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A pleasant art session with the good doctors at Pataphysical Studios, on an early fall afternoon.
Here are this week’s featured art projects at Pataphysical Studios:
• Dr. Heatshrink grew five new hands in his right arm
• Drs. Canard and Fabio added golden rays to the Crazy Clock
• Dr. Figurine started attaching hands and motors for her Asterisk painting
• Dr. Really shared a wild picture of a dead horse on his back
• Dr. Rindbrain offered his computer stand for the Time Machine’s cockpit
• Dr. Canard pointed to holy crap flagged as ‘Property of Donald Trump’
Vive la ‘patpahysique!
View more 'Pataphysical photos: www.flickr.com/photos/fabola/albums/72157623637793277
Learn more about the Time Machine:
www.flickr.com/photos/fabola/albums/72157659761749014
About Pataphysical Studios: pataphysics.us/
Teen Magazine published by Drippy Bone Books. Featuring art by Claudio Parentela, Cody Brant, Bramok, Mario Zoots, and Kristy Foom. Edition of 12. 28 pages. Printed on gray acid free paper. Glossy teal cover.
The New York State Pavilion was constructed for the World’s Fair in Flushing Meadows-Corona Park. Designed by architect Philip Johnson, the “Tent of Tomorrow” measures 350 feet by 250 feet, with sixteen 100-foot columns suspending a 50,000 square-foot roof of multi-colored panels. The popular exhibit for the state of New York also held three towers, measuring 60 feet, 150 feet, and 226 feet. The two shorter towers held cafeterias for the fair, and the tallest tower, as the highest point of the fair, held an observation deck. Fair visitors ascended the towers in the “Sky Streak” capsule elevators.
The pavilion included a display from the New York State Power Authority with a 26-foot scale replica of the St. Lawrence hydroelectric plant. The pavilion’s mezzanine featured art from local museums and information about the state’s industries along a path called “Highways through New York.” The Fine Arts Gallery showed pieces from the Hudson River School and portraits of New York State colonists. Approximately six million people visited the New York State Pavilion.
Perhaps the most spectacular feature of the exhibit was the Texaco Company’s map of New York State. The map was designed with 567 terrazzo mosaic panels, each weighing 400 pounds. Rand McNally & Company assisted in constructing the $1,000,000 map, which featured the 50,000 square miles of New York State in meticulous detail. The cities, towns, highways, roads, and Texaco stations were accurately mapped in the 9,000 square-foot design. After the fair, the space under the tent was used as a roller skating rink and as a performance space by the Council for International Recreation, Culture, and Lifelong Education. By 1976, the roof above the map became unstable and the tent was removed, exposing the map of New York State to the ravages of weather.
The New York State Pavilion also included the adjacent “Theaterama,” which exhibited pop art works by Andy Warhol (1928-1987) and Roy Lichtenstein (1923-1997) among others. The “Theaterama” also screened a 360-degree film about the wonders of New York State, from Jones Beach to Niagara Falls. The space was converted to the Queens Playhouse in 1972 with its first production, George Bernard Shaw’s “Pygmalion,” opening in October of the same year. The theater continued to operate until 1985 and was renovated and reopened in 1994.
Flushing Meadows-Corona Park, often referred to as Flushing Meadow Park or Flushing Meadows Park, occupies 1,255 acres between the Van Wyck Expressway and the Grand Central Parkway, stretching from Flushing Bay to Union Turnpike. The site, originally known as the Corona Ash Dumps, was cleared by Parks Commissioner Robert Moses in preparation for the 1939-1940 World's Fair, and later used for the 1964-1965 World's Fair. Iconic remnants from the two fairs include the New York State Building, the Unisphere, and the New York State Pavilion. The US Open tennis tournament takes place in Flushing Meadows Park at the USTA Billie Jean King National Tennis Center, and the New York Mets play their home games in Citi Field at the north end of the park. Shea Stadium, the Mets' previous home, once stood adjacent to Citi Field.
