Podcasts about freytag loringhoven

Danski gítarleikarinn Jakob Bro hefur boðað komu sína til landsins. Hann ásamt saxófónleikaranum Óskari Guðjónssyni og bassaleikaranum Skúla Sverrissyni stefnir á tónleikaferð um landið sem mun hefjast á laugardag. En samferða tónleikahaldi munu þeir stunda lagasmíðar. Við mælum okkur mót við Óskar Guðjónsson í þætti dagsins og ræðum Jakob Bro og ferðalagið. Freyja Þórsdóttir flytur pistil þar sem hún veltir meðal annars fyrir sér hvort merkingarleit sé manneskjunni lífsnauðsynleg. Og hvort tenging við náttúruna sé mikilvægur liður í slíkri leit. Við rifjum einnig upp stuttan pistil frá árinu 2023 þar sem Halla Harðardóttir ræðir hina alræmdu pissuskál Duchamp og rannsakar hvort þessi frumkvöðull dadaismans hafi stolið verkinu frá listakonunni Elsu von Freytag-Loringhoven.

Theatermaker en acteur Ludwig Bindervoet was medeoprichter en co-artistiek leider van performance collectief ‘Urland'. Hier creëerde hij toneelstukken als ‘UR', ‘De Internet Trilogie' en ‘De Gabber Opera', die de ‘Mime en Performance Prijs 2022' won. In 2023 nam hij afscheid van het collectief. Zijn nieuwste show ‘MAMA DADA' is zowel een talige als fysieke show die draait om Elsa von Freytag-Loringhoven (1874-1927). Ze stond bekend als ‘de dada-barones' en was in retrospect de allereerste performancekunstenaar. Femke van der Laan gaat met Ludwig Bindervoet in gesprek.

Annemieke Bosman in gesprek met theatermaker Ludwig Bindervoet. Dit voor jaar maakt Bindervoet onder de vleugels van Theater a/d Rijn zijn regiedebuut met de voorstelling MAMA DADA. Een onvoorspelbare onewoman-happening over geniale waanzin, het ware kunstenaarschap en subversief protest tegen het establishment. Elsa von Freytag-Loringhoven, a.k.a. ‘de dada-barones', behoorde tot de ‘New York Dada' en was in retrospect de allereerste performancekunstenaar. Ludwig Bindervoet brengt deze anarchistische en onvolprezen pionier naar waar ze thuishoort: de bühne.  In 2023 besloot Ludwig Bindervoet (1988) zijn vleugels uit te slaan en verliet performancecollectief URLAND om zichzelf opnieuw uit te vinden en zijn theatrale grenzen te verleggen. Dit doet hij sinds 2024 met zijn eigen stichting onder de vleugels van Theater a/d Rijn, aangesloten bij De Nieuwe Oost. MAMA DADA is de eerste avondvullende productie als zelfstandige maker waarin hij zijn kunstenaarschap en privileges confronteert met Elsa's radicale kunst als daad van zelfopoffering.

Introvert scandal, exotic menageries as jewelry, costumes that put Lady Gaga to shame, and a resemblance to Elsa von Freytag Loringhoven's antics, Luisa Casati had them all. Born an heiress and destined for a boring life as the wife of an Italian noble who loved hunting more than her, Luisa created a life that wouldContinue reading "Imagine if She had Instagram – Ep.50"

Teria sido o famoso urinol de Marcel Duchamp criado por uma mulher? Vou atrás de respostas na história cheia de escândalos e lacunas de uma artista que foi o Dadaísmo em pessoa: Elsa von Freytag-Loringhoven. Como apoiar este podcast: apoia.se/alinevalek Para assinar grátis minha newsletter: alinevalek.substack.com Converse comigo: escreva@alinevalek.com.br Links relacionados: Site com os poemas de Elsa Von Freytag-Loringhoven (em inglês) https://digital.lib.umd.edu/transition/ Uma introdução ao dadaísmo: https://www.youtube.com/watch?v=H_ltPg4ysuE Livro de Irene Gammel: “Baroness Elsa: Gender, Dada and Everyday Modernity - a cultural biography” https://mitpress.mit.edu/9780262572156/baroness-elsa/ Artigo no The Guardian: “A woman in the men's room: when will the art world recognise the real artist behind Duchamp's Fountain?” https://www.theguardian.com/books/2019/mar/29/marcel-duchamp-fountain-women-art-history “Só faz sua parada", primeiro texto que escrevi sobre Elsa: https://alinevalek.substack.com/p/so-faz-a-sua-parada Dossiê completo de pesquisa sobre a Baronesa: https://bit.ly/4f0ZQlX Episódios relacionados: O tarô de Pâmela https://open.spotify.com/episode/1O3vEpiBxRzxly41k73Nf9?si=bee82730049442bd Viciadas em Retratos https://open.spotify.com/episode/5K7zQY3wRFRs0npMgfOYOq?si=3f57f3af852843d1 Estética viral https://open.spotify.com/episode/7fnWGJ99rLUBvLrmOSDXvV?si=a995b4d452544834 Trilha sonora: “Spying in the 60s", Sir Clubworth • “Avant Jazz - Disco Ultralounge”, Kevin MacLeod • “Argentina Jazz”, Droidvar • “This is not jazz”, True Cuckoo • “Gipsy Stroll”, Aaron Lieberman • “Minor Lament for Solo Jazz”, John Patitucci • “Allégro", Emitt Fenn • “Allegations of Investigations”, Jesse Gallagher • “Slow Tonk”, Big Vegie

Subscriber-only episodeSend us a Text Message.Marcel Duchamp created one of the most influential works of art in the 20th century. Or did he? There are some who theorize that a woman — “proto-punk” poet and Dada-ist Elsa von Freytag-Loringhoven — is the true genius behind the groundbreaking “Fountain” urinal sculpture that rocked the art world in 1917. Learn more about this attention-seeking baroness and the potential evidence linking her to this iconic artwork in this week's episode. And stay for the “Dinner Party” — Judy Chicago's monumental homage to women's history, which includes plenty of “lost ladies” featured on this podcast!For episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

In ihrem neuen Buch "Nackt war ich am schönsten" hat Veronika Peters eine Dada-Künstlerin zum Leben erweckt: Baroness Elsa von Freytag Loringhoven. Und nicht nur das: Sie hat sie einfach in unser Jahrhundert geholt, mitten in die nordhessische Provinz. Dort trifft sie auf Antonia, Mitte 40, die nach 20 Jahren zurückkehrt in ihr Heimatdorf und einiges aufzuarbeiten hat - begleitet von der wilden, scharfzüngigen Elsa. Anne-Dore und Veronika Peters treffen sich in den Hackeschen Höfen und unterhalten sich über die Freiheit der Phantasie, die Autonomie von Romanfiguren und darüber, wie viel die Dada-Künstlerin der Welt heute noch zu sagen hat. Das Buch Veronika Peters: "Nackt war ich am schönsten", Rowohlt Kindler, 320 Seiten, 24,00 Euro. Die Autorin Veronika Peters, geboren 1966, wurde gleich mit ihrem Debut bekannt: "Was in zwei Koffer passt. Leben im Kloster". Seit vielen Jahren lebt sie als freie Autorin in Berlin, zuletzt erschien "Das Herz von Paris". Der Ort Der erste der acht Hackeschen Höfe wurde von Elsa von Freytag Loringhovens erstem Mann, August Endell, gestaltet. www.hackesche-hoefe.de Veronika empfiehlt: Deborah Levy: "August Blau", aus dem Englischen von Marion Hertle, Aki Verlag 2023, 176 Seiten, 24,00 Euro. Anne-Dore empfiehlt: Gaea Schoeters: "Trophäe", aus dem Niederländischen von Lisa Mensing, Zsolnay 2024, 256 Seiten, 24,00 Euro. Gewinnen Sie ein signiertes Buch! Wer eine signierte Ausgabe von "Nackt war ich am schönsten" gewinnen möchte, sollte gut zuhören bei der aktuellen Folge von "Orte und Worte"! https://www.radiodrei.de/buch-gewinnen

