Podcast appearances and mentions of Gerhard Richter

Roni Horn exhibit elevates her work at Beacon museum Memo to visitors at Dia Beacon's Roni Horn exhibition: Keep your heads up to avoid tripping or stubbing a toe. "Objects of Constancy," which weighs in at 300 pounds and looks like an oversized stick of licorice (or seven strands of intertwined rebar), rests in the middle of a walkway. Other dense works, made of cast lead, are tucked into a nook and also placed on the floor by the artist. "Mass Removal II" and "Mass Removal III," created with hand-hammering and a pneumatic drill, resemble elongated clamshells with scuffed-up interiors. The tops of four rocks-from-another-planet, an excerpt from the eight-piece Space Buttress series, look like petrified wood (one of which conveys the illusion of a knot). In contrast, the sides evoke moss-covered stone. "Things That Happen Again," another floor-based sculpture, consists of two shiny 1,752-pound copper cylinders placed at 90-degree angles. In a separate room, the cast iron pieces that make up "Post Work 3" resemble textured loudspeakers on poles and hint at an Easter Island vibe. "Vertical sculptures generally suggest the human form, just as horizontal works are often associated with landscapes," says curator Donna De Salvo. "Object of Consistency" (1980) "Post Work 3" (1986) "Things That Happen Again" (1986/90) "Space Buttress I" (1984-85) More than a sculptor, Horn installed this long-term exhibit that elevates her work into the pantheon of artists occupying permanent and semi-permanent spaces in the massive museum, like Donald Judd, Richard Serra and Andy Warhol. "Horn was friends with Serra, and Judd arranged for the permanent install of another version of 'Things That Happen Again' at Marfa [his 45,000-acre ranch and gallery in Texas], so she fits right in," says De Salvo. Of the exhibit's 23 works, nine are owned by Dia; the abstract color and texture studies hanging on the walls are on loan from the artist and her gallery. These framed works date to the mid-1980s. Horn deployed similar motifs and techniques in later, larger creations, says De Salvo. Building on a back-mounted sheet of paper, she created a second layer with smaller fragments of thicker, mottled paper arranged in a collage style covered with colorful, slate-like shapes seemingly outlined in black. Three works titled "Brooklyn Red" are accompanied by a couple of Brooklyn whites, Hamilton reds and Brooklyn grays. Some of the shapes seem three-dimensional, especially in "This 1," where the colored blotch looks bent like a butterfly wing. Horn enjoys pairing subjects, like the paper work "Untitled (Hamilton)," which looks like a couple of nuclear reactors. The objects in "Double I I' " and "Double N N' " seem more risque. In 2001 and 2002, as her international renown began to grow, Horn held two solo shows at the Dia Center for the Arts in Manhattan. Now, she's on the same level at Dia Beacon as Robert Ryman, Gerhard Richter and Louise Bourgeois. It's rare for a living artist to achieve such recognition (she is 69). "We've had a real commitment to her for more than 20 years," says De Salvo. "She's one of the major figures of her generation and there's a dialogue with our other artists on view." Dia Beacon, at 3 Beekman St., is open from 10 a.m. to 5 p.m. Friday to Monday. Admission is $20 ($18 seniors, $12 students and disabled visitors, $5 ages 5 to 11, free for members, ages 5 and younger and Beacon and Newburgh residents). See diaart.org.

Ignatowitsch, Julian www.deutschlandfunk.de, Kultur heute

Verfassungsschutz-Gutachten stuft Bundes-AfD als "gesichert rechtsextremistisch" ein, Wie weiter umgehen mit der AfD auf kommunaler Ebene, Die Meinung, Angst vor Strafverfolgung unter Hackern, Weitere Meldungen im Überblick, tagesthemen #mittendrin aus Arnsberg: Die Kanzlerstadt, Zeichnungen des Künstlers Gerhard Richter in München ausgestellt, Das Wetter

Verfassungsschutz-Gutachten stuft gesamte AfD als "gesichert rechtsextremistisch" ein, EU-Handelskommissar Šefčovič macht Vorschlag im Zollstreit mit der USA, Trump entlässt Nationalen US-Sicherheitsberater Mike Waltz, Millionenstrafe für TikTok nach Vorwurf von Datentransfer nach China, Auto fährt in Stutgart in Menschengruppe, Deutschland fällt auf Rangliste zur Pressefreiheit zurück, Auftakt der Gedenkfeierlichkeiten in Berlin zu 80 Jahre Kriegsende, Eine Ausstellung in München zeigt neue Zeichnungen von Gerhard Richter, Das Wetter

Nathalie Obadia « L'art contemporain ; Des esprits conquérants » (Le cavalier Bleu)L'art contemporain, tel qu'il est apparu depuis la fin des années 60, est indissociable des logiques de mondialisation et de softpower qui fédèrent de multiples acteurs et autant de figures majeures au service de la création et de sa diffusion.En premier lieu, les artistes avec des figures comme Gerhard ­Richter, Louise Bourgeois, Damien Hirst ou Yayoi Kusama, mais aussi les curat­ors dont Harald Szeemann est un précurseur et la Cheikha Hoor Al Qasimi une incarnation des sensibilités du Sud Global, les galeristes avec Larry Gagosian et Marian Goodman, les foires dont ­l'emblématique Art Basel incarnée par Marc Spiegler, des collectionneurs comme François Pinault ou Uli Sigg, sans oublier celles et ceux qui ont œuvré à la muséification de l'art contemporain comme ­Suzanne Pagé ou Renzo Piano qui lui a créé ses plus lumineux écrins.Partant de sa double expertise de galeriste et d'enseignante, ­Nathalie Obadia nous présente ici les figures majeures de l'art contemporain et nous permet de saisir leur étroite imbrication et interdépendance.Musique: "Hymne à l'amour" Edith Piaf Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „S. mit Kind“ von Gerhard Richter aus dem Jahr 1995 und ein unbeschreibliches Gefühl.