National Register #09000942 (2009)
www.thrivecollective.org/portfolio/les-seeds-of-love/
Thank you NYS Senator Marty Golden, Royal Talens, the Lutheran Elementary School Mural Committee, Michael “Kaves” McCleer, and all the students and volunteers who made Seeds of Love possible.
I have intentionally not released many alt art Dwarves so far as I have been working on this series for over half a year, as I first mentioned this project in an October post.
My goal was to create alt cards with a unified artistic style and look befitting a Dwarf Swarm using most of the major named dwarves in LOTR:LCG.
The challenge was finding a way to make each dwarf appear both individually distinctive, yet similar enough in style to look matched in a swarm. There were at least 24 unique dwarf cards I wanted to do this for.
And of course, they all had to look like Middle Earth/Tolkien Dwarves….
Enter Nick Keller – the incredibly talented concept artist behind the dwarf armor used in The Hobbit trilogy feature films of 2012-2014. I have taken Nick's released illustrations, and formatted them for LOTR:LCG card size using my “full bleed promo” style templates for both Heroes and Allies. I have also created Messenger of the King (MOTK) contract hero variants of Dwarf allies.
Many of Nick’s pieces used in this series have had extensive work done on backgrounds and character repositioning to frame them well not only on their individual card, but also in alignment with all the other dwarf cards in this alt art series.
If Nick gave a Dwarf a name on the artwork, that is the name of the Dwarf on the card bearing that art. There was no swapping or substitution on these. However, I also utilized a few of Nick's “generic” dwarves as alternates for named Dwarves - for example, the second version of Bombur.
I’ll release these roughly once a day. I generally use the day before each release doing extensive final proofing of the released card. I always find last minute minor text, placement, positioning, clarity, or bleed edge items I want to touch up.
These Dwarves fit my more “combat ready” style of alt art, and I think they look really good together. I hope you enjoy these as much as I enjoyed creating them!
Alt Art Card Notes:
First in the series is Glóin, father of the famed Gimli from LOTR.
Directed by Toho Studio's master of science fiction Ishiro Honda (who also helmed Gojira, Japan's first giant monster movie), this is the story of the invasion of Earth by beings from beyond the stars. Offered here is a beautiful set of color stills, many featuring art by Lt. Colonel Robert Rigg, an Army artist whose pastel work was featured in the show Images from the Atomic Front at St. John's University in 2003 . The alien invaders are pictured on many cards, as is the giant robot monster Mogera.
Starring Kenji Sahara, Yumi Shirakawa, Momoko Kôchi, Akihiko Hirata, Takashi Shimura, Susumu Fujita, Hisaya Ito, Yoshio Kosugi, Yoshio Tsuchiya, and Katsumi Tezuka. Directed by Ishiro Honda.Aliens arrive on Earth and ask permission to be given a certain tract of land for their people to live on. But when they are discovered to be invaders, responsible for the giant robot that is destroying cities, the armed forces attempt to stop them with every weapon available.
This shop awning on Alexandra's busy shopping strip, Grant Street, features wonderful pressed metal panels featuring Art Nouveau fleur-de-lis patterns. Whilst many things around this building have changed, the remnant of Edwardian shopping elegance still remains, and has been lovingly preserved.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
This is a feature of Jeremy's M5 for the www.artofstance.com feature!
Art of Stance was started by three photography enthusiasts to showcase the fusion of West coast car culture and photography. Even though this blog is called Art of Stance, the main focus of the site isn’t aggressive wheel fitment (though we do love it!). Art of Stance is a showcase of modified, tuned, classic, rare, and exotic automobiles. Something that the creators of this blog and also our readers can appreciate.
Pre Edit Image is Below! Or Click Here!
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
©2010 Laura Palazzolo
More experimenting, same photo different effects using textures and adjustments.
So exciting! This image was just featured on Redbubble.com featured art page!
