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Shot Sage Blue Marilyn
œuvre d'Andy Warhol (USA, 1928-1987)
1964
Acrylique et encre sérigraphique sur lin
Collection particulière
En 1962, le décès de Marilyn Monroe entraîne une apparition massive de son image dans les médias. L'événement est déclencheur pour Warhol qui, grâce à la technique de la sérigraphie qu'il commence à utiliser, en réalise des portraits légendaires, noces de la peinture et du star-system. Il réalisera plusieurs séries à partir du même cliché... (Extrait du cartel)
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Exposition "Pop Forever, Tom Wesselmann &…"
Fondation Louis Vuitton, Paris
L’exposition est centrée autour de Tom Wesselmann (1931-2004), une des figures de proue du mouvement, au travers d’une sélection de 150 peintures et œuvres de divers matériaux. Elle regroupe, en outre, 70 œuvres de 35 artistes de générations et nationalités différentes qui partagent une sensibilité « Pop », allant de ses racines dadaïstes à ses prolongements contemporains, des années 1920 à nos jours... (extrait du site de l'exposition)
www.fondationlouisvuitton.fr/fr/evenements/pop-forever-to...
Pop-Art By Tom Wesselmann
The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan in New York City. It was established on November 7, 1929; 85 years ago and has been important in developing and collecting modernist art, and is often identified as the most influential museum of modern art in the world. Considered by many to have the best collection of modern Western masterpieces in the world, MoMA's holdings include more than 150,000 individual pieces in addition to approximately 22,000 films and 4 million film stills.
Source: en.wikipedia.org
Salle "L'art et la vie" au début de l'exposition / niveau -1
Au premier plan:
Self-Obliteration
Installation de Yayoi Kusama (Japon, 1929
1966-1974
Peinture sur mannequins, table, chaises, perruques, sac à main, tasses, assiettes, pichet, cendriers, plante, fruits et fleurs en plastique
M+, Hong Kong
Yayoi Kusama .... expose à New-York, en 1962, aux côtés d'Andy Warhol et de Claes Oldenburg à la Green Gallery.... Les hallucinations qui la poursuivent se répercutent sur son œuvre: un réseau infini de points qui envahit l'espace et les corps comme dans "Self-Obliteration". Cette sculpture peut être considérée comme la traduction de ses performances.... (Extrait du cartel)
Sur le mur, au fond:
Shot Sage Blue Marilyn
œuvre d'Andy Warhol (USA, 1928-1987)
1964
Acrylique et encre sérigraphique sur lin
Collection particulière
En 1962, le décès de Marilyn Monroe entraîne une apparition massive de son image dans les médias. L'événement est déclencheur pour Warhol qui, grâce à la technique de la sérigraphie qu'il commence à utiliser, en réalise des portraits légendaires, noces de la peinture et du star-system. Il réalisera plusieurs séries à partir du même cliché... (Extrait du cartel)
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Exposition "Pop Forever, Tom Wesselmann &…"
Fondation Louis Vuitton, Paris
L’exposition est centrée autour de Tom Wesselmann (1931-2004), une des figures de proue du mouvement, au travers d’une sélection de 150 peintures et œuvres de divers matériaux. Elle regroupe, en outre, 70 œuvres de 35 artistes de générations et nationalités différentes qui partagent une sensibilité « Pop », allant de ses racines dadaïstes à ses prolongements contemporains, des années 1920 à nos jours... (extrait du site de l'exposition)
www.fondationlouisvuitton.fr/fr/evenements/pop-forever-to...
Mural by Tom Wesselmann seen at 811 Main Street in Cincinnati, Ohio. This mural is titled Still Life #60.
Du 17 octobre 2024 au 24 février 2025, la Fondation présente « Pop Forever, Tom Wesselmann &… » une exposition consacrée au Pop Art, l’un des mouvements artistiques majeurs des années 1960 dont la présence n’a cessé, jusqu’à aujourd’hui, de s’affirmer sur tous les continents et pour toutes les générations.
L’exposition est centrée autour de Tom Wesselmann (1931-2004), une des figures de proue du mouvement, au travers d’une sélection de 150 peintures et œuvres de divers matériaux. Elle regroupe, en outre, 70 œuvres de 35 artistes de générations et nationalités différentes qui partagent une sensibilité « Pop », allant de ses racines dadaïstes à ses prolongements contemporains, des années 1920 à nos jours.