Elger, Dietmar www.deutschlandfunkkultur.de, Fazit

Zoll-Ankündigung von US-Präsident Trump sorgen für weltweite Turbulenzen an den Börsen, Folgen für Anleger bei Kurseinbrüchen, Drohen und Verhandeln: EU legt Kurs im Zollstreit fest, Wirtschaftsturbulenzen setzen Union und SPD bei Koalitionsverhandlungen unter Druck, Palästinensischer Journalist bei Luftangriff im Gazastreifen getötet, Gedenken zur Befreiung des KZ Mittelbau-Dora vor 80 Jahren, Wasserpegel am Bodensee sehr niedrig, Schulen in Duisburg nach Drohungen geschlossen, Polizei verstärkt Kontrollen beim Blitzermarathon, Wandgemälde von Gerhard Richter teilweise freigelegt, Das Wetter

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Umgeschlagenes Blatt“ von Gerhard Richter aus dem Jahr 1965.

Herzlich willkommen bei Die Sucht zu SEHEN, dem Grisebach-Podcast. Alle zwei Wochen sprechen wir hier mit Menschen, die etwas in der Kunst – oder über sie – zu sagen haben. In Folge 107 sind gleich drei Künstler zu Besuch, nämlich die Maler Peter Angermann, Jan Knap und Milan Kunc. Die Drei lernten sich in den frühen 1970ern kennen, als junge Studenten an der Düsseldorfer Kunstakademie, im Umfeld der Klassen von Joseph Beuys und Gerhard Richter. 1979 gründeten sie dann das Kollektiv »Gruppe Normal«. Ihre Bilder waren zugleich altmeisterlich, subversiv politisch und humorvoll - gute Laune war überhaupt die Grundvoraussetzung, schließlich wollte man sich vom damals verbreiten Geniekult und der allzu großen Ernsthaftigkeit in der Kunst absetzen. Heute, fast fünfzig Jahre später, sind nun bei Grisebach zahlreiche ihrer Gemälde und Gemeinschaftswerke zu sehen. Wie sie zusammenfanden und wie es in der Zwischenzeit für jeden einzelnen weiterging, das erzählen sie uns jetzt bei Die Sucht zu SEHEN, und zwar allerbester Laune. Wir sagen herzlich willkommen!

"I firstly loved the sound of the piece and the atmosphere of the Cathedral - the original sound is included fully, but buried in amongst the sounds of the remix. The way into the remix was the text about the seven second reverb and some research about the building's history. I knew that whatever I did, long reverbs and delays combined with multiples of seven in some sequences would feature. Bach's Mass in D was performed in the Cathedral and so I used some MIDI files for the musical elements alongside a 14 step sequence. The sounds used were intended to reference retro computer games in a nod to the amazing stained glass window by Gerhard Richter and the acid rain erosion of the building.  "I thought about what was happening on the outside of the building and tried to think of it as a person - I found it incredible that it has been built over hundreds of years and survived tank fights and bombing during WW2. It was hit 14 times but remained standing and that is why the mass is interrupted at regular intervals with distorted acid kicks and quick arpeggio flourishes.  "The piece finishes with the building finding a calm centre with focused and drawn out harmonics of the bell, which I heavily Eq'd with a narrow band to create a pure tone that is pitched down twice. I think it's incredibly important to record and preserve the sounds of spaces such as this as they provide a way of understanding collective and individual heritage. I tried to draw on the cultural significance of this amazing space whilst composing the piece and tell a story about part of its life." Cologne cathedral reimagined by David Henckel. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Gruselsurrealismus im Debut des Amerikaners Zach Williams, "Es werden schöne Tage kommen": gut dosierter Horror, der die US-Kritik begeistert hat, nun auch auf deutsch, mit-übersetzt von Literaturstar Clemens J. Setz. Außerdem: Anna Langfus, "Gepäck aus Sand" - eines der ersten Werke, das nach dem Krieg das Weiterleben nach dem Holocaust thematisiert hat, im Gespräch mit der Übersetzerin Patricia Klobusizcky / Uwe M. Schneede, "Gerhard Richter - der unbedingte Maler" / Daniel Glattauers, "In einem Zug" / Maylis de Kerangal, "Weiter nach Osten" / literarisches Rätsel-Taxi /

Oelze, Sabine www.deutschlandfunkkultur.de, Lesart

Oelze, Sabine www.deutschlandfunkkultur.de, Lesart

Oelze, Sabine www.deutschlandfunkkultur.de, Lesart

Kohlick, Anne www.deutschlandfunkkultur.de, Studio 9

Kohlick, Anne www.deutschlandfunkkultur.de, Studio 9

Kohlick, Anne www.deutschlandfunkkultur.de, Studio 9

Kohlick, Anne www.deutschlandfunkkultur.de, Studio 9

Bis Weihnachten darf ich euch mit den Lieblingsepisoden meiner ZuhörerInnen verwöhnen. Hier, mein Gespräch mit Prof. Dr. Raimund Stecker über seine Kritik an Gerhard Richter.