Textures courtesy of:
Dáin Ironfoot by WETA Workshop concept artist Nick Keller. Another great image of the irrepressible leader from the Iron Hills, and future ruler of Erebor.
www.thrivecollective.org/portfolio/les-seeds-of-love/
Thank you NYS Senator Marty Golden, Royal Talens, the Lutheran Elementary School Mural Committee, Michael “Kaves” McCleer, and all the students and volunteers who made Seeds of Love possible.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
In private ownership after British Rail closed the East Lincolnshire Line in October 1970, Burgh-le-Marsh once featured a small museum of railway and other artefacts. This museum has closed to the public at the time of my visit, but I was able to snatch a quick view of some of the items on display outside. The Associated Motorways enamel advertisement is a delightful period piece of the late 1930s, featuring Art Deco script and a streamlined coach of around 1937/38.
Associated Motorways was a consortium of coach operators that later evolved into National Express under the aegis of the state-owned National Bus Company.
October 2003
Rollei 35 camera
Kodak Ektachrome 100 film.
A "generic" non-named Dwarf from the concept art collection of Nick Keller. Re-purposed here as Thorin Stonehelm, King Under the Mountain (Erebor) at the time of the War of the Ring.
The usual Nick Keller "white snow" background was added here for series consistency.
Teen Magazine published by Drippy Bone Books. Featuring art by Claudio Parentela, Cody Brant, Bramok, Mario Zoots, and Kristy Foom. Edition of 12. 28 pages. Printed on gray acid free paper. Glossy teal cover.
✰ This photo was featured on The Epic Global Showcase here: flavoredtape.com/post/162601078360
-------------
✰ Now Featuring Art Galeri Official ✰
-Explore @artgaleri here and on instagram for more!
Watch out 😲😲😲 Thats a very BIG FOOT Real or Fake? Follow @artgaleri for more 👈 @demarangas
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
I just received this mug from the Disney Store today. The mug is smaller than I expected, but is very pretty. It is about 5'' H x 3'' D, and holds 12 fl. oz.
The Nutcracker and the Four Realms Mug
$16.95
Item No. 6503056694412P
Start your day with wonder and enchantment, no matter the season, with this ceramic mug featuring art inspired by Disney The Nutcracker and the Four Realms.
Magic in the details
• Hot beverage mug
• Screen art
• Characters include: Clara, Sugar Plum Fairy, Drosselmeyer, and more
• Contrast metallic gold handle
• Inspired by Disney The Nutcracker and the Four Realms
The bare necessities
• Wash thoroughly before first use
• Microwave and dishwasher safe
• Ceramic
• 5 1/4'' H x 3 1/4'' Diameter (4 1/2'' W at handle)
• Holds 12 oz.
• Imported
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
The "The Gables" has a beautiful, light filled entrance hall painted in white. It has a high ceiling featuring Art Nouveau mouldings and a gallery of windows featuring Art Nouveau stained glass of stylised flowers or fruit. The front door glass panels feature the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best.".
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
The "The Gables" has a beautiful, light filled entrance hall painted in white. It has a high ceiling featuring Art Nouveau mouldings and a gallery of windows featuring Art Nouveau stained glass of stylised flowers or fruit. The front door glass panels feature the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best.".
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
The New York State Pavilion was constructed for the World’s Fair in Flushing Meadows-Corona Park. Designed by architect Philip Johnson, the “Tent of Tomorrow” measures 350 feet by 250 feet, with sixteen 100-foot columns suspending a 50,000 square-foot roof of multi-colored panels. The popular exhibit for the state of New York also held three towers, measuring 60 feet, 150 feet, and 226 feet. The two shorter towers held cafeterias for the fair, and the tallest tower, as the highest point of the fair, held an observation deck. Fair visitors ascended the towers in the “Sky Streak” capsule elevators.