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Gasten: Barbara Visser, beeldend kunstenaar & Samuel Vriezen, dichter, componist en essayist In de studio in het Allard Pierson gaat Robert van Altena in gesprek met Barbara Visser en Samuel Vriezen over leven, kunst en poëzie van Elsa von Freytag-Loringhoven. Barbara Visser presenteerde tijdens de afgelopen editie van IDFA Alreadymade, een film over de discussie wie nu eigenlijk de werkelijk kunstenaar is achter de beroemde readymade ‘Fountain' (1917). Het porseleinen urinoir dat met dikke zwarte letters is gesigneerd met ‘R. MUTT' staat bekend als een werk van Marcel Duchamp. Duchamp presenteerde het halverwege de jaren dertig in zijn ‘Boîte-en-valise', een miniatuurpresentatie van zijn œuvre, als een van zijn werken. Toch bestaan er allerlei argumenten waarmee diens auteurschap kan worden betwist. Elsa von Freytag-Loringhoven is een kandidaat die in deze discussie veel naar voren wordt geschoven als mogelijk auteur van het werk. In een gesprek op Facebook schreef Samuel Vriezen dat het jammer is als Elsa von Freytag-Loringhoven alleen besproken wordt in het debat rond ‘Fountain'. Waarom zo stelde hij, hebben we het niet ook over de uitzonderlijke poëzie van Elsa von Freytag-Loringhoven? Samuel Vriezen was zo overrompeld door een specifiek gedicht van Elsa von Freytag-Loringhoven dat hij het direct vertaalde. Dit lange gedicht kreeg in zijn vertaling de titel: MIJNEZELF — MIJNEZIEL — EN — MIJN — GIETIJZEREN GELIEFDE. Deze vertaling is nog niet gepubliceerd maar Vriezen zal in de uitzending een passage voordragen. NB: Alreadymade is op woensdag 29 mei 16:30 te zien bij bioscoop Trianon te Leiden, met voorafgaand aan de vertoning van de film een gesprek met Barbara Visser. De in de uitzending genoemde boeken: * Irene Gammel, 'Baroness Elsa. Gender, Dada, and Everyday Modernity—A Cultural Biography' (MIT Press, 2003) * Body Sweats. 'The Uncensored Writings of Elsa von Freytag-Loringhoven', red. Irene Gammel en Suzanne Zelazo (MIT Press, 2016) * 'Vergeten paraplu. 16 gedichten van Barones Elsa von Freytag-Loringhoven' met Nederlandse en Friese vertalingen van Hans van der Heijde en Fedde Douwes Dijkstra. (Uitgeverij Perio, 2023) * Jerome Rothenburg, 'Revolution of the word. A new gathering of American avant garde poetry, 1914-1945', 1e editie; (Seabury Publishers,1974), recente editie; (Exact Change Publishers, Boston Mass., 2004) Foto: Affiche Barbara Visser, 'Alreadymade' (2023) SPRINGVOSSEN
redactie + presentatie: Robert van Altena
contact: springvossen[at]gmail.com
 
www.instagram.com/springvossen
www.facebook.com/springvossen
www.amsterdamfm.nl/programma/springvossen

Die Schriftstellerin Veronika Peters, 1966 geboren, wurde gleich mit ihrem Debut bekannt: "Was in zwei Koffer passt", in dem sie über ihre Jahre im Kloster schrieb. Seit vielen Jahren lebt sie nun als freie Autorin in Berlin und veröffentlicht regelmäßig Romane, zuletzt "Das Herz von Paris" über Frauen der literarischen Avantgarde. Jetzt ist ein neues Buch von ihr erschienen: "Nackt war ich am schönsten". Darin lässt die Autorin eine Dada-Künstlerin in der Jetzt-Zeit wiederauferstehen, eine, die es wirklich gab: Baroness Elsa von Freytag Loringhoven. Eine Buchbesprechung von Anne-Dore Krohn.

In deze aflevering gaan Guilliano en Rachel het hebben over de wereldberoemde pispot als kunstwerk. Maar, is die nou bedacht door de Franse kunstenaar Marcel Duchamp of was het toch een vrouw (barones Elsa von Freytag-Loringhoven) het stiekeme meesterbrein achter dit werk?   Om meer over dat te weten te komen hebben we Maaike Rikhof, een van de jongste conservatoren ooit, uitgenodigd. In haar werk bij het Frans Hals museum in Haarlem zet ze zich onder andere in voor meer zichtbaarheid voor vrouwelijke kunstenaars. Maar wat doet een conservator eigenlijk? En hoe zit het nou echt met die pispot? Luister naar de aflevering om hierachter te komen! Waar hebben we het deze aflevering allemaal over gehad?  * Documentaire Alreadymade van Barbara Visser (https://barbaravisser.net/alreadymade) * Vrouwen in de Schutterszaal in het Frans Hals Museum (https://www.franshalsmuseum.nl/nl/event/vrouwen-in-de-schutterszaal/) * Vrouwen in de Schutterszaal in het Frans Hals Museum (https://ikbenmijnmuze.loesfaber.com/) * De voorstelling De Modern Art Revue (NTR) op NPO Start (https://npo.nl/start/video/de-modern-art-revue) Volg ons, like ons, abonneer en stuur vooral een berichtje

Het wordt gezien als hét voorbeeld van de moderne kunst: het massa-geproduceerde urinoir dat met handtekening van kunstenaar Marcel Duchamp onder de naam Fountain wereldberoemd werd. Maar rond deze befaamde pisbak uit 1917 bestaan allerlei mythes: ook Dada-artiest barones Elsa von Freytag-Loringhoven zou de bedenker kunnen zijn. Over deze mysterieuze geschiedenis gaat de documentaire Alreadymade, die vanaf deze week in de bioscoop te zien is. Regisseur Barbara Visser is te gast en vertelt over de film en de bak.

Annemieke Bosman praat met regisseur Barbara Visser over haar documentaire Alreadymade, die vanaf donderdag 7 maart 2024 in de bioscoop te zien is. Was het marketing, mystificatie of misogynie waardoor het kunstwerk Fountain zo beroemd werd? Wat begon als een zoekgeraakt object van een anonieme maker, werd uiteindelijk het meest invloedrijke kunstwerk van de 20e eeuw. Speculaties over een vrouwelijke auteur komen en gaan. Maar wie is zij? Wat is echt, en wat is waar, in dit geval? De twijfels over de oorsprong van dit 'readymade' kunstwerk lopen parallel met de waarde van de talloze kopieën die zich in de depots van musea voor moderne kunst bevinden. Kan de ontdekking van één enkele brief dit alles veranderen in de toeschrijving aan een vrouw die haar tijd ver vooruit was? In Alreadymade worden originaliteit, auteurschap en identiteit ter discussie gesteld, net als Fountain (1917) dat een eeuw geleden deed, alleen nu met behulp van hedendaagse techniek. Stemmen die het werk toeschrijven aan Elsa von Freytag-Loringhoven, ook wel bekend als de barones, trekken steeds meer aandacht, omdat er historisch gezien nogal wat recht te zetten is met betrekking tot vrouwelijke bijdragen in de kunst. Of is het toch wishful thinking? De film Alreadymade neemt zélf de vorm aan van een 'readymade', waarbij het verhaal wordt verweven met gevonden materiaal uit verschillende bronnen, waardoor inhoud en vorm één worden.