Nuno Crespo nasceu em Lisboa em 1975. É licenciado e doutorado em filosofia pela Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. É professor e director da Escola das Artes, Universidade Católica Portuguesa, e investigador do Centro de Investigação em Ciência e Tecnologia das Artes (CITAR).É crítico de arte e membro do conselho editorial do Ípsilon (suplemento cultural do jornal Público). A sua actividade de investigação tem sido dedicada, principalmente, ao cruzamento entre arte, arquitectura e filosofia, e a autores como Kant, Wittgenstein, Walter Benjamin, Peter Zumthor e Adolf Loos. De entre as suas publicações podem destacar-se trabalhos sobre Adriana Molder, Axel Hütte, Bernd e Hilla Becher, Candida Höffer, Daniel Blaufuks, Fassbinder, Gerhard Richter, Luísa Cunha, Miguel Ângelo Rocha, Nuno Cera, Rui Chafes, Vasco Araújo, entre outros, bem como os livros publicados: “Textos Públicos. Arte Portuguesa Contemporânea 2003-2023” (2024), “Julião Sarmento: Olhar Animal” (2014), “Wittgenstein e a Estética” (2011) e “Corpo Impossível” (2007). Fez parte do colectivo de comissários do Prémio EDP – Novos Artistas (2006-2011) e BESPhoto (2007-2009). Como curador, foi responsável pelas exposições «Fantasmas», de Nuno Cera (CCB) , «Corpo Impossível», com Adriana Molder, Noé Sendas, Rui Chafes e Vasco Araújo (Palácio de Queluz), «Encontro Marcado», de Adriana Molder (Museu de Belas Artes de Oviedo, Espanha), pela exposição antológica de Pires Vieira no Museu da Cidade de Lisboa, «Involucão», de Rui Chafes (Casa-Museu Teixeira Lopes), «Serralves», de João Luís Carrilho da Graça (Appleton Square), «Fragmentos. Arte Contemporânea na Colecção Berardo» (Museu de Arte Contemporânea de Elvas), «Aires Mateus. Voids» (Appleton Square), «Riso: Uma Exposição a Sério», Museu da Eletricidade Lisboa, «Paisagem Como Arquitectura» Garagem Sul do CCB, Lisboa, «Antes e Depois» (Miguel Ângelo Rocha), Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisboa, «Haus Wittgenstein. 90 anos», MAAT, Fundação EDP (em coprodução com a associação de arquitetura austríaca), Lisboa, «O que pode a arte? 50 anos do maio de 68», Atelier- Museu Júlio Pomar, Lisboa, «Arenário» (Francisco Tropa), Sala de Exposições da Escola das Artes, Porto e «Julião Sarmento. Film Works», Sala de Exposições da Escola das Artes, Porto, entre outras.Links: https://artes.porto.ucp.pt/pt-pt/pessoa/nuno-crespo https://umbigomagazine.com/pt/blog/2021/07/07/entrevista-a-nuno-crespo-diretor-da-escola-das-artes-da-universidade-catolica-portuguesa/ https://www.rtp.pt/programa/tv/p33458/e4 https://www.publico.pt/autor/nuno-crespo https://www.buala.org/pt/cara-a-cara/os-nacionalismos-nao-sao-discursos-inocuos-tem-raca-e-genero-entrevista-a-lilia-schwarcz https://www.maat.pt/pt/exhibition/haus-wittgenstein-arte-arquitetura-e-filosofia https://contemporanea.pt/edicoes/09-10-2019/pensar-escola-alem-da-escola Episódio gravado a 14.11.2024 *o título é um verso da música escolhida pelo convidado Créditos introdução: David Maranha - Flauta e percussão Créditos música final: Força Estranha / Interpretação Gal Costa / Letra Caetano Veloso / Produção Guilherme Araújo e Roberto Menescal http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa Financiamento:República Portuguesa – Cultura / DGArtes – Direcção Geral das Artes © Appleton, todos os direitos reservados

“I appreciate the Rococo for its extravagance and theatricality, as it appeals to my love of kitsch.”- STUART NETSKY      Netsky is a conceptual artist making paintings, mixed media sculptures, prints and other objects. An original voice and artist whose work jumps off the canvas and confronts us with the eclectic absurdity of our image inundated culture. A lover of the theatrical, mixed with his unique version of pop and Romantic master painting.  His work is made in distinct series, creating a pictorial eclecticism that obscures our ability to make sense of the image, acting as a metaphor for the confusion and shifting dichotomies in social interactions.Digital images speak to our technologically driven world and reflect the temporal paradox in pop culture whereby the past is brought to the present, the present to the past. He digitally appropriates art and historical images with those from film and popular culture, juxtaposed with psychedelic and floral patterns and mixes them all together. His influences include Francois Boucher and Gerhard Richter, Jean-Honore Fragonard, Gene Davis, Bridget Riley, Nicholas Krushenick and Jean-Antoine Watteau, among others - the rococo and abstraction, op art and pop art, anime and realism, and the psychedelic all come together, layered, spliced and distorted, materials that evoke the psychosexual. He views his practice as a drag display operating within the  time he has lived in while embracing nostalgia and romanticism for their tender and universal  sensibilities. He received a Master of Art in Art Education from Philadelphia College of Art in 1986 and went on to receive a Master of Fine Art in sculpture from Tyler School of Art, Elkins Park, PA in 1990. Netsky was an Adjunct Professor at The University of the Arts, Philadelphia, and is currently an Adjunct Assistant Professor at Jefferson University. He has had solo exhibitions of his work at Philadelphia's Institute of Contemporary Art, Larry Becker Contemporary Art, Richard Anderson, NYC, Locks Gallery, Bridgette Mayer Gallery, and a retrospective at the Rosenwald Wolf Gallery, University of the Arts. He has also shown in innumerable group shows nationally and internationally. In 1995, he received the Pew Fellowship in the Arts. His work is in the collections of The Philadelphia Museum of Art, The Southern Alleghenies Museum of Art, The Jane Voorhees Zimmerli Art Museum, Woodmere Art Museum, as well as the Johnson and Johnson Collection and many private collections.   