The pavilion included a display from the New York State Power Authority with a 26-foot scale replica of the St. Lawrence hydroelectric plant. The pavilion’s mezzanine featured art from local museums and information about the state’s industries along a path called “Highways through New York.” The Fine Arts Gallery showed pieces from the Hudson River School and portraits of New York State colonists. Approximately six million people visited the New York State Pavilion.
Perhaps the most spectacular feature of the exhibit was the Texaco Company’s map of New York State. The map was designed with 567 terrazzo mosaic panels, each weighing 400 pounds. Rand McNally & Company assisted in constructing the $1,000,000 map, which featured the 50,000 square miles of New York State in meticulous detail. The cities, towns, highways, roads, and Texaco stations were accurately mapped in the 9,000 square-foot design. After the fair, the space under the tent was used as a roller skating rink and as a performance space by the Council for International Recreation, Culture, and Lifelong Education. By 1976, the roof above the map became unstable and the tent was removed, exposing the map of New York State to the ravages of weather.
The New York State Pavilion also included the adjacent “Theaterama,” which exhibited pop art works by Andy Warhol (1928-1987) and Roy Lichtenstein (1923-1997) among others. The “Theaterama” also screened a 360-degree film about the wonders of New York State, from Jones Beach to Niagara Falls. The space was converted to the Queens Playhouse in 1972 with its first production, George Bernard Shaw’s “Pygmalion,” opening in October of the same year. The theater continued to operate until 1985 and was renovated and reopened in 1994.
Flushing Meadows-Corona Park, often referred to as Flushing Meadow Park or Flushing Meadows Park, occupies 1,255 acres between the Van Wyck Expressway and the Grand Central Parkway, stretching from Flushing Bay to Union Turnpike. The site, originally known as the Corona Ash Dumps, was cleared by Parks Commissioner Robert Moses in preparation for the 1939-1940 World's Fair, and later used for the 1964-1965 World's Fair. Iconic remnants from the two fairs include the New York State Building, the Unisphere, and the New York State Pavilion. The US Open tennis tournament takes place in Flushing Meadows Park at the USTA Billie Jean King National Tennis Center, and the New York Mets play their home games in Citi Field at the north end of the park. Shea Stadium, the Mets' previous home, once stood adjacent to Citi Field.
National Register #09000942 (2009)
The "The Gables" has a beautiful, light filled entrance hall painted in white. It has a high ceiling featuring Art Nouveau mouldings and a gallery of windows featuring Art Nouveau stained glass of stylised flowers or fruit. The front door glass panels feature the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best.".
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
WonderGround Gallery featured art display, on a table at the front and center of the gallery. Mini giclee of Short Hair by Leilani Joy, featuring Mulan ($24.99).
I visited Disneyland this afternoon. It was hot (90 F) and very crowded. I bought a lot of merchandise today, mostly artwork.
There were a lot of new pieces in WonderGround Gallery that I liked, especially those of Leilani Joy, who is the Artist in Residence this month. My favorite was the Mulan piece Short Hair, which I think is stunning. I got every type of reproduction of the piece that they had for sale: postcard, mini giclee, deluxe print and finally the gallery wrap ($195, LE 95). I was given the choice of the #4 and #7 copy, and I chose the #7. I told the CM that it would match the number of my Brittney Lee framed LE piece. They also had new artwork by Lorelei Bove, Neysa Bove and Brittney Lee.
This beautiful fireplace featuring Art Nouveau tiles of stylised white rose with leaves appears in one of the public rooms of the George Hotel in the provincial city of Ballarat.
The George Hotel has existed at 25 Lydiard Street, Ballarat, since 1853. The present building was constructed in 1902 to designs of architects E. and B. Smith.
The principal feature of the three storey building is the triple storey, six bay, cast iron verandah. The main facade was originally face brickwork. The first floor facade is characterised by archivolts to the row of windows. The balustraded parapet has a semicircular tympanium.