Week 4 LIPS (966 – 970) Id 966
Tom Wesselmann American, 1931-2004
Great American Nude #75, 1965
Illuminated painted molded plastic
In the early 1960s, Wesselmann inaugurated his long-running series of Great American Nudes, which place the suggestive lips and pert nipples of languidly posed women alongside American-flag motifs. In 1964, he began experimenting with vacuum-formed plastic works; he was particularly inspired by what he called “the beautiful intensity of gas station signs,” with their bas-relief surfaces—rising slightly from the picture plane—lit from within.
Wesselmann’s nudes were included in the group show Electric Art and in his first European solo exhibition, both at Gelerie Ileana Sonnabend in 1966. Sonnabend was delighted by his “new plastics” and reported that “everybody who saw them was very excited about them.” Soon she began to circulate Wesselmann’s work around Europe; a show in Italy that included some of his nudes prompted Sonnabend to send him a reassuring note: “Don’t worry, the censors haven’t been around—it’s too hot in Venice.”
Clair Wesselmann
From the Placard: MoMA Museum of Modern Art, New York, NY
en.wikipedia.org/wiki/Tom_Wesselmann
www.theartstory.org/artist-wesselmann-tom.htm
www.westword.com/arts/review-the-naked-truth-about-pop-ar...
Roy Lichtenstein, Mujer en el baño, 1963; Tom Wesselmann, Desnudo n.º 1, 1970; David Hockney, En memoria de Cecchinno Bracci, 1962
Tom Wesselmann (American, 1931-2004)
April 1963.
Oil, enamel and synthetic polymer paint on composition board with collage of printed advertisements, plastic flowers, refrigerator door, plastic replicas of 7-Up bottles, glazed and framed color reproduction, and stamped metal, 48 1/2 x 66 x 4" (122 x 167.5 x 10 cm).
Exposition
Du 14/06/2017 au 10/09/2017
À l’été 2017, le Palais de Tokyo invite, avec Dioramas, à découvrir une source d’inspiration inattendue des artistes contemporains : le diorama. L’exposition déconstruit de manière inédite l’histoire du regard, au croisement de l’histoire, de l’histoire de l’art, du cinéma, du monde de la scène, des arts populaires et forains et de l’histoire des sciences et techniques.
Balzac qualifiait le diorama de « merveille du siècle »(1) : son invention au XIXème siècle a constitué une révolution optique, un moment clé de l’histoire du spectaculaire dans l’héritage des lanternes magiques du XVIIème siècle.
Du diorama de Daguerre consistant en une peinture de grande dimension soumise à de savants jeux d’éclairage, au célèbre diorama historique ou naturaliste connu des musées d’Histoire naturelle, formé d’une vitre, d’une toile de fond et d’éléments tridimensionnels, le diorama incarne le règne de la mise en scène et de l’illusion. En donnant, selon la forme inventée par Daguerre, l’impression du mouvement par des effets de lumière, il figure pour la première fois le passage du temps, et anticipe l’invention du cinéma. En offrant, dans sa seconde acception, la reconstitution d’une situation qui ne peut être vue pour des raisons spatiales ou temporelles, il donne naissance à une réalité virtuelle, et invite à croire, un instant, à l’authenticité de l’artifice.
S’il met en scène notre connaissance du monde, le diorama - dont l’étymologie signifie « voir à travers » - sert ainsi également de support de projection à l’imaginaire, et trouve notamment son origine dans le monde du théâtre.
Dans le sillage de l’exposition Le Bord des mondes (2015), le Palais de Tokyo poursuit ici son exploration des multiples territoires de l’art avec une constante ouverture à l’égard des différents champs de savoir. Ainsi, au-delà de l’histoire du diorama et de son influence sur des artistes majeurs du XXème et du XXIème siècle, l’exposition Dioramas invite à plonger dans les mécanismes cachés de ce dispositif. En démantelant ses stratégies d’illusionnisme, elle offre la possibilité d’élaborer une approche critique du pouvoir de représentation, et ouvre à des problématiques actuelles telles que la conscience écologique et l’héritage visuel du colonialisme.