Steve Hartzsch glänzt durch seine subtile Präsenz, die ohne große Gesten auskommt und dennoch entscheidend zum Gesamterlebnis im Berliner Nobelhart & Schmutzig beiträgt. Er versteht es, durch Worte, minimale Mimik oder Gestik komplexe Emotionen zu transportieren, die das gesamte Restaurantteam unterstützen. Das Servicegesicht des Hauses ist ohne Frage der allgegenwärtige Billy Wagner. Doch so wie Gerhard Richter, Rembrandt oder Michelangelo namensprägend für eine Gesamtinszenierung sind, ist es auch bei ihnen das künstlerische Team, welches das letztliche Kunstwerk erschafft. Und einer dieser Underdogs ist ohne Frage der Sommelier des Hauses, Steve Hartzsch. Und er brilliert in dieser Rolle, denn seine Leistung wirkt selten aufdringlich, sondern fügt sich organisch in das größere Ganze ein, als sei sie selbstverständlich. Gerade durch diese Zurückhaltung offenbart sich seine Brillanz: Er ist das Bindeglied, das eine Szene vollständig macht, ohne sie zu dominieren. Er schafft es, dem Gast in Erinnerung zu bleiben, ohne dass dieser genau benennen kann, warum. In seinem Wesen und Schaffen vereinen sich Wissen, Können, Bescheidenheit und ein tiefes Verständnis für den Wein. Steve Hartzsch agiert nicht im Schatten, sondern in dem feinen Halbschatten des Nobelhart & Schmutzig, der dezent und einfach hoch angenehm den gesamten Raum erhellt. Steve Hartzsch Nobelhart & Schmutzig Friedrichstraße 218 10969 Berlin Telefon: +49 30 259 40610 E-Mail: dubist@nobelhartundschmutzig.com Mit herzlichen Grußworten von: José Segura Sommelier, Weinberater und Wegbegleiter Marian Henß Sommelier, Kollege und Freund ------------------------------------- Diese Folge von SOMMELIER – Die interessantesten Weinkellner unserer Zeit wird begleitet von durch Silvio Nitzsche ausgewählte Weine aus dem Programm der Schlumberger Gruppe, zu der die Handelshäuser Schlumberger, Segnitz, Consigliovini und das Privatkundenportal Bremer Weinkolleg gehören. ------------------------------------- Wir probieren während der Episode die folgenden Weine: 2019 Château de Pez, Cru Bourgeois Exceptionnel, St. Éstephe, Bordeaux, Frankreich Link für Geschäftskunden: https://is.gd/e0Asbp Link für Privatkunden: https://is.gd/EkN0RW _____ Rare Amontillado Sherry “Escuadrilla”, Emilio Lustau, Jerez, Spanien Link für Geschäftskunden: https://is.gd/qP9Lfa Link für Privatkunden: https://is.gd/nyrNTv _____ Sehr gerne empfehle ich die folgenden Produkte: 2020 Giusto di Notri, Tua Rita, Toskana, Italien Link für Geschäftskunden: https://is.gd/0xsejc Link für Privatkunden: https://is.gd/9Ko80F _____ 2019 Roda I Reserva, Bodegas Roda, Rioja, Spanien Link für Geschäftskunden: https://is.gd/cfMLCQ Link für Privatkunden: https://is.gd/3etebP _____ Cachaca, Cachaca 51, Brasilien Link für Geschäftskunden: https://is.gd/YETCff Link für Privatkunden: https://is.gd/Ooeaq4 ------------------------------------- Bitte folgen Sie uns auf Webpage: www.sommelier.website Instagram: sommelier.der.podcast Facebook: sommelier.der.podcast Wir freuen uns über jede Bewertung, Anregung und Empfehlung. Das Format: SOMMELIER – Die interessantesten Weinkellner unserer Zeit. wird produziert und verantwortet von der: Weinklang GmbH, Silvio Nitzsche, Bergahornweg 10, 01328 Dresden, silvio@sommelier.website

Er gilt als einer der wichtigsten Gegenwartskünstler der Welt: der inzwischen 92jährige Gerhard Richter. Der Kunsthistoriker Uwe Schneede widmet ihm jetzt eine Monografie, die auf alle reißerischen Attribute verzichtet und eine glasklare Darstellung und Analyse seiner Malerei liefert. Rezension von Simone Reber

Er gilt als einer der wichtigsten Gegenwartskünstler der Welt: der inzwischen 92jährige Gerhard Richter. Der Kunsthistoriker Uwe Schneede widmet ihm jetzt eine Monografie, die auf alle reißerischen Attribute verzichtet und eine glasklare Darstellung und Analyse seiner Malerei liefert. Rezension von Simone Reber

„Ich war auf der Suche nach Ankerkennung und Liebe“ sagt der Kunstberater Helge Achenbach in der neuen Episode von VOICES als ich ihn frage, warum er „vom richtigen Weg“ abgekommen war. Helge Achenbach ist einer der bedeutendsten Kunstberater Deutschlands und blickt auf eine besondere Lebenswendung: Nach dem Studium der Sozialpädagogik eröffnete er 1973 eine Galerie in Düsseldorf und wurde zum bedeutendsten Kunstberater Deutschlands im Unternehmens- und Privatbereich. 1977 gründete Achenbach zusammen mit dem Architekten Horst Kimmerich ein „Büro für Art Consulting“. Er hat bereits in den siebziger Jahren zahlreiche Wirtschaftsunternehmen und Privatfamilien beim Aufbau ihrer Kunstsammlung beraten und war eng in der Kunstszene mit Künstlern wie Jörg Immendorff, Gerhard Richter, Keith Haring, Andy Warhol vernetzt. Am 11. Juni 2024 landet Helge Achenbach in Düsseldorf von der Fußball WM in Brasilien und wurde festgenommen. Anfang 2015 wurde das Urteil gesprochen: sechs Jahre Haft! ----- Möchtest du was bestimmtes hören? (00:00) – Helge Achenbachs Lebensweg und Erfahrungen (00:45) – Helges Aufstieg als Kunstberater und seine Erlebnisse (03:33) – Praktikum in der Justizvollzugsanstalt und dessen Auswirkungen (04:21) – Inspiration für den Einstieg in die Kunstwelt (06:19) – Kunstberatung und Kontakte zu internationalen Künstlern (08:00) – Vielseitige Karriere: Fußball und Gastronomie (10:12) – Suche nach Anerkennung und Kindheitserfahrungen (12:57) – Verhaftung mit Rückblick auf erste Reaktionen (15:24) – Erkenntnis über Betrug und Verantwortung (17:01) – Die ersten Gedanken im Gefängnis und Auswirkungen auf Karriere (18:29) – Reaktion auf das Urteil und die emotionale Betäubung (20:14) – Einsicht in die veränderte Realität nach der Haft (21:06) – Medien und der Verlust der Reputation (22:18) – Erfahrungen während der Haft und Unterstützung von außen (25:23) – Der Schutzfaktor und der emotionale Abstand (26:18) – Verantwortung für die Familie und die Auswirkungen (27:32) – Die Veränderungen in Freundschaften und Unterstützung (29:01) – Die Verantwortung als Familienvater (30:30) – Beziehungen zu den Kindern und zur Ex-Frau (32:29) – Die Rückkehr zu den Werten nach der Haft (33:40) – Pläne nach der Freilassung und ein neues Kunstprojekt (37:35) – Freundschaften und Glücksmomente nach der Haft (40:40) – Veränderungen durch die Erfahrungen im Gefängnis (42:06) – Dankbarkeit für das Leben und die neue Stabilität ----- Willst du diese Folge nicht nur anhören, sondern Helge Achenbach auch per Video sehen? Dann besuche gerne unserem YouTube Kanal: ⁠https://www.youtube.com/@followvoices⁠ ----- Folge VOICES auf Socials... ▸ www – ⁠voices.fm⁠ ▸ Instagram – ⁠@followvoices⁠ ▸ YouTube – ⁠@followvoices⁠ ▸ LinkedIn – ⁠@marianne-heiß