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices

Verkið Fountain eftir Marcel Duchamp, betur þekkt sem pissuskálin, markar kaflaskil í vestrænni listasögu, og er jafnan talið vera eitt af fyrstu verkunum sem síðar voru kennd við konseptúalisma, eða hugmyndalist. Nú hefur komið í ljós að þetta höfuðverk hans er mjög líklega alls ekki eftir hann, heldur eftir vinkonu hans, þýsku dada-listakonuna Elsu von Freytag-Loringhoven. Vakið var máls á þessu í Guardian í síðustu viku en þetta er alls ekki í fyrsta sinn sem listfræðingar stíga fram með þessa hugmynd, umræðan hefur verið í gangi síðan nokkru fyrir aldamót. Við kynnum okkur málið í þætti dagsins. Við heyrum við einnig af nýjustu skáldsögu furðusagnahöfundarins Alexanders Dan Vilhjálmssonar, Seiðstormi sem er hluti af Hrímlandsbókaflokk höfundar. Hrímland þykir líkjast Íslandi en í bókunum er hins vegar að finna seiðmagnsvirkjun í Öskjuhlíð, sofandi bergrisa á skolavörðuholti, eins konar fríríki í vestmannaeyjum og hinar ýmsu furðuverur úr íslenskum menningararfi. Og að lokum segir Dagbjört Drífa Thorlacius frá verki eistneska gjörningalistamannsins Johhan Rosenberg, hann sýndi nýverið verk sitt Gildrur á Sequences listahátíðinni

Verkið Fountain eftir Marcel Duchamp, betur þekkt sem pissuskálin, markar kaflaskil í vestrænni listasögu, og er jafnan talið vera eitt af fyrstu verkunum sem síðar voru kennd við konseptúalisma, eða hugmyndalist. Nú hefur komið í ljós að þetta höfuðverk hans er mjög líklega alls ekki eftir hann, heldur eftir vinkonu hans, þýsku dada-listakonuna Elsu von Freytag-Loringhoven. Vakið var máls á þessu í Guardian í síðustu viku en þetta er alls ekki í fyrsta sinn sem listfræðingar stíga fram með þessa hugmynd, umræðan hefur verið í gangi síðan nokkru fyrir aldamót. Við kynnum okkur málið í þætti dagsins. Við heyrum við einnig af nýjustu skáldsögu furðusagnahöfundarins Alexanders Dan Vilhjálmssonar, Seiðstormi sem er hluti af Hrímlandsbókaflokk höfundar. Hrímland þykir líkjast Íslandi en í bókunum er hins vegar að finna seiðmagnsvirkjun í Öskjuhlíð, sofandi bergrisa á skolavörðuholti, eins konar fríríki í vestmannaeyjum og hinar ýmsu furðuverur úr íslenskum menningararfi. Og að lokum segir Dagbjört Drífa Thorlacius frá verki eistneska gjörningalistamannsins Johhan Rosenberg, hann sýndi nýverið verk sitt Gildrur á Sequences listahátíðinni

1900-talets viktigaste konstverk såg dagens ljus redan 1917. Men det dröjde flera decennier innan man insåg hur revolutionerande Marchel Duchamps Fountain var. Dan Jönsson tror sig veta varför. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Sändes första gången 2017-09-14.Alla religioner verkar lite underliga på avstånd. Nästan alltid finns det något som strider mot förnuftet – vilket onekligen är en del av poängen med religioner – en helig sten eller träbit som man ska falla på knä för, eller en otrolig historia om någon som uppväcker döda eller förvandlar det ena till det andra av olika skäl. Rättare sagt, skälet är förstås alltid detsamma, nämligen att bevisa att dörren mellan verkligheten och magin står öppen, för den som håller sig till ritualerna. Alla mänskliga kulturer verkar behöva en försäkran av det här slaget, den tycks behöva förnyas och bekräftas då och då, och senast det hände var i april 1917, när Marcel Duchamp lämnade in sin berömda pissoar till utställningen på Society of Independent Artists i New York.Om det nu var Duchamp som gjorde det. På senare tid har det spekulerats i om det kanske var någon av hans konstnärskollegor Elsa von Freytag-Loringhoven eller möjligen Louise Norton som var den verkliga upphovspersonen till det som flera gånger utsetts till nittonhundratalets mest inflytelserika konstverk. Det vore i så fall en piruett helt i Duchamps anda – själv brukade han säga att det egentligen var hans kvinnliga alter ego Rrose Sélavy som låg bakom alla hans så kallade readymades: cykelhjulet, flasktorkaren och snöskoveln som han redan tidigare hade förvandlat från bruksföremål till konstverk. Men som till skillnad från pissoaren aldrig fick ta det sista steget och ställas ut offentligt.Det fick inte pissoaren heller, om man ska vara petig. När den lämnades in till salongen hos Society of Independent Artists under titeln ”Fountain”, signerad av den påhittade konstnären Richard Mutt, så blev den refuserad – helt mot reglerna, eftersom det här var en öppen salong där alla som betalade anmälningsavgiften på sex dollar skulle ha rätt att ställa ut. Men enligt utställningskommittén var den signerade urinalen för det första oanständig, och för det andra oseriös; det var ju uppenbart för alla att det knappast var den mystiske Richard Mutt som hade producerat denna så kallade skulptur. För Duchamp och hans kamrater i avantgardet var den reaktionen förstås ett tecken på att de var på rätt spår. I den kortlivade dadaistiska tidskriften The Blind Man skrev de till Richard Mutts försvar att det var helt obegripligt hur man kunde kalla någonting oanständigt som fanns att se i varenda rörmokares skyltfönster, och för övrigt att det inte spelade någon roll om Richard Mutt var den som faktiskt hade tillverkat skulpturen eller inte. Han hade valt den.I och med det lanserades ett helt nytt sätt att se på vad konst och konstnärligt skapande är för något. Konstnären var inte längre en person som tillverkade estetiska objekt – utan någon som valde ut föremål som skulle betraktas på ett konstnärligt sätt. Idén var så revolutionerande att samtiden nog inte riktigt fattade vad det var som hade hänt. ”Fountain” förändrade i stort sett ingenting de närmaste årtiondena, konsthistorien ägnade sig åt annat och det skulle dröja ända in på femtiotalet innan vidden av Duchamps innovation började klarna. Men då! Om vilket alldagligt föremål som helst kunde förvandlas till konst öppnades ju oanade möjligheter, och sextio- och sjuttiotalens våg av konceptuell, idébaserad konst vittnar om en sorts estetisk frihetsyra. Allra längst gick italienaren Piero Manzoni, som redan 1961 ställde en sockel uppochner och utropade hela jordklotet till sin readymade. Ett profetiskt verk, som med en enkel gest förutspådde den våldsamma expansion av det estetiska fältet, det utsuddande av gränsen mellan konst och värld som vi numera mest rycker på axlarna åt. –Ändå är frågan om inte det verkligt intressanta i sammanhanget, mer än Duchamps radikala innovation i sig, är att den faktiskt blev allmänt accepterad. Som sagt, i flera årtionden verkade den närmast helt apart och man skulle förstås kunna tänka sig att det hade förblivit så. Men Duchamps readymades råkade sammanfalla i tiden med en stor ekonomisk och kulturell förändring – närmare bestämt med framväxten av den moderna konsumtionskultur som på 1910-talet fortfarande var något exklusivt och ganska marginellt men som skulle ta rejäl fart efter andra världskriget, just när tiden alltså började bli mogen för Duchamp och hans konceptuella estetik. I det moderna, kapitalistiska konsumtionssamhället uppför sig i stort sett varenda konsumtionsvara som en duchampsk readymade: korsar oavbrutet gränsen mellan nyttan och estetiken, rör sig under sin livstid från reklambild och skyltobjekt till vardagspryl och så småningom sopa eller kanske loppisfynd, och eventuellt med tiden tillbaka till samlarobjekt eller designikon.Vad det handlar om är inget mindre än en antropologisk revolution. I den förmoderna världen rådde en skarp åtskillnad mellan bruksföremål och kultföremål – vill säga att något som tjänade ett praktiskt syfte inte kunde få någon religiös betydelse, och vice versa: att låta ett kultföremål få praktisk användning innebar att profanera det och göra det odugligt i religiösa sammanhang. I det moderna konsumtionssamhället ser vi tvärtom hur konsumtionsvaran upphöjs till kultföremål. Den tyske sociologen Wolfgang Fritz Haug beskrev redan 1971 i sin klassiska ”Kritik av varuestetiken” hur estetiken via konsumtionsvaran tränger in i och dominerar i stort sett varje aspekt av både samhälls- och privatlivet. Kulten av konsumtionsvaran handlar inte bara om stora spektakulära reklamkampanjer; den omformar och sätter sin prägel på hela vår sociala tillvaro – inordnar oss i varje situation i de kommersiella rollerna som antingen konsument eller försäljare och sätter sin prägel på allt från hur vi tänker oss vår framtid till hur vi väljer sexpartner.Allt det där hade säkert hänt även om Marcel Duchamp aldrig hade försökt ställa ut sin pissoar. Vad ”Fountain” gjorde var att den föregrep en process som skulle ha ägt rum i alla fall – kanske även inom konstens värld. För om man tänker sig att konsten på något sätt reflekterar en vidare samhällsutveckling så kan ju vår tids konceptkonst ses som en väldigt precis spegling av den moderna varukulten. Filosofen Boris Groys har beskrivit den samtida konstnären som en sorts exklusiv superkonsument – en person som professionellt väljer ut föremål och företeelser ur vardagsvärlden och arrangerar dem i sina installationer. Samtidigt är ju konstnären också en superförsäljare, som förväntas producera upplevelser ungefär på samma sätt som i ett varuhus eller en reklamkampanj.Eller kanske: ungefär som i en kyrka. Vad gäller ”Fountain” så försvann den spårlöst efter utställningen i New York – kanske hamnade den på tippen, kanske hittades den av någon rörmokare och kom till användning på en herrtoalett någonstans. Ingen vet. Men det bidrar förstås till myten, och den kult som manifesterat sig i de många kopior av den berömda pissoaren som man ser på museer lite här och var i världen, mer eller mindre auktoriserade, mer eller mindre laddade med den ursprungliga magin. Fullständigt mot allt förnuft när man tänker på det – men just det är som sagt poängen med all religion.Dan Jönsson, författare och kritiker