Avec : Marcelle Ackein, Carl Akeley, Sammy Baloji, Richard Baquié, Richard Barnes, Erich Böttcher, Jacques Bouisset, Cao Fei, Philippe Chancel, Joseph Cornell, Louis Daguerre, Giovanni D’Enrico, Caterina De Julianis, Mark Dion, Jean Paul Favand, Claude-André Férigoule, Joan Fontcuberta, Diane Fox, Emmanuel Frémiet, Ryan Gander, Isa Genzken, Arno Gisinger, Ignazio Lo Giudice, Robert Gober, Duane Hanson, Edward Hart, Patrick Jacobs, Arthur August Jansson, Anselm Kiefer, Fritz Laube, Pierre Leguillon, William Robinson Leigh, Charles Matton, Mathieu Mercier, Kent Monkman, Armand Morin, Lorenzo Mosca, Dulce Pinzón, Walter Potter, Georges Henri Rivière, G-M Salgé, Gerrit Schouten, Ronan-Jim Sévellec, Pierrick Sorin, Peter Spicer, Hiroshi Sugimoto, Fiona Tan, Jules Terrier, Tatiana Trouvé, Jeff Wall, Rowland Ward, Tom Wesselmann
Berlin is the capital and largest city of Germany. The city is one of Germany's 16 federal states.
The first records of towns in the area of present-day Berlin date from the late 12th century. The central part of Berlin can be traced back to two towns. Cölln on the Fischerinsel is first mentioned in 1237 and Berlin, across the river Spree in 1244. The two towns over time formed close economic and social ties, and profited from the staple right on the two important trade routes Via Imperii and from Bruges to Novgorod.
The Neue Nationalgalerie (New National Gallery) is a museum for modern art, designed in 1962 by Ludwig Mies van der Rohe. Construction began in 1965 and was completed after almost three years in 1968, one year before Mies’ death.
The Neue Nationalgalerie is the only building that Mies van der Rohe built in Germany after the Second World War. The square pavilion, a steel and glass structure, sits on a 105 × 110 meter granite terrace that compensates for the slight slope along the banks of the Landwehr Canal. The square roof, which dominates the building, measures 64.8 meters in length.
Due to extensive renovation work on the museum was closed for five years at the beginning of 2015. The renovation cost approximately 140 million euros.
Bedroom Painting No 13 / 1969
Tom Wesselmann (1931 - 2005)
Tom Wesselmann (1931 - 2004), Rosemary, bei Liz liegend - Rosemary reclining by Liz, 1989 - 1991 (Alkydharz auf Cut-out-Aluminium - alkyd resin on cut-out-aluminium), Albertina -Sammlung Batliner
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Du 17 octobre 2024 au 24 février 2025, la Fondation présente « Pop Forever, Tom Wesselmann &… » une exposition consacrée au Pop Art, l’un des mouvements artistiques majeurs des années 1960 dont la présence n’a cessé, jusqu’à aujourd’hui, de s’affirmer sur tous les continents et pour toutes les générations.
L’exposition est centrée autour de Tom Wesselmann (1931-2004), une des figures de proue du mouvement, au travers d’une sélection de 150 peintures et œuvres de divers matériaux. Elle regroupe, en outre, 70 œuvres de 35 artistes de générations et nationalités différentes qui partagent une sensibilité « Pop », allant de ses racines dadaïstes à ses prolongements contemporains, des années 1920 à nos jours.
Exposition
Du 14/06/2017 au 10/09/2017
À l’été 2017, le Palais de Tokyo invite, avec Dioramas, à découvrir une source d’inspiration inattendue des artistes contemporains : le diorama. L’exposition déconstruit de manière inédite l’histoire du regard, au croisement de l’histoire, de l’histoire de l’art, du cinéma, du monde de la scène, des arts populaires et forains et de l’histoire des sciences et techniques.
Balzac qualifiait le diorama de « merveille du siècle »(1) : son invention au XIXème siècle a constitué une révolution optique, un moment clé de l’histoire du spectaculaire dans l’héritage des lanternes magiques du XVIIème siècle.
Du diorama de Daguerre consistant en une peinture de grande dimension soumise à de savants jeux d’éclairage, au célèbre diorama historique ou naturaliste connu des musées d’Histoire naturelle, formé d’une vitre, d’une toile de fond et d’éléments tridimensionnels, le diorama incarne le règne de la mise en scène et de l’illusion. En donnant, selon la forme inventée par Daguerre, l’impression du mouvement par des effets de lumière, il figure pour la première fois le passage du temps, et anticipe l’invention du cinéma. En offrant, dans sa seconde acception, la reconstitution d’une situation qui ne peut être vue pour des raisons spatiales ou temporelles, il donne naissance à une réalité virtuelle, et invite à croire, un instant, à l’authenticité de l’artifice.
S’il met en scène notre connaissance du monde, le diorama - dont l’étymologie signifie « voir à travers » - sert ainsi également de support de projection à l’imaginaire, et trouve notamment son origine dans le monde du théâtre.
