir Malevich, Charley Toorop, Henri Matisse, Donald Judd, Willem de Kooning, Yves Klein and Bruce Nauman, among others. Selections from the collections were presented on a rotating basis. "The Temporary Stedelijk 3" began in October 2011 and featured exhibitions, presentations, and activities located throughout Amsterdam.
The museum reopened for the general public on 23 September 2012 with the group show "Beyond Imagination". The artists included in this inaugural show were James Beckett, Eric Bell and Kristoffer Frick, Rossella Biscotti, Eglé Budvytyté, Jeremiah Day, Christian Friedrich, Sara van der Heide, Suchan Kinoshita, Susanne Kriemann, Matthew Lutz-Kinoy, Snejanka Mihaylova, Rory Pilgrim, Falke Pisano, Julika Rudelius, Fiona Tan, Jennifer Tee, Jan van Toorn, Vincent Vulsma and Andros Zins-Browne. In the first month after the reopening, the museum had over 95,000 visitors. In 2017, the Stedelijk Museum hosted events for the 17th edition of the Sonic Acts Festival.
Vandalism and theft
On 21 March 1986, Gerard Jan van Bladeren cut the painting Who's Afraid of Red, Yellow and Blue III (1967) by Barnett Newman with a utility knife during a psychotic episode. He was sentenced to eight months in jail and two years probation, and was banned from the museum for three years. On 21 November 1997, Van Bladeren, the same vandal, cut the painting Cathedra (1951), also by Barnett Newman. In court, he pleaded insanity and was not convicted, but was banned from the museum permanently.
On 20 May 1988, the first and only art theft from the Stedelijk took place. The three paintings Vase with Carnations (1886) by Vincent van Gogh, Street in Nevers (1874) by Johan Jongkind, and Still life with bottles and apples by Paul Cézanne were stolen during a break-in. On 31 May 1988, all three paintings were recovered undamaged by police pretending to be buyers. The thief was arrested and convicted.
On 15 May 2011, AFC Ajax's victory in the national competition was celebrated at the Museum Square. During the celebration, supporters damaged the Benthem Crouwel Wing's rooftop and glass panels, resulting in €400,000 of damage and prompting a change in venue to the Amsterdam Arena for the celebration of AFC Ajax's subsequent 2012 victory. Despite these issues, the city government of Amsterdam has stated that it will still consider using the Museum Square as a potential location for large events.
Collection
The museum collection holds almost 90,000 objects, collected since 1874.[24] With important clusters and cores focusing on De Stijl, Bauhaus, Pop Art and CoBrA and, more recently, Neo-Impressionism, the collection represents virtually every significant movement in art and design of the 20th and 21st centuries. The Stedelijk also has a comprehensive collection of drawings and paintings by Kazimir Malevich. Key pieces by Post-Impressionists Paul Cézanne and Vincent van Gogh exemplify art from the late 19th century. The collection is sub-divided into the following disciplines:
Painting
Sculpture
Installation
Moving image and sound
Prints and drawings
Posters
Photography
Graphic design
Industrial design
Artist books
Lucebert archive
In early 2010, the Stedelijk Museum partnered up with design agency Fabrique and augmented reality firm Layar to develop virtual art tours called "ARtours". Using smartphone technology, visitors are treated to additional stories and images about the collection both inside the museum and outside around the city. In the final phase of this project at the end of 2011, the public was invited to add their own stories, images, and other information through the open source platform.
In 2018, a mural created by Keith Haring in 1986 on the Stedelijk Museum's storage facility was revealed after being covered by sheets of aluminum a few years after its completion. The 40-foot-mural is the artist's largest public work and was created for his first solo museum exhibition.
Digitization
In November 2009, the museum started a project to digitize the historical archive, which spans from 1895 to 1980. The archive contains around 1.5 million documents in around 7,000 folders, and includes correspondence letters of the director and buyer records. Ownership of the documents has been officially transferred to the Amsterdam City Archive, but the documents will remain in the Stedelijk Museum until the digitization project is completed.