ROMA (ITALPRESS)- In questa edizione:- La cultura traina il turismo- Al via la rete siciliana dei borghi marinari- Da Le Corbusier a Richter, a Firenze la mostra “OltreCittà"abr/mgg/mrv

FIRENZE (ITALPRESS) - La città è protagonista di un viaggio che narra di centri urbani desiderati, metropoli e paesaggi umani immaginati da artisti dei secoli XX e XXI. Dal 26 settembre al 19 gennaio, Villa Bardini a Firenze ospita l'inedita mostra "OltreCittà. Utopie e realtà. Da Le Corbusier a Gerhard Richter". Nell'esposizione, curata da Lucia Fiaschi, Bruno Corà, Silvia Mantovani e Claudia Bucelli, viene esposta per la prima volta l'opera di Richter, che traduce l'idea del movimento e del dinamismo di una città - Firenze - che si smaterializza sotto gli occhi del visitatore. Con questa esposizione, Generali Valore Cultura torna a Firenze,insieme a Fondazione CR Firenze, in collaborazione con FondazioneParchi Monumentali Bardini e Peyron, per raccontare le cittàattraverso gli occhi di grandi artisti del passato e del presente.col/mgg/gtr

FIRENZE (ITALPRESS) - La città è protagonista di un viaggio che narra di centri urbani desiderati, metropoli e paesaggi umani immaginati da artisti dei secoli XX e XXI. Dal 26 settembre al 19 gennaio, Villa Bardini a Firenze ospita l'inedita mostra "OltreCittà. Utopie e realtà. Da Le Corbusier a Gerhard Richter". Nell'esposizione, curata da Lucia Fiaschi, Bruno Corà, Silvia Mantovani e Claudia Bucelli, viene esposta per la prima volta l'opera di Richter, che traduce l'idea del movimento e del dinamismo di una città - Firenze - che si smaterializza sotto gli occhi del visitatore. Con questa esposizione, Generali Valore Cultura torna a Firenze,insieme a Fondazione CR Firenze, in collaborazione con FondazioneParchi Monumentali Bardini e Peyron, per raccontare le cittàattraverso gli occhi di grandi artisti del passato e del presente.col/mgg/gtr

FIRENZE (ITALPRESS) - La città è protagonista di un viaggio che narra di centri urbani desiderati, metropoli e paesaggi umani immaginati da artisti dei secoli XX e XXI. Dal 26 settembre al 19 gennaio, Villa Bardini a Firenze ospita l'inedita mostra "OltreCittà. Utopie e realtà. Da Le Corbusier a Gerhard Richter". Nell'esposizione, curata da Lucia Fiaschi, Bruno Corà, Silvia Mantovani e Claudia Bucelli, viene esposta per la prima volta l'opera di Richter, che traduce l'idea del movimento e del dinamismo di una città - Firenze - che si smaterializza sotto gli occhi del visitatore. Con questa esposizione, Generali Valore Cultura torna a Firenze,insieme a Fondazione CR Firenze, in collaborazione con FondazioneParchi Monumentali Bardini e Peyron, per raccontare le cittàattraverso gli occhi di grandi artisti del passato e del presente.col/mgg/gtr

Gerade passiert in Düsseldorf etwas Spezielles: Werke von Gerhard Richter werden im Kunstpalast gezeigt, die nicht neu sind, aber neue „Nachbarn“ kennen lernen und dadurch neue Wirkkraft bekommen.

Gerade passiert in Düsseldorf etwas Spezielles: Werke von Gerhard Richter werden im Kunstpalast gezeigt, die nicht neu sind, aber neue „Nachbarn“ kennen lernen und dadurch neue Wirkkraft bekommen.