Dans le sillage de l’exposition Le Bord des mondes (2015), le Palais de Tokyo poursuit ici son exploration des multiples territoires de l’art avec une constante ouverture à l’égard des différents champs de savoir. Ainsi, au-delà de l’histoire du diorama et de son influence sur des artistes majeurs du XXème et du XXIème siècle, l’exposition Dioramas invite à plonger dans les mécanismes cachés de ce dispositif. En démantelant ses stratégies d’illusionnisme, elle offre la possibilité d’élaborer une approche critique du pouvoir de représentation, et ouvre à des problématiques actuelles telles que la conscience écologique et l’héritage visuel du colonialisme.
Avec : Marcelle Ackein, Carl Akeley, Sammy Baloji, Richard Baquié, Richard Barnes, Erich Böttcher, Jacques Bouisset, Cao Fei, Philippe Chancel, Joseph Cornell, Louis Daguerre, Giovanni D’Enrico, Caterina De Julianis, Mark Dion, Jean Paul Favand, Claude-André Férigoule, Joan Fontcuberta, Diane Fox, Emmanuel Frémiet, Ryan Gander, Isa Genzken, Arno Gisinger, Ignazio Lo Giudice, Robert Gober, Duane Hanson, Edward Hart, Patrick Jacobs, Arthur August Jansson, Anselm Kiefer, Fritz Laube, Pierre Leguillon, William Robinson Leigh, Charles Matton, Mathieu Mercier, Kent Monkman, Armand Morin, Lorenzo Mosca, Dulce Pinzón, Walter Potter, Georges Henri Rivière, G-M Salgé, Gerrit Schouten, Ronan-Jim Sévellec, Pierrick Sorin, Peter Spicer, Hiroshi Sugimoto, Fiona Tan, Jules Terrier, Tatiana Trouvé, Jeff Wall, Rowland Ward, Tom Wesselmann
Exposition
Du 14/06/2017 au 10/09/2017
À l’été 2017, le Palais de Tokyo invite, avec Dioramas, à découvrir une source d’inspiration inattendue des artistes contemporains : le diorama. L’exposition déconstruit de manière inédite l’histoire du regard, au croisement de l’histoire, de l’histoire de l’art, du cinéma, du monde de la scène, des arts populaires et forains et de l’histoire des sciences et techniques.
Balzac qualifiait le diorama de « merveille du siècle »(1) : son invention au XIXème siècle a constitué une révolution optique, un moment clé de l’histoire du spectaculaire dans l’héritage des lanternes magiques du XVIIème siècle.
Du diorama de Daguerre consistant en une peinture de grande dimension soumise à de savants jeux d’éclairage, au célèbre diorama historique ou naturaliste connu des musées d’Histoire naturelle, formé d’une vitre, d’une toile de fond et d’éléments tridimensionnels, le diorama incarne le règne de la mise en scène et de l’illusion. En donnant, selon la forme inventée par Daguerre, l’impression du mouvement par des effets de lumière, il figure pour la première fois le passage du temps, et anticipe l’invention du cinéma. En offrant, dans sa seconde acception, la reconstitution d’une situation qui ne peut être vue pour des raisons spatiales ou temporelles, il donne naissance à une réalité virtuelle, et invite à croire, un instant, à l’authenticité de l’artifice.
S’il met en scène notre connaissance du monde, le diorama - dont l’étymologie signifie « voir à travers » - sert ainsi également de support de projection à l’imaginaire, et trouve notamment son origine dans le monde du théâtre.
Dans le sillage de l’exposition Le Bord des mondes (2015), le Palais de Tokyo poursuit ici son exploration des multiples territoires de l’art avec une constante ouverture à l’égard des différents champs de savoir. Ainsi, au-delà de l’histoire du diorama et de son influence sur des artistes majeurs du XXème et du XXIème siècle, l’exposition Dioramas invite à plonger dans les mécanismes cachés de ce dispositif. En démantelant ses stratégies d’illusionnisme, elle offre la possibilité d’élaborer une approche critique du pouvoir de représentation, et ouvre à des problématiques actuelles telles que la conscience écologique et l’héritage visuel du colonialisme.