Weissman Building
Dutch architect Adriaan Willem Weissman designed the building for the Stedelijk in 1895. The design of the upper façade and tower in a combination of pale stone and red brick give the exterior of the building a 16th-century Dutch Neo-Renaissance look. In 1938, director Willem Sandberg had the interior walls painted white, creating 'white cube' gallery spaces. Some years later, in 1954, Sandberg had the opportunity to build a largely glass extension flanking the Van Baerlestraat, which came to be referred to as the "Sandberg Wing". Sandberg also replaced the museum's heavy, rather uninviting doors with a glass entrance. In 1934, Baard turned the loggia above the museum's main entrance into an exhibition space and had several galleries repainted in light colors. When Röell took over in 1936, he installed light wall coverings inside some of the galleries and had new doorways put in on the upper-floor galleries. Then, in 1938, Röell had the polychrome staircase whitewashed and replaced the yellow glass in the skylight with lime-washed glass.
Due to poor maintenance and lack of modern facilities, including climate control, the building was deemed unable to meet modern standards. Additionally, it did not have the space to feature the highlights of the collection on permanent display. Since its beginnings, over a century ago, the collection had vastly increased. The art depots and workshops had also become far too cramped. In 1993, a leak in the roof of the museum damaged several large paintings, among them pieces by Ellsworth Kelly and Julian Schnabel. A competition to renovate the museum was first held in the early 1990s, with Robert Venturi beating Rem Koolhaas, Wim Quist, and Carel Weeber to the job. Venturi was replaced by Álvaro Siza Vieira in 1996.
Relocation and addition
The old building was forced to close in January 2004 when it no longer complied with fire regulations. The Stedelijk was temporarily relocated to the Post-CS building, an old building of the Postal Service close to the Amsterdam Central Station. When the Post-CS location was closed in 2008, a book called "Stedelijk Museum CS – Prospect/Retrospect" was published to commemorate some of the successful expositions and artists during this period, like Andy Warhol and Rineke Dijkstra.
Benthem Crouwel Wing
After further discussions about whether to relocate the contemporary art museum to an Amsterdam park, a new jury eventually awarded Benthem Crouwel Architects the renovation and construction contract for their design for the new building, referred to as "The Bathtub". The new Stedelijk has an exhibition surface area of 8,000 square meters, which is double its previous gallery space. Michael Kimmelman, architecture critic for The New York Times, wrote of the museum's addition, "I can't recall seeing a more ridiculous looking building than the new Stedelijk Museum." The Los Angeles Times called the extension "oversized, antiseptic and mismatched".
When Alvaro Siza had originally designed the plans, the reopening was scheduled for 2007. In 2004, when a new competition was held, it became clear that this date was not achievable. Although the renovated original building was completed in early 2010, conditions were not suitable for exhibiting artworks because there was no climate control system, which was to be installed in the new wing. The press poured criticism on the delays. A campaign by Dutch cultural entrepreneur Otto Nan, "Stedelijk Do Something", urged people to text their disappointment about the delays. This drew considerable media attention and a huge response from social networking sites like Twitter and Facebook. Nan hoped that what he referred to as an "amicable coup" would attract political attention with an occupation of Museum Square. By sending SMS messages, people could raise money to help the museum re-launch a little sooner. With even more delays in 2011 when contractor Midreth went bankrupt, the plan to re-open in the spring of 2010 was moved to 2012. The restored original building went ahead and opened with a temporary exposition in 2010, which attracted about 223,000 visitors.
Contractor VolkerWessels finished the construction in February 2012, after which the climate control system was set up. After eight years of work, the new Stedelijk opened on 23 September 2012. With the renovation and expansion, the highlights of the collection are on display in the old building in a series of changing presentations. The new wing consists of a large glassed entrance, which opens onto the Museum Square, and galleries for temporary exhibitions on the upper level and in the basement. It also houses the museum shop, restaurant and library, as well as an auditorium. The inaugural exhibition, entitled "Beyond Imagination", was a show of work by emerging Amsterdam artists. A retrospective of the late Los Angeles artist Mike Kelley followed in December 2012.
The completion of the project cost a total of €127M, €20M more than estimated in 2007, which was mostly funded by Amsterdam's city council.
Visual identity
In 1963, Wim Crouwel and his design company, Total Design, began working for the Stedelijk Museum under the new director Eduard de Wilde. Crouwel designed catalogues, invitations, posters, and brochures using a consistent grid. He wanted to standardize the typography using the Univers typeface since it has the same x height on every weight. This grid-like layout became known as the SM-design style.
Armand Mevis and Linda van Deursen redesigned the logo and visual identity of the museum in 2012, which was gradually unveiled with its re-opening on 23 September 2012. Mevis and van Deursen had previously designed the graphic identity of the temporary Stedelijk program from 2010 to 2012. The main aspect of the new logo is a large sans-serif S that is composed of the letters of the museum's name in capital letters. The typeface used is Union, a hybrid of Helvetica and Arial, created by Czech typographer Radim Peško in 2009. Union is used for all of the museum's interior and exterior signage and additional materials and resources. The new logo visual identity was controversial at first, especially since Wim Crouwel's original logo was extremely admired and influential.