The interior of the George Hotel has changed greatly over the years since it was built. The most damage was not caused by the ravages of time and the fickle nature of fashion, but a fire in 1988. However the interiors have been lovingly restored, and original features survive to this day.
The ground floor has marble facings, white above the height of the sill and red below; this was an unusual design feature at the time, as most facades were tiled then. The threshold of the main Lydiard Street entrance has the black marble words "George Hotel" inlaid into white marble.
The George's public rooms feature high ceilings with ornate plasterwork, grand chandeliers and fine cornices.
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
As Hollywood's Biggest Night looms, the nights of Red Carpet interviews, ancillary awards shows, glad-handing anyone and everyone who had a part in making the projects that people spent years of their lives dedicated to, just for the recognition of their peers and the world, the daytime Gifting Suites are kind of a way for the movers and shakers to discover some new things they may have never known they need, to make their lives easier during that next project.
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
This Gifting Suite event was held on Friday, March 2nd, in the heart of Hollywood, hosted by the Celebrity Connected team.
The King Kong of suites, around 50 vendor tables in a massive ballroom, 3 aisles with a dizzying number of new baubles and self care products from beyond the imagination, starting with the most impressive display, was Blush & Whimsy several covered smaller tables overflowing with floral arrangements, with their gifting boxes nestled among the blooms, a blossom wall with foot lighting reminiscent of the KimYe wedding photo presenting, under a glass bell jar, the three lipstick tubes being gifted. 10/10 on presentation. Each lipstick has a tiny flower inside, they're also translucent, and they change color based on your skin temperature and pH. *mindblown.gif*
The coolest thing there was the ZUS Smart Car Charger from Nonda in a limited edition gold version. What makes the ZUS special is its the Nest digital thermostat for your car... a simple plug-in that you link to an app for iOS or Android, and it makes it so you can find your car easier when parking, lets you share your parking spot with friends via the app, tracks your mileage, gives you a report on your car's battery health, parking meter alert, dual position USB port so however you plug in, it'll always be right. *USB Superposition.gif* Oh, and it will double the charging speed for your phone. when plugged in... a quick glance at their website Nonda.co they've got everything you'd need to upgrade your car like a cyborg... back up camera, tire pressure sensor, and more... they have the technology and its well under Steve Austin's $6 Million Dollar price tag...
What looked like the most fun was You've Got Crabs a stepped-up version of Go Fish, with an expansion pack that involves shaming one of your friends and they, have to play the remainder of the game wearing rubber crab claws. Designed by the same people who made "Exploding Kittens" featuring art by The Oatmeal I'm not doing the rules or anything about it really much justice, but it looks like it will be a great party game.
There were so many products on display from a Shea Butter sculpture of the Burj Khalifa, to a copper hair mask, chocolate scented perfume, the best apple juice I've ever had, cans of flavored workout water, several chocolatiers, a bespoke pet bed designer from Australia, cold brew coffee, kids clothes that would make Pharrell jealous, contoured pillows, Scandinavian sex toys and a strawberry & habanero pepper jelly to a Las Vegas-based cookie baker who feeds the homeless. But, no gifting suite would be complete without Cyndie Wade and her hand painted wine glasses honoring the nominees.
One last thing... there were two booths, which, Celebrity Connected always seems to have a medicinal cannabis booth or two each event, sadly UPS never delivered either booth's product before the gift suite, so they were reliant on the few samples they had with them, both focused on CBD the non-psychoactive part of marijuana, CBD is the pain reliever and has a myriad of medicinal uses as salves, sprays, and smokeables to help with any number of health issues. Infinite CBD out of Colorado has topicals, vegan gummies, capsules, soap, and specialty CBD delivery systems they call "Rocket Ships" to deal with cramps, and more. The other vendor was S&J Natural Products now, I couldn't quite understand what the gentleman from S&J was saying about bioavailability and Acuity Blends with adaptogenic herbs or microencapsulation or who sizes chained triglycerides. I did try their Oracle Mist with over 75 bioactive terpenes, I'm not sure if it's meant to be a facial spray or some kind of CBD Binaca... but I do not recommend spraying it in your mouth, its fine initially, but I guess as the terpenes bioactivated, it overloaded my tastebuds...