Avec : Marcelle Ackein, Carl Akeley, Sammy Baloji, Richard Baquié, Richard Barnes, Erich Böttcher, Jacques Bouisset, Cao Fei, Philippe Chancel, Joseph Cornell, Louis Daguerre, Giovanni D’Enrico, Caterina De Julianis, Mark Dion, Jean Paul Favand, Claude-André Férigoule, Joan Fontcuberta, Diane Fox, Emmanuel Frémiet, Ryan Gander, Isa Genzken, Arno Gisinger, Ignazio Lo Giudice, Robert Gober, Duane Hanson, Edward Hart, Patrick Jacobs, Arthur August Jansson, Anselm Kiefer, Fritz Laube, Pierre Leguillon, William Robinson Leigh, Charles Matton, Mathieu Mercier, Kent Monkman, Armand Morin, Lorenzo Mosca, Dulce Pinzón, Walter Potter, Georges Henri Rivière, G-M Salgé, Gerrit Schouten, Ronan-Jim Sévellec, Pierrick Sorin, Peter Spicer, Hiroshi Sugimoto, Fiona Tan, Jules Terrier, Tatiana Trouvé, Jeff Wall, Rowland Ward, Tom Wesselmann
Highly stylized painting by artist Tom Wesselmann, often associated with Pop Art. Like Lubalin, he was a graduate of Cooper Union. Wesselmann’s languorously erotic art fits seamlessly into the libertine atmosphere of Avant Garde. Date: November 1968. © Estate of Tom Wesselmann /DACS, London/VAGA, NY, 2012. www.uniteditions.com
Exposition
Du 14/06/2017 au 10/09/2017
À l’été 2017, le Palais de Tokyo invite, avec Dioramas, à découvrir une source d’inspiration inattendue des artistes contemporains : le diorama. L’exposition déconstruit de manière inédite l’histoire du regard, au croisement de l’histoire, de l’histoire de l’art, du cinéma, du monde de la scène, des arts populaires et forains et de l’histoire des sciences et techniques.
Balzac qualifiait le diorama de « merveille du siècle »(1) : son invention au XIXème siècle a constitué une révolution optique, un moment clé de l’histoire du spectaculaire dans l’héritage des lanternes magiques du XVIIème siècle.
Du diorama de Daguerre consistant en une peinture de grande dimension soumise à de savants jeux d’éclairage, au célèbre diorama historique ou naturaliste connu des musées d’Histoire naturelle, formé d’une vitre, d’une toile de fond et d’éléments tridimensionnels, le diorama incarne le règne de la mise en scène et de l’illusion. En donnant, selon la forme inventée par Daguerre, l’impression du mouvement par des effets de lumière, il figure pour la première fois le passage du temps, et anticipe l’invention du cinéma. En offrant, dans sa seconde acception, la reconstitution d’une situation qui ne peut être vue pour des raisons spatiales ou temporelles, il donne naissance à une réalité virtuelle, et invite à croire, un instant, à l’authenticité de l’artifice.
S’il met en scène notre connaissance du monde, le diorama - dont l’étymologie signifie « voir à travers » - sert ainsi également de support de projection à l’imaginaire, et trouve notamment son origine dans le monde du théâtre.
Dans le sillage de l’exposition Le Bord des mondes (2015), le Palais de Tokyo poursuit ici son exploration des multiples territoires de l’art avec une constante ouverture à l’égard des différents champs de savoir. Ainsi, au-delà de l’histoire du dior
The Impossible
Acrylic Paint
16x20
I was inspired by Tom Wesselmann's Still Life #35. I wanted to capture the traditional 1950s "American Dream" house. It was thought that part of the American Fantasy, that caused so many come to America, was the little house with a yard and a white picket fence. As the title implies though, this was just a fantasy. I made the house have no doors, windows or steps to symbolize that there was no way inside, just like there was no way to arrive at the fantasy. Finally I made the house bright colors and flat washes to make it seem too "perfect" and make if seem as though it didn't belong.
After 7 months of super-renovations and additions I'm spending the evening setting up my new home office. Yes, this is the third office I work from on a daily basis ;-/
Art by Tom Wesselmann, Robert Longo, David Levinthal, Thomas Delisle and Valerie Fuchs
Furniture by Thaden Jordan ca. 1947
Weltron 2010 8 Track Recorder/Player ca. 1973
Colorful "Virus" Table as a special commission by me ca. 1999
White and Black Post Modern Tea Pots. Creator unknown
Blue Hall for Westinghouse Refrigerator dishes here and there. ca. mid 1930s through mid 1940s
Cow Hide rug (new)
The whole room is filled in every nook and cranny with books ;-)
I'm always at www.brycehudson.com
Say hello ;-)
I'm trying to spruce up my interior photography using the manual settings on my Nikon 300D...