Organization
Originally a municipal body, the Stedelijk Museum Amsterdam became a foundation on 1 January 2006, and is accountable to a supervisory board.
The museum had 138,720 visitors in 2011 and 300,000 visitors in 2012. In the first twelve months after the reopening in September 2012, the museum had 750,000 visitors. In 2013, the museum had 700,000 visitors. It was the 4th most visited museum in the Netherlands, after the Rijksmuseum, Van Gogh Museum, and Anne Frank House, and the 87th most visited art museum worldwide that year. In 2014 and 2015, the museum had respectively 816,396 and 675,000 visitors.
(Wikipedia)
Das Stedelijk Museum (deutsch Städtisches Museum) ist ein Kunstmuseum in Amsterdam in der Paulus-Potterstraat des Stadtteils Oud-Zuid im Stadtbezirk Amsterdam-Zuid. In unmittelbarer Nachbarschaft befinden sich das Van Gogh Museum und das Rijksmuseum.
Geschichte
1895 bis 2003
Das Städtische Museum wurde 1895 als stadtgeschichtliches Museum für den Nachlass der Witwe des jüdischen Kunst- und Antiquitätensammlers Pieter Lopez Suasso, Sophia Adriana de Bruijn gegründet. Das Museumsgebäude wurde von Adriaan Willem Weissman im Stil der Neo-Renaissance entworfen und in der Paulus Potterstraat gebaut. Gezeigt wurden zunächst Möbel, Münzen, Silberwaren, Schmuck und Wohnungseinrichtungen aus alten Amsterdamer Häusern. Darüber hinaus konnten auch eine Waffensammlung sowie eine alte Apothekeneinrichtung besichtigt werden.
Zwischen 1920 und 1940 begann man Teile der Sammlungen in andere Museen zu verlagern, um sich mehr auf moderne Kunst zu fokussieren. Am 2. November 1926 konnte anlässlich des 650. Jahrestags der Stadtgründung von Amsterdam im historischen Gebäude der Stadtwaage auf dem Nieuwmarkt das Amsterdams Historisch Museum, das heutige Amsterdam Museum eingeweiht und die stadtgeschichtliche Sammlung ausgelagert werden. In dieser Zeit entstand im Stedelijk Museum eine Sammlung zeitgenössischer niederländischer und französischer Kunst. Von 1930 an beherbergte das Museum die umfangreiche Van-Gogh-Sammlung, die 1972 nebenan in ein eigenes Museum (Van Gogh Museum) zog. Zu Beginn der 1970er Jahre wurden die letzten historischen Wohnungseinrichtungen ausgegliedert, und das Museum etablierte sich als Amsterdams erste Adresse für moderne Kunst.
Unter den Direktoren Edy de Wilde und Rudi Fuchs fand eine internationale Ausrichtung der der Ausstellungen statt.
Schließung und Umbau 2003 bis 2012
Im Jahr 2003 musste das historische Museumsgebäude in der Waag auch wegen Brandschutzauflagen geschlossen werden. Teile der Sammlung (Kunst ab 1968) waren bis September 2008 im mittlerweile abgerissenen Post CS-Gebäude östlich des Hauptbahnhofs Amsterdam Centraal zu sehen.
Das Stedelijk Museum wurde nach Entwürfen von Benthem Crouwel Architekten umgebaut. In der Zwischenzeit veranstaltete das Museum Ausstellungen und andere Aktivitäten an verschiedenen Orten innerhalb Amsterdams. So wurde am 3. März 2011 die Ausstellung Temporary Stedelijk 2 im renovierten, aber noch nicht fertiggestellten historischen Gebäudeteil eröffnet. Nach der Insolvenz der mit dem Umbau beauftragten Baufirma Midreth verzögerte sich der Umbau. Die Bauarbeiten an dem mindestens 4,5 Millionen Euro teurer werdenden Projekt ruhten seit Februar 2011.[3] Ende März 2011 gab die Gemeinde Amsterdam die Übernahme des Projekts durch den Baukonzern VolkerWessels bekannt.
Die Wiedereröffnung fand am 22. September 2012 durch die niederländische Königin Beatrix statt.