In this episode, translator Laura Radosh introduces us to the fascinating and troubled writer Djuna Barnes.  The journalist, novelist, and artist mixed with everyone from James Joyce to Peggy Guggenheim, and was at the center of Bohemian life in 1920s New York and Paris, though perhaps not quite as much as she would like. Best known (if at all) for her modernist novel “Nightwood,” Djuna once called herself  ''the most famous unknown in the world.''  DLS co-founder Florian Duijsens joins producer/host Susan Stone to muse about Djuna and her circle of modernist Dead Ladies.  Find out more about Djuna and her work, and see her polka-dot portrait here: https://deadladiesshow.com/2023/05/11/podcast-63-djuna-barnes Djuna Barnes intersects with a great number of our previously presented Dead Ladies, including: photographer Berenice Abbott (who took the above mentioned portrait): https://deadladiesshow.com/2023/01/20/podcast-59-berenice-abbott/ and  dadaist Elsa von Freytag Loringhoven: https://deadladiesshow.com/2021/10/16/podcast-47-elsa-von-freytag-loringhoven/ Here's the documentary Laura cited where you can see Natalie Barney's Parisian home and garden with its Temple of Friendship: https://youtu.be/ihzoLrUkNoc The documentary we mentioned is “Paris Was a Woman” by Greta Schiller  https://jezebelproductions.org/paris-was-a-woman/ And Will Self's radio segment on “Nightwood” can be found here: https://youtu.be/5cy3-uOTTfE Our theme music is “Little Lily Swing” by Tri-Tachyon. Want to suggest a Dead Lady for us?  Drop us a line to info@deadladiesshow.com or tell us on social media @deadladiesshow If you'd like to get advance tickets for our May show in Berlin they are here: https://www.eventbrite.com/e/dead-ladies-show-34-tickets-632679640837 DLS NYC tickets can be purchased here:  https://www.eventbrite.com/e/dead-ladies-show-nyc-no-23-tickets-628717840987 Thanks for listening! We'll be back with a new episode next month. **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history. The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone. Don't forget, we have a Patreon! Thanks to all of our current supporters! Please consider supporting our transcripts project and our ongoing work: www.patreon.com/deadladiesshowpodcast

In this episode, we delve into the life and strange behavior of Baroness Elsa von Freytag-Loringhoven, an avant-garde artist and poet known for her eccentricities and unconventional ways. From her provocative fashion sense to her bizarre performance art, we examine how she challenged the norms of her time and influenced the Dada movement.Next, the remarkable survival story of Poon Lim, a Chinese sailor who spent 130 days alone on a raft in the South Atlantic during World War II. With no food, water, or communication tools, Poon Lim had to rely on his wits and resourcefulness to stay alive in the harsh conditions of the open sea. Join us on this captivating journey through history as we uncover the fascinating lives of Baroness Elsa von Freytag-Loringhoven and Poon Lim. Whether you're a history buff, a survival enthusiast, or simply curious about human nature's eccentricities, this episode will surely captivate and intrigue you.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on March 4, 2023. www.poets.org

Dead Ladies Show Podcast - Berenice Abbott   Welcome to our first podcast of 2023! In this episode, we zoom in on photographer Berenice Abbott. This American artist has a bit of a six-degrees-of separation going on with a number of our previous Dead Ladies, including Baroness von Freytag-Loringhoven and Emma Goldman. As told by DLS co-founder Florian Duijsens, Berenice's story includes stints in Paris and Berlin, falling in love with eligible ladies, and learning photography from Man Ray. She took portraits of various greats, and when she returned to New York she switched to documenting the changing city, resulting in what's called the "the greatest collection of photographs of New York City ever made."Later in life she also excelled at scientific photography, taking with her studies of light and motion contributing to the understanding of physical laws and properties of solids and liquids, as she also made innovations in camera technology.    DLS co-founder Katy Derbyshire joins producer Susan Stone to introduce our episode.    You can see Berenice and her art, and learn more about her decades of photography work on our episode notes page here: https://deadladiesshow.com/2023/01/20/podcast-58-berenice-abbott/   Our theme music is “Little Lily Swing” by Tri-Tachyon.   Drop us a line info@deadladiesshow.com or reach us on social media @deadladiesshow   Thanks for listening! We'll be back with a new episode next month.   **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history.   The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone. Don't forget, we have a Patreon! Thanks to all of our current supporters! Please consider supporting our transcripts project and our ongoing work: www.patreon.com/deadladiesshowpodcast

Hot on the heels of the publication of her book The Story of Art Without Men, author, podcaster, and curator Katy Hessel joins Marc Spiegler to discuss all things women and art. Her focus on the gender gap in art began in 2015, when she visited a fair with no women artists represented. From there, she launched an Instagram account (@thegreatwomenartists), a podcast, and now a book. Here, she broaches everything from forgotten Renaissance masters like Sofonisba Anguissola to the controversy surrounding the creation of the readymade: Did Marcel Duchamp make the Urinal or was it, in fact, made by his contemporary Elsa von Freytag-Loringhoven? “What I'm trying to do,” she says, “is turn upside-down what we've known as art history.”