After 7 months of super-renovations and additions I'm spending the evening setting up my new home office. Yes, this is the third office I work from on a daily basis ;-/
Art by Tom Wesselmann, Robert Longo, David Levinthal, Thomas Delisle and Valerie Fuchs
Furniture by Thaden Jordan ca. 1947
Weltron 2010 8 Track Recorder/Player ca. 1973
Colorful "Virus" Table as a special commission by me ca. 1999
White and Black Post Modern Tea Pots. Creator unknown
Blue Hall for Westinghouse Refrigerator dishes here and there. ca. mid 1930s through mid 1940s
Cow Hide rug (new)
The whole room is filled in every nook and cranny with books ;-)
I'm always at www.brycehudson.com
Say hello ;-)
Tom Wesselmann, 1931 - 2004 (ohne Titel, 1965 - untitled), Albertina
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Exposition
Du 14/06/2017 au 10/09/2017
À l’été 2017, le Palais de Tokyo invite, avec Dioramas, à découvrir une source d’inspiration inattendue des artistes contemporains : le diorama. L’exposition déconstruit de manière inédite l’histoire du regard, au croisement de l’histoire, de l’histoire de l’art, du cinéma, du monde de la scène, des arts populaires et forains et de l’histoire des sciences et techniques.
Balzac qualifiait le diorama de « merveille du siècle »(1) : son invention au XIXème siècle a constitué une révolution optique, un moment clé de l’histoire du spectaculaire dans l’héritage des lanternes magiques du XVIIème siècle.
Du diorama de Daguerre consistant en une peinture de grande dimension soumise à de savants jeux d’éclairage, au célèbre diorama historique ou naturaliste connu des musées d’Histoire naturelle, formé d’une vitre, d’une toile de fond et d’éléments tridimensionnels, le diorama incarne le règne de la mise en scène et de l’illusion. En donnant, selon la forme inventée par Daguerre, l’impression du mouvement par des effets de lumière, il figure pour la première fois le passage du temps, et anticipe l’invention du cinéma. En offrant, dans sa seconde acception, la reconstitution d’une situation qui ne peut être vue pour des raisons spatiales ou temporelles, il donne naissance à une réalité virtuelle, et invite à croire, un instant, à l’authenticité de l’artifice.
S’il met en scène notre connaissance du monde, le diorama - dont l’étymologie signifie « voir à travers » - sert ainsi également de support de projection à l’imaginaire, et trouve notamment son origine dans le monde du théâtre.
Dans le sillage de l’exposition Le Bord des mondes (2015), le Palais de Tokyo poursuit ici son exploration des multiples territoires de l’art avec une constante ouverture à l’égard des différents champs de savoir. Ainsi, au-delà de l’histoire du diorama et de son influence sur des artistes majeurs du XXème et du XXIème siècle, l’exposition Dioramas invite à plonger dans les mécanismes cachés de ce dispositif. En démantelant ses stratégies d’illusionnisme, elle offre la possibilité d’élaborer une approche critique du pouvoir de représentation, et ouvre à des problématiques actuelles telles que la conscience écologique et l’héritage visuel du colonialisme.
Avec : Marcelle Ackein, Carl Akeley, Sammy Baloji, Richard Baquié, Richard Barnes, Erich Böttcher, Jacques Bouisset, Cao Fei, Philippe Chancel, Joseph Cornell, Louis Daguerre, Giovanni D’Enrico, Caterina De Julianis, Mark Dion, Jean Paul Favand, Claude-André Férigoule, Joan Fontcuberta, Diane Fox, Emmanuel Frémiet, Ryan Gander, Isa Genzken, Arno Gisinger, Ignazio Lo Giudice, Robert Gober, Duane Hanson, Edward Hart, Patrick Jacobs, Arthur August Jansson, Anselm Kiefer, Fritz Laube, Pierre Leguillon, William Robinson Leigh, Charles Matton, Mathieu Mercier, Kent Monkman, Armand Morin, Lorenzo Mosca, Dulce Pinzón, Walter Potter, Georges Henri Rivière, G-M Salgé, Gerrit Schouten, Ronan-Jim Sévellec, Pierrick Sorin, Peter Spicer, Hiroshi Sugimoto, Fiona Tan, Jules Terrier, Tatiana Trouvé, Jeff Wall, Rowland Ward, Tom Wesselmann
Exposition
Du 14/06/2017 au 10/09/2017
À l’été 2017, le Palais de Tokyo invite, avec Dioramas, à découvrir une source d’inspiration inattendue des artistes contemporains : le diorama. L’exposition déconstruit de manière inédite l’histoire du regard, au croisement de l’histoire, de l’histoire de l’art, du cinéma, du monde de la scène, des arts populaires et forains et de l’histoire des sciences et techniques.