Sammlung
Alle bedeutenden Strömungen der Modernen Kunst sind exemplarisch im Stedelijk Museum vertreten. Zu sehen sind neben Künstlern der klassischen Moderne (Pablo Picasso, Claude Monet, Pierre-Auguste Renoir, Paul Cézanne, Wassily Kandinsky, Marc Chagall), umfangreiche Werkgruppen der Künstlergemeinschaften De Stijl (Piet Mondrian, Theo van Doesburg, Gerrit Rietveld) und CoBrA (siehe auch Cobra Museum in Amstelveen). Kasimir Malewitsch ist mit 29 Bildern vertreten und es gibt Sammlungen mit deutschen Expressionisten, amerikanischer Pop Art, Videokünstlern (Nam June Paik, Bruce Nauman), Arte Povera, zeitgenössischen Deutschen (Reinhard Mucha, Anselm Kiefer, Georg Baselitz, Markus Lüpertz, A. R. Penck) und aktueller britische Kunst (Gilbert & George, Damien Hirst).
Auszeichnungen
Das Stedelijk Museum wurde 2009 mit dem erstmals vergebenen Turing Award for exhibition ausgezeichnet, der mit 450.000 Euro dotiert ist. Das Museum erhielt das Preisgeld für das Konzept einer von Eva Meyer-Hermann konzipierten und kuratierten Ausstellung des amerikanischen Künstlers Mike Kelley, die als Retrospektive nach der Wiedereröffnung präsentiert wurde.
(Wikipedia)
Les Bourgeois de Calais is one of the most famous sculptures by Auguste Rodin, completed in 1889. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year.
The Kunstmuseum Basel houses the largest and most significant public art collection in Switzerland, and is listed as a heritage site of national significance. Its lineage extends back to the Amerbach Cabinet purchased by the city of Basel in 1661, which made it the first municipally owned museum. Its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600 and on the art of the 19th to 21st centuries.
The Kunstmuseum possesses the largest collection of works by the Holbein family. Further examples of Renaissance art include important pieces by such masters as Konrad Witz, Hans Baldung (called Grien), Martin Schongauer, Lucas Cranach the Elder and Mathias Grünewald. The main features of the 17th and 18th centuries are the Flemish and Dutch schools (e.g. Peter Paul Rubens, Rembrandt, Jan Brueghel the Elder), German and Dutch still life painting. Key works from the 19th century include the Impressionists represented by Édouard Manet, Claude Monet, Paul Gauguin, Paul Cézanne as well as the paintings by Vincent van Gogh and Switzerland’s Arnold Böcklin and Ferdinand Hodler. In the 20th century, the focus is on works of Cubism with Picasso, Braque and Juan Gris. Expressionism is represented by such figures as Edvard Munch, Franz Marc, Oskar Kokoschka and Emil Nolde. The collection also includes works of art from the periods of Constructivism, Dadaism and Surrealism and American art since 1950. Further highlights are the unique compilations of works from Pablo Picasso, Fernand Léger, Paul Klee, Alberto Giacometti and Marc Chagall.
In the realm of more recent and contemporary art, the collection maintains substantial complexes of works by Swiss, German, Italian, and American artists, including Joseph Beuys, Andy Warhol, Jasper Johns, Georg Baselitz, A.R. Penck, Brice Marden, Bruce Nauman, Jonathan Borofsky, Roni Horn, Francesco Clemente, Mimmo Paladino, Enzo Cucchi, Walter Dahn, Martin Disler, Siegfried Anzinger, Leiko Ikemura, Markus Raetz, Robert Therrien, Rosemarie Trockel and Robert Gober.
The 32 rescuees of Sea-Watch 3, who had been rescued on 22.12.2018 and afterwards stranded at sea for 18 days due to the EU's denial of a Port of Safety, as well as 17 more from Sea-Eye's Professor Albrecht Penck, disembark in Malta on January, 09, 2019. The disembarkation was conducted by the Armed Forces of Malta (AFM), who pickeed up the guests from the two ships and disembarked them in the AFM station at Hay Wharf, Malta. Subsequently they where brought to the Marsa Open Center in Marsa by the Maltese authorities.
© Felix Weiss | sea-watch.org
Titel: Penck
subtitel "re-evaluating the fight after wo2"
Part off a duoprint
Size about 150 x 140 cm
acrylics
(after der affe und der adler by Penck)
Ralf Winkler, alias A.R. Penck (born 5 October 1939) is a German painter, printmaker, sculptor, and jazz drummer.