I'm going to recommend InfiniteCBD over S&J's three dollar words and snake oil tactics, as I'm writing this, I'm on their site the products cost more, for less quantity and what I do know about Terpenes is, they're really just the oils that give the cannabis its aroma. If you're adverse to opioids for pain relief and management, CBD in its many delivery methods is certainly worth checking out, because it is not the part of marijuana that gets you High, CBD products are perfectly legal and available to ship around the United States.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
The "The Gables" has a beautiful dining room with a spacious bay window and a smaller lancet window featuring Art Nouveau stained glass, and an elegant tiled fireplace. It was the first room used for a wedding breakfast when "The Gables" became a venue for hire. The stained glass in both the bay window and the side lancet window feature stylised Art Nouveau fruit hanging from elegantly draped branches and vines, and flowers. Some of the fruit look like oranges, some apples, others plums and some pomegranates. The flowers look very much like lilies, as found elsewhere in the house.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Flowers is a beautiful and thought provoking piece of surreal wall art from Stefano Bonazzi. It depicts a girl in a white dress, with the head of a rabbit, alone in a field of flowers. A cloudy sky and a distant horizon give us a sense of space and wonder. This ethereal image makes a striking piece of feature art. The girl in white and her heavy suitcase capture your attention and leave you wondering. Where are they going? Where have they come from? Why does she seem uncertain?
Dust Jacket by C. E. Monroe
This is the fifth novel in the Tarzan series. Tarzan knows where the gold of fabled Atlantis is hidden and outlaws are determined to get their greedy hands on it.
The first edition of this novel from McClurg has a different dust jacket featuring art by J. Allen St. John, as seen here:
www.flickr.com/photos/57440551@N03/15345050013/in/set-721...
As Hollywood's Biggest Night looms, the nights of Red Carpet interviews, ancillary awards shows, glad-handing anyone and everyone who had a part in making the projects that people spent years of their lives dedicated to, just for the recognition of their peers and the world, the daytime Gifting Suites are kind of a way for the movers and shakers to discover some new things they may have never known they need, to make their lives easier during that next project.
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
This Gifting Suite event was held on Friday, March 2nd, in the heart of Hollywood, hosted by the Celebrity Connected team.
The King Kong of suites, around 50 vendor tables in a massive ballroom, 3 aisles with a dizzying number of new baubles and self care products from beyond the imagination, starting with the most impressive display, was Blush & Whimsy several covered smaller tables overflowing with floral arrangements, with their gifting boxes nestled among the blooms, a blossom wall with foot lighting reminiscent of the KimYe wedding photo presenting, under a glass bell jar, the three lipstick tubes being gifted. 10/10 on presentation. Each lipstick has a tiny flower inside, they're also translucent, and they change color based on your skin temperature and pH. *mindblown.gif*
The coolest thing there was the ZUS Smart Car Charger from Nonda in a limited edition gold version. What makes the ZUS special is its the Nest digital thermostat for your car... a simple plug-in that you link to an app for iOS or Android, and it makes it so you can find your car easier when parking, lets you share your parking spot with friends via the app, tracks your mileage, gives you a report on your car's battery health, parking meter alert, dual position USB port so however you plug in, it'll always be right. *USB Superposition.gif* Oh, and it will double the charging speed for your phone. when plugged in... a quick glance at their website Nonda.co they've got everything you'd need to upgrade your car like a cyborg... back up camera, tire pressure sensor, and more... they have the technology and its well under Steve Austin's $6 Million Dollar price tag...
What looked like the most fun was You've Got Crabs a stepped-up version of Go Fish, with an expansion pack that involves shaming one of your friends and they, have to play the remainder of the game wearing rubber crab claws. Designed by the same people who made "Exploding Kittens" featuring art by The Oatmeal I'm not doing the rules or anything about it really much justice, but it looks like it will be a great party game.