Balzac qualifiait le diorama de « merveille du siècle »(1) : son invention au XIXème siècle a constitué une révolution optique, un moment clé de l’histoire du spectaculaire dans l’héritage des lanternes magiques du XVIIème siècle.
Du diorama de Daguerre consistant en une peinture de grande dimension soumise à de savants jeux d’éclairage, au célèbre diorama historique ou naturaliste connu des musées d’Histoire naturelle, formé d’une vitre, d’une toile de fond et d’éléments tridimensionnels, le diorama incarne le règne de la mise en scène et de l’illusion. En donnant, selon la forme inventée par Daguerre, l’impression du mouvement par des effets de lumière, il figure pour la première fois le passage du temps, et anticipe l’invention du cinéma. En offrant, dans sa seconde acception, la reconstitution d’une situation qui ne peut être vue pour des raisons spatiales ou temporelles, il donne naissance à une réalité virtuelle, et invite à croire, un instant, à l’authenticité de l’artifice.
S’il met en scène notre connaissance du monde, le diorama - dont l’étymologie signifie « voir à travers » - sert ainsi également de support de projection à l’imaginaire, et trouve notamment son origine dans le monde du théâtre.
Dans le sillage de l’exposition Le Bord des mondes (2015), le Palais de Tokyo poursuit ici son exploration des multiples territoires de l’art avec une constante ouverture à l’égard des différents champs de savoir. Ainsi, au-delà de l’histoire du diorama et de son influence sur des artistes majeurs du XXème et du XXIème siècle, l’exposition Dioramas invite à plonger dans les mécanismes cachés de ce dispositif. En démantelant ses stratégies d’illusionnisme, elle offre la possibilité d’élaborer une approche critique du pouvoir de représentation, et ouvre à des problématiques actuelles telles que la conscience écologique et l’héritage visuel du colonialisme.
Avec : Marcelle Ackein, Carl Akeley, Sammy Baloji, Richard Baquié, Richard Barnes, Erich Böttcher, Jacques Bouisset, Cao Fei, Philippe Chancel, Joseph Cornell, Louis Daguerre, Giovanni D’Enrico, Caterina De Julianis, Mark Dion, Jean Paul Favand, Claude-André Férigoule, Joan Fontcuberta, Diane Fox, Emmanuel Frémiet, Ryan Gander, Isa Genzken, Arno Gisinger, Ignazio Lo Giudice, Robert Gober, Duane Hanson, Edward Hart, Patrick Jacobs, Arthur August Jansson, Anselm Kiefer, Fritz Laube, Pierre Leguillon, William Robinson Leigh, Charles Matton, Mathieu Mercier, Kent Monkman, Armand Morin, Lorenzo Mosca, Dulce Pinzón, Walter Potter, Georges Henri Rivière, G-M Salgé, Gerrit Schouten, Ronan-Jim Sévellec, Pierrick Sorin, Peter Spicer, Hiroshi Sugimoto, Fiona Tan, Jules Terrier, Tatiana Trouvé, Jeff Wall, Rowland Ward, Tom Wesselmann
Yayoi Kusama. All the Eternal Love I have for the Pumpkins (2016). © Yayoi Kusama / Victoria Miro Gallery, London
From the Chrysler Museum of Art Website:
Date: 1968-70
Related People:
Artist: Tom Wesselmann
American, 1931-2004
Dimensions: Overall: 84 1/4 x 119 1/4 in. (214 x 302.9 cm)
Medium: Oil on canvas
Credit Line: Gift of Walter P. Chrysler, Jr.
Description: This oil on canvas painting is irregulary-shaped and combines still-life objects with a woman's foot with painted toenails. The foot lines the bottom edge of the canvas, the ball of the foot resting on a round, yellow pillow. An orange, a rose, a portrait of a lover (self-portrait of Wesselmann) is in the background. The contour of the canvas is shaped to fit the objects depicted.