He was born in Dresden, Germany, and studied together with a group of other neo-expressionist painters in Dresden. He became one of the foremost exponents of the new figuration alongside Jörg Immendorff, Georg Baselitz and Markus Lüpertz. Under the East German communist regime, they were watched by the secret police and were considered dissidents. In the late 1970s they were included in shows in West Berlin and were seen as exponents of free speech in the East. Their work was shown by major museums and galleries in the West throughout the 1980s. They were included in a number of important shows including the famous Zeitgeist exhibition in the well-known Martin Gropius Bau museum and the important New Art show at the Tate in 1983.
In the 1980s he became known worldwide for paintings with pictographic, neo-primitivist imagery of human figures and other totemic forms. He was included in many important shows both in London and New York.
Penck's sculptures, though less familiar, evoke the same primitive themes as his paintings and drawings. They use common everyday materials such as wood, bottles, cardboard boxes, tin cans, masking tape, tinfoil, and wire, and are crudely painted and assembled. Despite their anti-art aesthetic and the rough-and-ready quality of their construction, they have the same symbolic, archetypal anthropomorphic forms as his flat symbolic paintings. The paintings are influenced by Paul Klee's work and mix the flatness of Egyptian or Mayan writing with the crudity of the late black paintings by Jackson Pollock. The sculptures are often reminiscent of the stone heads of Easter Island and other Oceanic art.
A keen drummer, he was a member and with Frank Wollny co-founder of the free jazz group Triple Trip Touch (aka T.T.T. or TTT) and took every opportunity to play with some of the best Jazz musicians of the late 1980s including Butch Morris, Frank Wright, Billy Bang, Louis Moholo and Frank Lowe, organising events at his country mansion in Heimbach in 1990 involving installations by Lennie Lee, performances by Anna Homler and paintings by Christine Kuhn.
A.R. Penck lives and works in Berlin, Düsseldorf, Dublin and New York.wp
Disembarkation at Hay Warf AFM station ---The 32 rescuees of Sea-Watch 3, who had been rescued on 22.12.2018 and afterwards stranded at sea for 18 days due to the EU's denial of a Port of Safety, as well as 17 more from Sea-Eye's Professor Albrecht Penck, disembark in Malta on January, 09, 2019. The disembarkation was conducted by the Armed Forces of Malta (AFM), who pickeed up the guests from the two ships and disembarked them in the AFM station at Hay Wharf, Malta. Subsequently they where brought to the Marsa Open Center in Marsa by the Maltese authorities.
The Kunstmuseum Basel houses the largest and most significant public art collection in Switzerland, and is listed as a heritage site of national significance. Its lineage extends back to the Amerbach Cabinet purchased by the city of Basel in 1661, which made it the first municipally owned museum. Its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600 and on the art of the 19th to 21st centuries.
The Kunstmuseum possesses the largest collection of works by the Holbein family. Further examples of Renaissance art include important pieces by such masters as Konrad Witz, Hans Baldung (called Grien), Martin Schongauer, Lucas Cranach the Elder and Mathias Grünewald. The main features of the 17th and 18th centuries are the Flemish and Dutch schools (e.g. Peter Paul Rubens, Rembrandt, Jan Brueghel the Elder), German and Dutch still life painting. Key works from the 19th century include the Impressionists represented by Édouard Manet, Claude Monet, Paul Gauguin, Paul Cézanne as well as the paintings by Vincent van Gogh and Switzerland’s Arnold Böcklin and Ferdinand Hodler. In the 20th century, the focus is on works of Cubism with Picasso, Braque and Juan Gris. Expressionism is represented by such figures as Edvard Munch, Franz Marc, Oskar Kokoschka and Emil Nolde. The collection also includes works of art from the periods of Constructivism, Dadaism and Surrealism and American art since 1950. Further highlights are the unique compilations of works from Pablo Picasso, Fernand Léger, Paul Klee, Alberto Giacometti and Marc Chagall.
In the realm of more recent and contemporary art, the collection maintains substantial complexes of works by Swiss, German, Italian, and American artists, including Joseph Beuys, Andy Warhol, Jasper Johns, Georg Baselitz, A.R. Penck, Brice Marden, Bruce Nauman, Jonathan Borofsky, Roni Horn, Francesco Clemente, Mimmo Paladino, Enzo Cucchi, Walter Dahn, Martin Disler, Siegfried Anzinger, Leiko Ikemura, Markus Raetz, Robert Therrien, Rosemarie Trockel and Robert Gober.