Eve Eurydice speaks with Rene Steinke of our growing hunger for spirituality. In a culture that mitigates the shock of our mortality through NFT Blockchain dream states and meta-sublimation rather than divine ritual in sync with the cycles of nature, that has replaced magic with coding, math, and disembodied commerce, religious people, creative people, spiritual people, ethical people, wellness people are looking for paths to transformation using repurposed languages of religion (see the shallow sentimentality of TED talks). We all have the religious impulse. Love is a crucible where we alchemically meet and merge into one; love requires trust, faith, and self-abnegation. Humans can only reclaim faith by self-sacrifice. We give something up to gain god. We cleanse the pressure of culture to regenerate it. Pre-institutional religion is transgressive. We have lived through the thesis of patriarchy for 6 millennia. We are now in anthithesis. Now there is messy overexcess because we are in decline. and Art can clarify that. The genius of art is that it sees that the contradictions do not exist. The way we resynthesize must be painful. It's how transformation works; it's painful. (Read Ovid.) We can only rediscover faith in each other, in God, in Nature, outside the names we now use and narratives we parrot. America was settled by people of profound religious need and purity. Evangelicals' literal reading of biblical texts and willful ignorance of the poor in favor of ME ME ME individualism is a textbook example of how religion can be turned into dogma and the need for salvation into social control. The anti-elite sentiment of born again believers is capitalized to preserve the interests of obscene capital. The early Christian pre-organized community was matriarchal. The Mary Magdalene gospel found in the old scrolls didn't make it into the canon. The feminist reclaiming of Christianity failed. Rene speaks of the artist Hilma af Klint and her relationship to religion and spirituality. Like Blavatsky in the Theosophical Society, she held seances with female friends seeking an intuitive vision outside of patriarchy. Art used to be religious. Post Enlightenment, art became commerce. Embroidery is still a meditative practice. Hand-writing is still a meditative practice. Both counterbalance our Computational Culture. Eurydice sees the primacy of Mind over Body as detrimental to our culture and indicative of civilizational decline. Rene Steinke is the author of the novels The Fires, Holy Skirts, and Friendswood. Holy Skirts, a novel based on the life of the Baroness Elsa von Freytag-Loringhoven, was a finalist for the 2005 NBA. ⚡️ For podcast, merch, art, go to https://Eurydice.net and https://SpeakwithEve.com For Apple podcast go to https://podcasts.apple.com/us/podcast/speak-sex-w-eve/id1448261953?uo=4 ☀️For videos, go to https://www.youtube.com/eveeurydice

Hon har kallats för New Yorks första punkare, radikal proto-feminist och inte minst dadaismens moder. För "Baronessan Elsa" var en pionjär när det kom till att göra konstverk och kläder av skräp. Översvallande, intensiv, nyfiken, djärv, okonventionell, skamlös, aggressiv, bitsk, påträngande, experimentell, chockerande och bråkig. Så har konstnären Elsa von Freytag-Loringhoven, eller Baronessan Elsa som hon också kallades, beskrivits. Hon införde konservburkar i konsten före Andy Warhol, använde mat som accessoarer före Lady Gaga och skrämde vettet ur många av sina samtida kollegor, inte minst män, genom sin färgstarka och rättframma stil. Att skapa kläder av upphittat skräp var något hon var banbrytande på.Länge har hon stått i skuggan av dadaismens stora stjärna Marcel Duchamp. Han var faktiskt hennes granne i 1910-talets New York och blev hennes vän och konstnärskollega. På senare år har allt fler börjat uppmärksamma den excentriska Elsa von Freytag-Loringhoven och istället pekat ut henne som den första att ha skapat ett så kallat 'ready made' konstverk. Vissa menar till och med att det kan ha varit hon som egentligen låg bakom idén till Duchamps berömda pissoar. Mer om det i veckans Stil, där vi ringer upp konstvetaren Ann-Sofi Noring för att undersöka saken. Vi beger oss även till Göteborg för att träffa designduon Hurra Pangpang som består av Hanna Ryd och Bella Simmons. Precis som Baronessan Elsa jobbar de med upphittade kläder, tyger och prylar som blivit över och ingen längre vill ha. Av dessa saker skapar de nya och fantasifulla plagg.Sättet som Elsa von Freytag-Loringhoven i det tidiga 1900-talet använde sig av sin kropp var normbrytande och provocerande för många. En av hennes mest kända klädkreationer är en bh hon tillverkade av tomatsoppskonservburkar. Några decennier senare kom kvinnor att provocera genom att helt och håller kasta bort bh:n, något som sedan dess kommit och gått i modet för att nu återigen vara aktuellt. Vi frågar lektor i modevetenskap Emma Severinsson vad som ligger bakom den senaste vågen av bortkastade bh:s.Veckans gäst är Patrik Steorn, museichef på Göteborgs konstmuseum.

Appalling Heartby Elsa von Freytag-Loringhoven (1874-1927)City stir—wind on eardrum—dancewind: herbstained—flowerstained—silken—rustling—tripping—swishing—frolicking—courtesing—careening—brushing—flowing—lying down—bending—teasing—kissing: treearms—grass—limbs—lips.City stir on eardrum—.In night lonelypeers—:moon—riding!pale—with beauty aghast—too exalted to share!in space blue—rides she away from mine chest—illumined strangely—appalling sister!Herbstained—flowerstained—shellscented—seafaring—foresthunting—junglewise—desert gazing—rides heart from chest—lashing with beauty—afleet—across chimney—tinfoil riverto meetanother's dark heart!Bless mine feet! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit iwillreadtoyou.substack.com/subscribe

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on December 5, 2021. www.poets.org

A partir da revelação de que o famoso "Urinol" de Marcel Duchamp foi na verdade "apropriado" por ele – toda a ideia e concepção do trabalho era na verdade da artista Baronesa Elsa von Freytag-Loringhoven –, neste episódio falamos da "apropriação" em arte (e se existe arte para além da apropriação)

**This episode contains brief mentions of suicide and suicide attempts, as well as some humorous profanity**   In this edition of the Dead Ladies Show Podcast, DLS co-founder Florian Duijsens introduces us to the eccentric Dada artist Baroness Elsa von Freytag-Loringhoven.  An eternally eclectic, German-born New Yorker, the Baroness was known for living life as a work of art, wearing a collage of found items, from tin cans to postage stamps to live birds, seducing almost everyone she met, and creating mind-blowing poetry and sculptures, and never making money for her art, leading to her poverty. These days, she deserves some reclaimed recognition for creating the found art genre known as Readymades, including a particular infamous sculpture credited to French artist Marcel Duchamp (or Marcel Dushit, as the Baroness called him). DLS other co-founder Katy Derbyshire joins producer/host Susan Stone to introduce the show, which was recorded in front of a live audience of enthusiastic college students as part of the Bard College Berlin event Pankumenta back in 2019.  Find our more about Baroness Elsa von Freytag-Loringhoven and see her art and self-fashioned fashions on our show notes page here: https://deadladiesshow.com/2021/10/16/podcast-47-elsa-von-freytag-loringhoven/ Our theme music is “Little Lily Swing” by Tri-Tachyon. Thanks for listening! We'll be back with a new episode next month.  **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history. The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone. Don't forget, we have a Patreon! Thanks to all of our current supporters! Please consider supporting our transcripts project and our ongoing work: www.patreon.com/deadladiesshowpodcast If you prefer to make a one-time donation, here's the link: paypal.me/dlspodcast