Thurston Moore is one of the most famous names in rock. With Kim Gordon and Lee Ronaldo, he formed Sonic Youth, one of the definitive art rock bands... yes, ART rock. Sonic Youth album covers famously spotlighted artists, from Gerhard Richter's candle on the cover of 1988's Daydream Nation to Raymond Pettibon's cartoon couple on the cover of 1990's Goo to Mike Kelley's stuffed animal on the cover of 1992's Dirty to Marnie Weber's collage for 1998's A Thousand Leaves. Well, now Moore is back, putting out a new dreamy solo album titled Flow Critical Lucidity, and true to form, the cover is another literal work of art: a photo of a sculpture of what appears to be metal helmet, studded with tuning forks. This is a work called Samurai Walkman, by the artist Jamie Nares. Nares is a figure of major cachet herself. She only just had a film retrospective at the Museum of Modern Art here in New York in the summer. Back in 2020, her fantastic 2011 video Street was the first film to be projected on the exterior of the Metropolitan Museum of Art—Thurston Moore, in fact, did the soundtrack to that film. Nares and Moore have a fruitful history of collaboration together, having both come up in the chaotic, experimental No Wave scene of the 1970s, and this week they join Ben Davis on the podcast to discuss. We're also thrilled to announce the launch of Art Market Minute, our new micro-podcast, hosted by news editor Margaret Carrigan. It offers a weekly snapshot of essential art market news, expertly compiled by the Artnet PRO editorial team. You can find it wherever you get your podcasts every Monday.

Ärger der Beschäftigten von Volkswagen bei Betriebsversammlung über geplante Sparmaßnahmen, FDP und Grüne beraten auf Fraktionsklausurtagungen nach Landtagswahlen in Thüringen und Sachsen, Indienststellung des ersten Flugabwehrraketen-Systems vom Typ IRIS-T SLM in Deutschland, Bundesarbeitsminister Heil kündigt Nullrunde beim Bürgergeld im Jahr 2025 an, Umbildung der ukrainischen Regierung nach mehreren Rücktritten von Ministern, Hamburger Bürgerschaft billigt umstrittenen Einstieg der Reederei MSC in den Hamburger Hafen, Polizei geht in fünf Bundesländern mit Razzien gegen mutmaßliche Schleuserbande vor, Düsseldorfer Kunstpalast zeigt Lebenswerk von Gerhard Richter, Deutsche Erfolge bei Paralympischen Spielen in Paris, Das Wetter Hinweis: Der Beitrag zum Thema "Paralympische Spiele" darf aus rechtlichen Gründen nicht auf tagesschau.de gezeigt werden.

Es ist eine ganz besondere Ausstellung: Das Museum Kunstpalast in Düsseldorf zeigt 120 Bilder des Künstlers Gerhard Richter. Viele davon waren noch nie öffentlich zu sehen. Warum die Ausstellung auch ökologisch tragfähig ist, verrät Stefan Koldehoff. Koldehoff, Stefan www.deutschlandfunkkultur.de, Fazit

Koldehoff, Stefan www.deutschlandfunk.de, Kultur heute

Heinzelmann, Markus www.deutschlandfunkkultur.de, Interview

Michael Craig-Martin talks to Ben Luke about his influences—from writers to film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Craig-Martin was born in Dublin in 1941, and grew up in the US, but has been based in London for most of his working life. ​​Over the past six decades he has created an instantly recognisable body of work in which everyday objects are depicted simply in black outlines and often filled and surrounded by saturated, bright colour. The objects can be alone, in close-up fragments, or in complex combinations, and are captured in everything from small prints to room-scale installations. Intending at first to eschew style, Craig-Martin came to realise that his technique is inimitably his. And the works' meaning has also shifted over the decades, gaining new and poetic meanings. Fifty years on from his first drawing, his core questions remain: what is it to represent something, to make an image of it? How does image-making work? What does it allow you to do? And what happens when a viewer encounters what you have done? The result is a world of sensation and visual and experiential pleasure that might seem unexpected given the nature of the items he depicts. This knack of making the humdrum compelling, even lending it a sensory power and emotional resonance, is why Craig-Martin has remained an enduringly significant figure in contemporary art. He talks about returning to the basics of drawing in the mid-1970s when it was “forbidden territory”, his slow but eventually hearty embrace of colour, why humour is a useful tool in addressing subjects of the utmost seriousness, his early encounter with the work of Picasso as a child in Washington DC, the effect of studying according to the principles of Josef Albers at Yale, his admiration for Bruce Nauman and Gerhard Richter, and his love of the work of Samuel Beckett. Plus, he responds to our usual questions, including the ultimate: what is art for?Michael Craig-Martin, Royal Academy of Arts, London, 21 September-10 December; Michael Craig-Martin: An Anthology, Prints and Multiples 1996 – 2024, Cristea Roberts, London, 25 October-23 November. Hosted on Acast. See acast.com/privacy for more information.

"Sunflowers" von Joan Mitchell verkaufte Zwirner für 20 Millionen Dollar, ein Gerhard Richter brachte 6 Millionen: Die Art Basel bleibt die wichtigste Kunstmesse der Welt. 285 Gallerien aus 40 Ländern wetteifern um Aufmerksamkeit und Sammler. Wheeler, Claudia www.deutschlandfunkkultur.de, Fazit