There were so many products on display from a Shea Butter sculpture of the Burj Khalifa, to a copper hair mask, chocolate scented perfume, the best apple juice I've ever had, cans of flavored workout water, several chocolatiers, a bespoke pet bed designer from Australia, cold brew coffee, kids clothes that would make Pharrell jealous, contoured pillows, Scandinavian sex toys and a strawberry & habanero pepper jelly to a Las Vegas-based cookie baker who feeds the homeless. But, no gifting suite would be complete without Cyndie Wade and her hand painted wine glasses honoring the nominees.
One last thing... there were two booths, which, Celebrity Connected always seems to have a medicinal cannabis booth or two each event, sadly UPS never delivered either booth's product before the gift suite, so they were reliant on the few samples they had with them, both focused on CBD the non-psychoactive part of marijuana, CBD is the pain reliever and has a myriad of medicinal uses as salves, sprays, and smokeables to help with any number of health issues. Infinite CBD out of Colorado has topicals, vegan gummies, capsules, soap, and specialty CBD delivery systems they call "Rocket Ships" to deal with cramps, and more. The other vendor was S&J Natural Products now, I couldn't quite understand what the gentleman from S&J was saying about bioavailability and Acuity Blends with adaptogenic herbs or microencapsulation or who sizes chained triglycerides. I did try their Oracle Mist with over 75 bioactive terpenes, I'm not sure if it's meant to be a facial spray or some kind of CBD Binaca... but I do not recommend spraying it in your mouth, its fine initially, but I guess as the terpenes bioactivated, it overloaded my tastebuds...
I'm going to recommend InfiniteCBD over S&J's three dollar words and snake oil tactics, as I'm writing this, I'm on their site the products cost more, for less quantity and what I do know about Terpenes is, they're really just the oils that give the cannabis its aroma. If you're adverse to opioids for pain relief and management, CBD in its many delivery methods is certainly worth checking out, because it is not the part of marijuana that gets you High, CBD products are perfectly legal and available to ship around the United States.
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The "The Gables" has a beautiful, light filled tea room which they call the "Peacock Room" because of the beautiful Art Nouveau inspired blue peacock wallpaper they have decorated the room with. It used to be "The Gables" best, or master bedroom and dressing room. Now turned into one room it has a high ceiling featuring Art Nouveau mouldings and several elegant stained glass windows featuring stylised Art Nouveau flowers depicted in a striking combination of blue and gold, and one window full of golden yellow pears. The window of pears has a similar window in the entrance hall.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
A truly innovative and inspired composition, this Paul Jackson painting features art glass sculptures, bottles and vases revealing a bucolic scene of a snowy egret in flight through a stand of trees amidst the reflected colors and shapes. The painting is one of a series by the artist featuring art glass.
J.C. Leyendecker created advertisements for Kuppenheimer, a men's clothing brand, primarily during the 1920s and early 1930s. His work for Kuppenheimer was featured in prominent publications like “The Saturday Evening Post,” showcasing his signature style of idealized, elegant figures.
Leyendecker's art had a significant impact on the Kuppenheimer brand. His illustrations elevated the brand's image, associating it with sophistication, style, and quality. The advertisements not only highlighted the craftsmanship of Kuppenheimer suits but also created a visual narrative of refined masculinity, resonating with the aspirations of the American consumer at the time. Leyendecker's ability to blend artistry with commercial appeal made his work iconic and contributed to Kuppenheimer's prestige.
Fili, as illustrated by WETA concept artist Nick Keller for The Hobbit movies trilogy.
This is one of two "Thorin's company" dwarves shown without a helm in my alt art series. Kili is the other one, to complete the matching set of brothers (and matching set of game play allies).
I added a Nick Keller "white snow" background to this card as well.