Among the most irreverent and playful of post-World War II aesthetics, Pop art came to the fore in England and America in the late 1950s and over the next decade gained acceptance as a major style. Reacting to the abstract and subjective pictorial language of the Abstract Expressionists (see object 83.592), America's Pop artists embraced figuration and devised a readily accessible vocabulary of forms drawn from popular culture. Like James Rosenquist, Roy Lichtenstein, and Andy Warhol (see objects 71.699, 71.676, 81.39), Tom Wesselmann made liberal use of the "throw-away" imagery of urban mass culture-as encountered in newspapers, comics, magazines, movies, and television-and often did so to comment ironically on the nature of the erotic impulse in contemporary American life. Wesselmann showed no inclination toward art until he joined the Army and began to try his hand at cartooning. Thereafter he studied at the Art Academy of Cincinnati (Cincinnati was his hometown) and at the Cooper Union in New York City, where he encountered, and ultimately rejected, Abstract Expressionism. His first significant works were small collages in a Cubist vein that juxtaposed his own drawings of female nudes with magazine clippings of soda bottles, food, and other commercial products. With time he abandoned these tiny assemblages for large paintings, though he maintained the bright, slick colors and hard-edge realism of the magazine ads. In 1962 he embarked on his series of Great American Nudes. These brashly colored, monumental canvases feature highly suggestive female nudes in bath or bedroom settings and often incorporated actual objects -telephones, radios, tables, and chairs-in an effort to create a more palpable domestic environment. In 1967 Wesselmann began another series of large-scale canvases, the Bedroom Paintings, in which he pursued his fascination with erotic themes. These highly compressed images combined still-life objects appropriate to the bedroom and redolent of "pop" romance-pillows, lighted cigarettes, roses, oranges, a lover's photograph-with erotically charged parts of the male or female anatomy. As in the Chrysler's Bedroom Painting #15 of 1968-70, the contours of these canvases are often shaped to fit the objects depicted, and thus echo the imagery's sensuously undulating forms. Wesselmann himself noted that in Bedroom Painting #15 he "gave the main role to a huge yellow pillow, and set up a dramatic scale change in the painting, between the pillow and the other elements." The gigantic foot with glossily painted nails serves as a tantalizing reference to an unseen female nude reclining on a bed, and as such it frustrates the viewer's desire to play the voyeur. In fact, Wesselmann reserves this role for himself: it is he who gazes from the photograph at bedside and who alone can "see" all from this privileged vantage point. The Chrysler also possesses two of Wesselmann's preliminary drawings for Bedroom Painting #15, both executed in pencil on paper (see objects 87.508, 87.507). JCH Martha N. Hagood and Jefferson C. Harrison, _American Art at the Chrysler Museum: Selected Paintings, Sculpture, and Drawings_ (Norfolk, Va.: Chrysler Museum of Art, 2005), 246-247, no. 150.
In Wesselmann's slick, erotic montage, a large yellow pillow, which bears a coy resemblance to a female breast, dominates the composition. Its form is visually echoed by an orange set among such trappings of popular romance as a rose and a lover's photograph. A flushed, pink foot with brightly painted toenails strongly suggests a female body whose huge scale can only be imagined, while the small, framed self-portrait lets us know that the artist himself is gazing upon the scene. With his bright colors and impersonal handling Wesselmann imitates the style of glossy magazine advertising where the commercial and the sexual are blended seamlessly.
Object Number: 77.420
Photo taken September 29th, 2007.
David Buckingham's Travis Bickle III, one of his cut and welded found metal Gun series, was part of a solo exhibit, Dark Side of the Moon at OK Harris in 2008.
OK Harris was founded by Ivan C. Karp in 1969 in the SoHo district of Manhattan. After having been co-director of Leo Castelli Gallery from 1959-1969 during which time he was instrumental in launching the careers of pop artists such as Andy Warhol, Roy Lichtenstein, Robert Rauschenberg, Claes Oldenburg, Tom Wesselmann and John Chamberlain, Ivan broke away and decided to launch his own gallery. Its establishment in SoHo as the first gallery on West Broadway helped inspire the development of the area’s fine arts character. In addition to being at the forefront of the Photo Realist movement in 1969, OK Harris was among the first galleries to exhibit the work of Duane Hanson, Deborah Butterfield, Manny Farber, Richard Pettibone, Robert Cottingham, Robert Bechtle, Marilyn Levine, Nancy Rubins, Malcolm Morley, Luis Jiminez, Jake Berthot, Jack Goldstein, Porfirio DiDonna, Al Souza and Arman. OK Harris exhibits contemporary art and photography, and on occasion mounts shows of antiques and collectibles. In it’s capacious facility, it is able to mount five, one - person shows simultaneously and has seven such exhibitions in the course of a year. The gallery maintains a complete photographic archive on its exhibitions from the time of its inception, available to students and scholars for research, without reservation.