What you'll learn in this episode: Jennifer's unique process of layering acrylic and art images, and how she discovered her signature technique. Why the most important thing a young artist can do is find their voice. Why Jennifer rarely uses images her customers request in her jewelry. How Jennifer's work ties into the history of pop and op art. Why Jennifer sees other art jewelers as inspiration, not competition. About Jennifer Merchant: Jennifer Merchant is a studio t based in Minneapolis, MN. She graduated with a BFA in Metals and Jewelry from the Savannah College of Art and Design. She is a full-time artist showcasing her work in galleries, museums and exhibitions. Her work has been published in several national magazines such as American Craft, Ornament and Delta Sky Magazine. Merchant is best known for her innovative layered acrylic process in which images and prints are layered between solid acrylic. Her work is graphic with clean lines and modern aesthetic. Pieces confound viewers, appearing transparent from one angle of view while showcasing bold patterns and colors from another. Photos available on TheJewelryJourney.com Additional resources: Website Facebook Instagram Twitter Transcript: Like the op and pop art that inspires it, Jennifer Merchant's jewelry challenges your eye. Clear from some angles and bold and colorful from others, the jewelry is created by layering acrylic with images from art books. Jennifer joined the Jewelry Journey Podcast to talk about how she developed her technique; how she chooses the images in her jewelry; and why art jewelers need to work together to push the discipline forward. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Jennifer Merchant. Jennifer was also a guest several years ago. She thought she would be a metalsmith but segued to acrylic jewelry, which is what she has become known for: creative and innovative acrylic jewelry such as necklaces, bracelets, earrings and brooches. They have eye-catching graphics embedded in them. I was also surprised to learn that hand carving is sometimes involved. Welcome back. When you left college, did you know you were going to have your own business? Jennifer: Not right away. I think it took me about five years to really get the confidence together to start my own business. I definitely spent that first five years after graduation very lost and not really sure what in the heck I was going to do with my jewelry degree, especially because I went to school in Savannah, Georgia. That's where I made all my art connections and jewelry connections. Moving back to Minneapolis, I was off on my own. I didn't have a community at that point. It definitely was a number of years of wondering, “How am I going to end up using this degree that cost me so much money?” I had been waiting tables and was increasingly unhappy because I knew I had something different to offer the world. I ended up getting fired from a job. I had been speaking with a friend at work who had another friend that was putting on an art show. She had told me about it because she knew I was an artist. I remember getting fired from the job and calling her up right away, like, “I think I want to do that art show because I need to try to make some money.” It went okay, and it inspired me to say, “Jewelry is something you can do and make a living with. Let's give this a shot.” I had to move back home with my mom for a couple of years and cut my expenses way down, because I wasn't going to take out another loan to start a business. I built it very small, very scrappy. I had a second bedroom in my mom's house where I had my workshop, and I started from there doing little local events. That's where it all started. Sharon: Wow. What's the biggest piece of advice you can give to somebody who's just starting out? Jennifer: I would say when you're just starting out, really try to find your voice. Sharon: What do you do? What does one do when they find their voice? For instance, some people have found the voice, but they're homemakers or they work in an office. What do you do when you find your voice? Jennifer: I think once you know what you want to say, the next step is finding out who wants to hear it. And that is a very hard step, finding your niche and finding your people that resonate with your voice. I think the only way to really do that is to get yourself out there, get your work out there. I think with the Internet now and how accessible online stuff is, it might be a little easier to get yourself out there through social media, through the Internet, than maybe it was years ago when you had to have a physical presence out in the world. People can start by getting their work out there online and hopefully seeing who is interested, who connects with it, and then finding places in the real, outside world to continue that process and eventually find your market. Sharon: Do you have people who come to you with the image they want to include already? Jennifer: Not very often. I've had people ask me about that, but I think ultimately, I have to be drawn to the image specifically in order to be able to incorporate it in a piece. I did have a client that had a specific art piece she wanted in a bracelet for her daughter. That I was able to do because I resonated with the work and it was something that worked well within the form of jewelry. I've also had requests where someone wants family mementos or something encased in the acrylic. That's a very cool, sentimental thing, but visually, it doesn't really work with my aesthetic as well. I'm not going to do something just because I get asked for it. I also have to be drawn to it enough in order to go through with it, because it is a labor-intensive process and it is an art of passion. If I'm not super excited about the thing I'm making, it's probably not going to turn out that great either. I have tried to do things early on in my career specifically for a client that just didn't quite work out. We weren't on the same page. I think as you get more into it, you figure out the types of things you can push the boundaries on and the types of things that you can't. When someone's request is something that you can do and make them happy with, and when it's just not something that'll work out, you know. Sharon: That's interesting. So if somebody brought you their wedding photo, it depends on whether you like the wedding dress or something like that. Jennifer: Or if it has enough visual interest. I think the thing that makes my work successful is the images that I do use are interesting within a small scale of jewelry, and not all images can do that. I work with a lot of op art and pop art, and there's a lot of visual interest going on in a small space. With a photograph or something more sentimental, that's not always the case. It just wouldn't look as cool as they think it's going to. Sharon: I've seen comic books used in your work. How did you come to that? Jennifer: All of the things in my work that look like comic books are actually Roy Lichtenstein pieces. His pop art was inspired by comics, and he reimagined them into huge canvases and paintings. My jewelry does something similar, where I take Roy Lichtenstein's work and images and collect tons of books and rip out those pages and put that in my jewelry. It feels kind of meta. I've actually met some of his descendants and collectors and friends over the years, and a lot of them assure me that he would really appreciate what I'm doing with his work. It's a very similar idea as to how he repurposed art and things that he saw into something new and different. Sharon: That's interesting. I didn't know that. Did you study art history in college as you were studying jewelry and metal and all that? Jennifer: Yeah, art history is definitely part of your Bachelor of Fine Arts degree. It wasn't always my favorite class because the art history classes were about art that was ancient and a lot of religious art and that sort of thing. I think I had one class where it was modern art in the 20th century, which, of course, is the most interesting to me. But that art history background definitely sparked some interest in different art movements and art periods. Art Deco is a very favorite design motif of mine. As I was talking about earlier, I'm very inspired by pop art and op art. I think art history plays a huge role. I never thought at the time when I was in school that I would end up studying more about art history and specific artists and doing that kind of research, but it is really important to my work now. Sharon: Can you explain what the difference between pop art and op art is? Jennifer: Sure. With pop art, everyone knows Roy