Heeeyy,If you want to hear about how I got my bursary with Multistory listen to the previous episode of my podcast 'Tips to prepare for art school from a 2nd year Fine Art student!'Multistory:https://multistory.org.uk/Baroness von Freytag-Loringhoven articles:https://www.theguardian.com/books/2019/mar/29/marcel-duchamp-fountain-women-art-historyhttps://www.theartnewspaper.com/comment/letter-to-the-editor-or-did-duchamp-really-steal-elsa-s-urinalhttps://www.artspace.com/magazine/art_101/in_focus/duchamp-probably-didnt-make-the-fountain-urinala-look-at-the-dada-woman-who-likely-authored-the-56084Artists included in the project - check these women out please - let's fill in those gaps left out in our art history education:Lee KrasnerLee MillerElaine de KooningSafia FarhatNasreen MohamediClementine HunterAmrita Sher-GilBaroness von Freytag-LoringhovenShigeko Kubota Leonora CarringtonDorothy NapangardiMakinti NapanangkaHema UpadhyayEva HesseAna MendietaSocials:Instagram - @scarlettart18Website - scarlettford.co.uk - YOU CAN LISTEN TO THE POD FROM MY WEBSITE!!Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.comEdited on LumafusionMusic from Epidemic SoundsMic: Samson Q2Uthank you for listening,ciao,Scarlett

When Pop Art hit its peak in the 1960s, artists embraced polkadots, popular culture, and consumerism. If you're curious about how soup cans and comics became fine art, join Klaire Lockheart as she shares the details of this Modernist art movement. Artists and Artwork: Yayoi Kusama (Accumulation No. 1, Aggregation: One Thousand Boats Show, Infinity Mirror Room [Phalli's Field], All the Eternal Love I have for the Pumpkins), Georgia O'Keeffe, Baroness Elsa von Freytag-Loringhoven, Andy Warhol (Campbell's Soup Cans, Marilyn Diptych, Cow Wallpaper), Lynn Goldsmith, Claes Oldenburg and Patty Mucha (Soft Calendar for the Month of August), Coosje van Bruggen and Claes Oldenburg (Spoonbridge and Cherry), and Roy Lichtenstein (Look Mickey, Drowning Girl) Additional Topics: Appropriation, Intersectionality, Soft Sculpture, Jason Pargin (What the Hell Did I Just Read), Abstract Expressionism, Clement Greenberg (“Avant-Garde and Kitsch”), Marilyn Monroe, Serigraphy, Comic Books, CMYK Printing, and Ben-Day Dots klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

Dadaists made photomontages, sculptures, and readymades that were weird and absurd. Artists such as Hannah Höch, Baroness Elsa von Freytag-Loringhoven, and Marcel Duchamp pushed the boundaries of what could be considered art. If you've ever felt like the world doesn't make sense, then you'll want to tune in for Klaire Lockheart's explanation of Dada. Art and Artwork: Marcel Duchamp (Fountain ), Jean/Hans Arp (Collage Arranged According to the Laws of Chance), Sophie Tauber-Arp (Dada Head), Hannah Höch (Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic, Indian Dancer: From an Ethnographic Museum), Raoul Housmann, Alfred Stieglitz, Baroness Elsa von Freytag-Loringhoven (Enduring Ornament, God, Fountain), Morton Schamberg, and André Breton Additional Topics: Existential Crisis, World War I, Hugo Ball, Emmy Hennings, Cabaret Voltaire, Tristan Tzara, World War II, “The Painter,” American Society of Independent Artists, Beatrice Wood (“The Richard Mutt Case”), and Richard Mutt klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

Militante Palästinenser feuern zahlreiche Raketen auf Israel. Die israelische Luftwaffe greift Ziele im Gazastreifen an. Der Nahost-Experte Julius von Freytag-Loringhoven zu den Gründen für die jüngste Gewaltspirale.

Autor: von Freytag-Loringhoven, Julius Sendung: Interview Hören bis: 19.01.2038 04:14

Zum vierten Mal in zwei Jahren wählt Israel ein neues Parlament. Regierungschef Netanjahu wolle von den Impferfolgen profitieren, sagt Julius von Freytag-Loringhoven von der Friedrich-Naumann-Stiftung. Doch sicher sei ihm der Wahlsieg nicht. Julius von Freytag-Loringhoven im Gespräch mit Ute Welty www.deutschlandfunkkultur.de, Interview Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Emma and Gil chat with Sam Rosenthal and Stephen Bell of The Game Band, known for their bizarre cosmic horror sports sim Blaseball. We discuss the unique feedback loop between Blaseballs fans and its creators, the benefits of apophenia, and how baseball was uniquely suited for this treatment at this moment in history. SHOW NOTES 7m00s: The score bug that Gil is referring to is the graphic that appears overlaid on most sports broadcast, showing the game's score and other vital stats. Gil also refers to external chest protectors that baseball umpires used to wear, an icon of baseball from decades past. 7m59s: The Blaseball wiki. 10m00s: The music that Stephen refers to is literal fan-made music. Fan canon says that the team the Seattle Garages are actually a rock band forced to play Blaseball. Fans have actually recorded and released these albums. 19m05s: Here's Cat Manning's excellent Blaseball primer. It's a good way to get a sense of the lore of the game. 22m11s: We chatted with game designer and wide receiver Adrienne Smith in Ludology 240 - Are You Receiving Me? 26m15s: Apophenia is the tendency to make connections between disconnected things. Game designers can use it to make meaningful experiences and memorable stories, but other people can use it for very bad things. 27m42s: Kayfabe is a wrestling term that denotes the acceptance of the fictionalization of staged events. In other words, a wrestling announcer working in kayfabe will treat a match as if it is a genuinely-contested sporting event with an uncertain outcome, not a scripted match in which all participants know the winner ahead of time. Kayfabe is very much another example of a magic circle. You can hear Geoff Engelstein and Ryan Sturm discuss the magic circle with game designer Eric Zimmerman in Ludology 79 - The Magic Circle. 29m34s: SIBR is the Society for Internet Blaseball Research. Their name is a reference to SABR, the Society for American Baseball Research. (In real-world Major League Baseball, SABR is the organization that devised "sabermetrics," the advanced statistics that powered the Moneyball movement.) SIBR has written several academic papers analyzing the effects various aspects of Blaseball. 32m54s: Taskmaster continues to be one of Gil's favorite shows. 35m44s: Uncharted is a series of video games about uncovering historical mysteries around the world, and killing a lot of bad guys in the process. 44m02s: More info on Twitch Plays Pokémon. Also, Our Place, a MUD. 48m17s: More info on the John Cage composition As Slow As Possible (Gil misstated the title as "As Long As Possible"). You can watch a video of one of the note changes here. Also, Gil should have mentioned the 10,000 Year Clock, a clock that is being built within a Texas mountain of Texas (funded by Jeff Bezos) that will be designed to run 10,000 years without any human intervention. This is not the kind of scale humans are used to thinking in, which is what makes these projects so strange and intriguing. 53m04s: Welcome to Night Vale is highly recommended for anyone intrigued by the idea of comic cosmic horror. For example... "The City Council announces the opening of a new dog park at the corner of Earl and Sommerset near the Ralph’s. They would like to remind everyone that dogs are not allowed in the dog park. People are not allowed in the dog park. It is possible you will see hooded figures in the dog park. Do not approach them. Do not approach the dog park. The fence is electrified and highly dangerous. Try not to look at the dog park, and especially do not look for any period of time at the hooded figures. The dog park will not harm you." 55m51s: Baseball has several "unwritten rules" of decorum. One of them is that bunting to break up a no-hitter tends to be frowned upon. It happens every few years; in 2019, a minor-league team broke up a combined no-hitter in the 9th inning with a bunt, which resulted in a benches-clearing altercation.  1h00m42s: Here is the Blaseball Discord server. 1h05m40s: Gil is referring to Marcel Duchamp's readymade sculpture Fountain (although there are rumblings that the piece was actually made by Baroness Elsa von Freytag-Loringhoven). Afterwards, Gil refers to the Star Trek: The Next Generation episode Chain of Command, in which a Cardassian tortures Jean-Luc Picard by inflicting pain if Picard does not claim he sees five lights when in fact there are only four in front of him (which itself is a reference from a scene in 1984). 1h06m57s: "The Commissioner Is Doing A Great Job" is a common Blaseball meme. The Coffee Cup was the most recent season of Blaseball before this recording, which was a knockout tournament of nontraditional Blaseball teams instead of a "traditional" season (whatever that means). 1h08m03s: Twitter links: The Game Band, Blaseball, Sam Rosenthal, and Stephen Bell. Here is Blaseball's Patreon. 1h10m16s: Guess which blaseball team Gil follows?

Der russische Oppositionspolitiker Alexey Nawalny liegt mit Vergiftungserscheinungen im Koma. Julius von Freytag-Loringhoven von der Friedrich-Naumann-Stiftung in Moskau ordnet den Vorfall ein.

Die Mehrheit der Russen hat für die umstrittene Verfassungsreform gestimmt. Wir sprechen darüber mit Julius von Freytag-Loringhoven. Er leitet seit 2012 das Büro der Friedrich-Naumann-Stiftung in Moskau.

Kirill Serebrennikow ist in Moskau zu drei Jahren auf Bewährung verurteilt worden. Dass der regierungskritische russische Regisseur nicht in Haft müsse, sei eine Erleichterung, sagt Julius von Freytag-Loringhoven von der Friedrich-Naumann-Stiftung. Julius von Freytag-Loringhoven im Gespräch mit Axel Rahmlow www.deutschlandfunkkultur.de, Interview Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

In 1919, two competing art movements went head-to-head in Paris. One was the Return to Order, a movement about purity and harmony. The other was Dada, a movement about chaos and destruction. Their collision would change the trajectory of Western art. Hugo Ball established the Cabaret Voltaire in Zurich, where Dada came to life in February 1916. In this photo, he's dressed in his "magic bishop" costume. The costume was so stiff and ungainly that Ball had to be carried on and off stage. You can hear the entire text of Ball's "Karawane" on Youtube (https://www.youtube.com/watch?v=z_8Wg40F3yo). You can also read the text (https://poets.org/poem/karawane). Marcel Duchamp arrived in New York to a hero's welcome, a far cry from the disdainful treatment he was receiving in France. He was hailed for his success at the 1913 Armory Show, where his painting "Nude Descending a Staircase" was the hit of the show. "Nude Descending a Staircase" was considered radical art, but it was still oil paint on canvas. Duchamp would soon leave even that much tradition behind. Francis Picabia was handsome, rich, dashing, and about as faithful as an alley cat. That he wasn't court martialed for neglecting his diplomat mission to Cuba for artistic shenanigans in New York was entirely due to his family's wealth and influence. He was also well known in New York for his visit there during the Armory Show. Picabia abandoned traditional painting for meticulous line drawings of mass-produced items, including this work, titled "Young American Girl in a State of Nudity." Duchamp horrified New Yorkers when he presented "Fountain" to an art exhibit as a work of sculpture. A urinal may not seem particularly shocking now, but it violated any number of taboos in 1917. While "Fountain" is generally atttributed to Duchamp, it is possible, although by no mean certain, that it was actually created by the Baroness Else von Freytag-Loringhoven. A German ex-pat, she was creating art out of ready-made objects more than a year before Duchamp and lived her life as a kind of non-stop performance art. Whatever her role in "Fountain," she deserves to be better remembered as a pioneering modernist. After he returned to Europe, Picabia's art became less disciplined and more outlandish. He titled this ink-blot "The Virgin Saint." Picabia also published a Dadaist journal, in which he published this work by Duchamp. It's a cheap postcard of the "Mona Lisa" to which he added a mustache. The title "L.H.O.O.Q. is a pun in French; it sounds like "she has a hot ass." Tzara and other Dadaists in Paris devoted themselves to events and performances. This is a handbill for a "Festival Dada" that took place on May 26, 1920. Tzara and Picabia are listed as performing, along with several other prominent Dadaists including Andre Breton, Louis Aragon, and Paul Eluard. These evenings became increasingly frantic and nihilistic as Dada wore on. By 1919, Pablo Picasso part of the artistic establishment and no longer a radical on the edges of society. In 1911/1912, Picasso paintings looked like this--this is "Ma Jolie," a dense, complicated, frankly intimidating Cubist painting. Ten years later, he painted this work, Woman in White. With its clarity, beauty, and nods to tradition, it is a prime example of Picasso's embrace of neo-classicism after the Great War. The impulse to create clear, simple, ordered art existed in many European countries. In the Netherlands, Piet Mondrian worked in the Neoplasticist movement creating his iconic grid paintings. This is "Composition No. 2" from 1920. At the same time, in Germany the Bauhaus was established. As a school of arts and crafts, it taught a stripped-down, clean aesthetic that applied to everything from architecture to furniture design, industrial design to graphic design. This poster advertising a 1923 exhibition is a good example of Bauhaus design and typography. The Surrealist movement arose out of Dada's ashes in the mid- to late-1920s. It combined the traditional painting technique of neo-Classicism with the bizarre imagery of Dada. Salvador Dali's "Persistence of Memory," for example, is a technical masterpiece, with masterful execution. It's also impossible and, frankly, disturbing. T.S. Eliot's "The Waste Land" gives the impression of randomness, of lines picked out of a coat pocket. In fact, it is painstakingly constructed and shows as much technical skill as Dali's clocks. You can read the poem (https://www.poetryfoundation.org/poems/47311/the-waste-land), or listen to Alec Guinness read it (https://www.youtube.com/watch?v=Hcj4G45F9pw)--or maybe do both at the same time. This meme was created in 2013 by cartoonist KC Green. It captures the Dadaist attitude that shows up in popular culture a great deal here in 2019--a sense that the world is really weird right now. Please note that the links below to Amazon are affiliate links. That means that, at no extra cost to you, I can earn a commission if you click through and make a purchase. (Here's what, legally, I'm supposed to tell you: I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for me to earn fees by linking to Amazon.com and affiliated sites.) However, I only recommend books that I have used and genuinely highly recommend.

We’re back for a bonus episode related to one of our “shock art” shows this past season: who is really responsible for creating the infamous urinal readymade, Fountain? Welcome to one of the art world’s latest scandals, and meet a truly unforgettable woman: the Baroness Elsa von Freytag-Loringhoven. Please  SUBSCRIBE and REVIEW our show on Apple Podcasts! Twitter / Facebook/ Instagram   SPONSORS The Great Courses Plus (get a free month using our link) ThirdLove (use our link to get 15% off) UTEP (for more details, check out the link)   Learn more about your ad choices. Visit megaphone.fm/adchoices

Í Lestinni í dag er meðal annars fjallað um Notre dame kirkjuna í París þar sem upp kom eldur í gær. Kirkjan var reist á árunum 1163 til 1345, geymir mikla menningarsögu og skipar stóran sess í hjörtum Frakka. Gestur Lestarinnar verður Ragnheiður Gyða Jónsdóttir sem bjó lengi í París og þekkir sögu Kirkju vorrar frúar mjög vel. Fontain, Uppsprettan, er listaverk sem margir hafa klórað sér í hausnum yfir. Árituð klósettskál úr öllu samhengi. Lengst af hefur verkið verið eignað listamanninum Marcel Duchamp en spurningar hafa vaknað um það hver raunverulegur upphafsmaður þess sé. Mögulega er það listakonan Baroness Elsa von Freytag-Loringhoven. Rætt verður um þetta dularfulla listaverk og eignaréttinn á því í Lestinni í dag, gestur þáttarins verður Benedikt Hjartarson bókmenntafræðingur. Í pistli sínum í dag heldur Tómas Ævar Ólafsson áfram Evrópu-ferðalagi sínu og endar að þessu sinni í Sansevero-kapellunni í Napólí sem reist var á 16. öld. Í kjallara byggingarinnar rekst hann á óhugnanlega fyrirboða um framtíðarmanneskjuna og segir frá í þætti dagsins. Og Halldór Armand Ásgeirsson rithöfundur flytur pistil í Lestinni á þriðjudegi og fjallar í dag um handtökuna á ástralska blaðamanninum Julian Assange, stofnanda Wikileaks.

'A Dozen Cocktails Please' by Baroness Elsa von Freytag-Loringhoven read by Lauren Hall. 'A Dozen Cocktails Please' was published in 1927 in The Little Review. A transcript can be found athttp://www.writing.upenn.edu/~afilreis/88v/dozen.html More from Lauren Hall can be found at http://lauren-hall.com/home.html

Marcel Duchamp is considered one of the great artists of the 20th century, but was his greatest achievement - Fountain - a urinal bearing the signature R. Mutt, the work of someone else? The original Fountain has long been lost, and for many decades forgotten, but in the 1950's became such a talking point again that Duchamp decided to manufacture up to a possible 17 copies - one of which stands proud, under glass, in the Tate Modern. Earlier this century a poll of 500 art historians voted it the most significant art work of the 20th century, for the questions it raises about art and the artist, but although the importance of 'Fountain' in the history of art is undisputed, is it certain the artist was, in fact, Duchamp? And if it wasn't him, then who was it? Join the dots, and the paint brush of history seems to point at the Baroness Elsa von Freytag-Loringhoven - a truly free spirit and radical artist, who Duchamp called 'the future'. The smoking gun is a letter written in 1917 by Duchamp to his sister Suzanne, stating "One of my female friends" had submitted the urinal as a sculpture to the exhibition, "the pseudonym Richard Mutt". True, false, or just a fascinating theory... its one that throws an interesting light over one of the most significant works of the 20th century. Steve Punt dons galoshes and heads for the nearest convenience. Producer: Sara Jane Hall.

episode eighty-five / dust, flecks of plaster / read Gammel's biography of Elsa von Freytag-Loringhoven & started rereading Eve's Hollywood / plenty rain

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 10/3/2016, la segunda que dedicamos a Elsa von Freytag-Loringhoven, la baronesa dadá. La artista que creó con su vida la obra de arte más radical del dadaísmo. Demasiado dadaísta para los dadaístas. Su arte era ella misma y por tanto no podía ser grabado, ni conservado, ni guardado, ni vendido, ni comprado. Su arte no podía convertirse en una mercancía.

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 10/3/2016, la segunda que dedicamos a Elsa von Freytag-Loringhoven, la baronesa dadá. La artista que creó con su vida la obra de arte más radical del dadaísmo. Demasiado dadaísta para los dadaístas. Su arte era ella misma y por tanto no podía ser grabado, ni conservado, ni guardado, ni vendido, ni comprado. Su arte no podía convertirse en una mercancía.

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 3/3/2016, la primera que dedicamos a Elsa von Freytag-Loringhoven, la baronesa dadá. La única artista puramente dadá, que amó dadá, vistió dadá, bailó dadá y vivió dadá.

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 3/3/2016, la primera que dedicamos a Elsa von Freytag-Loringhoven, la baronesa dadá. La única artista puramente dadá, que amó dadá, vistió dadá, bailó dadá y vivió dadá.

Talks & Readings Thursday, October 1, 7pm Artists Space Books & Talks 55 Walker Street Ariana Reines will open the evening with a reading of “Littoral Madness”, a section from Chris Kraus’ forthcoming critical biography of Kathy Acker, and will complete the evening with readings of her poetry. In between two talks will be delivered by Melissa Gordon and Meredyth Sparks on the value of presence in art in relation to gender, history and genius. Melissa Gordon will discuss her research into female artists who have “dropped out” of the art world, framing their actions within the wider context of feminist art’s expansion / rejection of authorship, and attempting to debunk the assumptions of failure surrounding the gesture of being absent. Touching on the fallible notion of ‘the original’ and the problematic gesture of “aggregating” as recently written about by David Joselit, Gordon will consider recent court cases around authorship in order to question where the boundaries of an artist persona / authorship are mapped in the contemporary playing field. She will discuss Cady Noland’s essay “Towards a Metalanguage of Evil”, published in the Documenta IX catalogue in 1992, as a key to understanding the “game” in which presence and absence operate. Meredyth Sparks will address the structural problems that arise in attempting to integrate “recovered” or “overlooked” artists into an art historical canon, as well as the complexities surrounding authorship as it relates to gender. Sparks will focus on two artists, the Baroness Elsa von Freytag-Loringhoven and Eileen Gray, both of whom made significant contributions to modern art, poetry and architecture, respectively, but who have only recently begun to be recognized within primary historical narratives. The Baroness Elsa von Freytag-Loringhoven (1874 – 1927) was a German-born poet, sculptor and proto-performance artist whose influence on and shaping of Dada have been, until recently, marginalized and misunderstood. New research by the Baroness’s biographer, Irene Gammel, among others, uncovers evidence to suggest that Marcel Duchamp’s Fountain (1917), arguably the most significant artwork of the 20th century, was perhaps a work by the Baroness. Eileen Gray (1878- 1976) was an Irish-born designer and architect whose house, E. 1027 (1926-29), had for many years been attributed to Le Corbusier. This misattribution stems, in large part, to an (in)famous act of “claiming” on Le Corbusier’s part, a physical and conceptual appropriation that has only recently begun to be reconsidered by historians. With this discussion, Sparks hopes to examine how these artists’ contributions have, in the best case scenario, been misattributed or, in the worse case, intentionally claimed. Re-visiting these placards might open a new art historical or studio-based space for production where, instead of merely correcting or righting a dominant narrative, we might conceive of art and history as an accumulation (rather than a singular realization or articulation) of ideas and methods. For more information click here artistsspace.org/programs/presence-and-absence This public event was part of We (Not I), a four-day program of discursive meetings, presentations, and events bringing together a wide range of female artists, writers, curators and thinkers identifying with feminist practices to exchange and produce content addressing questions around the role of "we" in contemporary art practice, held at Artists Space between September 30 and October 3, 2015. For more information click here artistsspace.org/programs/we-not-i By request of the author, Ariana Reines' reading of Chris Kraus' chapter "Littoral Madness" has been removed from this recording.