Lichtenstein and Warhol. They took popular things or everyday objects like a soup can and made them stylized and put them in the context of fine art as this kind of ridiculous thing. Op art deals with optical properties. A lot of op art is very linear. It kind of tricks your eye. It looks like it's moving, but it's a static image. Funny enough, when I started working with op art, I was actually collecting those optical illusions books for kids. There'd be very few usable images in there, but there'd be a few black and white, scintillating-looking, squiggly-lined spirals or something like that. That sparked my interest in optical art and looking it up outside of the context of those silly books for kids. I found out this is a whole art movement, and there are artists like Richard Anuszkiewicz and Victor Vasarely and Bridget Riley that pioneered this in the 60s, when it really became a thing. I just find it so fascinating. But it's kind of funny that my two art movements that I use a lot in my work are pop and op. Like, who knew? Sharon: Do you ever use any other kind besides those? You say you like Art Deco. I don't know what you'd use for an image, but I guess you could use an Art Deco image. Jennifer: I think with Art Deco I am more inspired by the overall forms of pieces or the shapes. I like the ideas. I like the repetitive nature of Art Deco. They went from Art Nouveau, where it was all crazy and ornate, and then Art Deco kind of simplified things. It was a little more streamlined. I really like that. I think I carry those design principles through my work, not as much the direct visuals. Although if I could find great books with Art Deco prints of patterns or wallpapers or whatever, I'd love to use those. I just haven't quite found the right image sources yet for that. Finding pop art and op art books has been pretty easy for me, and the images are just so striking, so that's why I've gravitated towards those. I'm open to other types of art and other artists. I just haven't moved on yet from the things I am working on. I can only focus on so many things at a time, but I could see myself doing some collections using Rothko paintings or Gerhard Richter with those interesting images, Jackson Pollock with the splashes. Those kinds of things I could see being very interesting within the context of layered acrylic. It just depends on where my book collection takes me. Sharon: So, if we're looking at used books at a used bookstore, we should keep our eyes open for interesting things that could be used as interesting prints. Jennifer: Yeah. I actually buy so many of my books online because physical shops only have so many things, and what I'm looking for is so specific. The art sections are usually kind of small, so I've ended up finding a lot of online retailers. I've gotten pretty good at being able to figure out whether a book is going to be visually interesting based on the online listing. I will even look at the size of the book, if they list dimensions, to give me ideas. If it seems like a good coffee table art book with lots of pictures, that's what I'm trying to find. Something with lots of great images. Sharon: It sounds like people would be very interested in your leftovers. Jennifer: I have a whole shelf of these books that are like little skeletons. You can see the sections where I've really gone to town ripping pages out, and then other sections that are left. There's plenty of things I leave in the book that I think are amazing, but they just aren't going to work for jewelry. Yeah, I've got a lot of skeleton books on my shelf. I keep them. I can't get rid of them. Sharon: I like that, skeleton books. Once again, it's a Herculean task, the whole thing of starting your own business. Would you say that there is somebody that inspired you and keeps inspiring you? Jennifer: I wouldn't say it's a specific person. I think after that initial, tiny show that I did trying to sell my work, I think the most inspiring thing was seeing the other artists and seeing people that were making a living doing their work. I think that's what's really inspiring to me, finally meeting other people that were already doing what I wanted to do and realizing, “Wow, this is a viable career path.” There's not a lot of artists in my family, so no one really had any advice to give me back in the day. They weren't necessarily unsupportive, but they didn't really know how to encourage my art, either. It's been very helpful getting out there and seeing people that are doing things and just being inspired. Different artists and different people inspire me for very different reasons. Some artists, their work is the thing that inspires you, and other artists have such a great work ethic or a really creative way of marketing. I try to keep my eyes and ears open all the time, and I let inspirations muddle around in my brain. And then one day some other thing will trigger an idea. You just never know. I try to always be open. Sharon: I'm surprised; I usually see you at shows where there are a lot of other art jewelers, which is what I categorize you as. I see art jewelers, makers a lot. I'm thinking of New York City Jewelry Week, which is where I saw you once or twice. The last time I saw you, I wasn't able to say hello. I would think you'd be more—well, maybe it's the way I am, but I'd be more envious or competitive seeing all the other art jewelers, as opposed to finding inspiration. Jennifer: I don't know. I don't think of it as a competition in any way. I think it helps me a lot because my work is so different from everyone else's, so there isn't a super direct comparison. I think maybe for some other types of jewelers it might be a little different because there is more of a direct comparison with their aesthetic or their materials. In that respect, there isn't really competition. I used to be a lot more of a competitive person, but as I've gotten older and been in the business long enough and met all different artists, you just see that it's so much more about passion and drive. You can be successful doing just about anything if you're willing to put the work in. I've met so many different people with so many different types of jewelry and art, and they're successful in radically different ways. Even if some other artist is successful in a way that will never work for me, I still love learning about what they're doing. Even if it doesn't directly apply to me, there's something in that lesson, in listening to them and their story that might click something for me in an indirect manner. So, I really do try to be open and inspired by everyone, and I definitely don't see it as competition. I think it's great seeing more and more art jewelers getting work out there, making things that are big and bold and wild and weird materials. The more of it that's out there, the better for all of us, because then the consumer or the client is seeing more of it out in the world. Then when they come across my work, it might not seem as weird or as off putting. They might get it a little bit faster and a little bit easier because of all the other people that came before me and all the people that are alongside me. I think working together as a community, being inspired by each other, helping each other be successful, that can only help all of us. Sharon: Do you think when people first see your art, they don't think of it as jewelry because it doesn't have diamonds or emeralds? Do they think of it as a throw away, in a way? Jennifer: Oh, yeah. I've had the gamut of reactions to my work, and it really depends on the setting it's in as well as how people respond to it. There are definitely people out there that, to them, jewelry is diamonds and gold, and that's fine. I might not be able to change their mind. Other people see the work and, right away, think it looks cool. Maybe they didn't even know it was a bracelet, but they were drawn to it. Then when they find out it's an actual wearable piece, they're even more blown away. You never know what kind of reaction you're going to get from people. I've definitely had to do a lot of educating on my process and the materials because when someone sees a plastic necklace that costs $2,000, they kind of scratch their heads, like, “What is going on here?” And then I tell them all about the process and all the different steps and all the different things that went into it. Sometimes you win people over, and sometimes they're like, “Why bother?” I just try to pay more attention to the people that are won over and interested. If they're not, that's fine. I know my work is not for everyone, and I'm okay with that. Sharon: That's an interesting philosophy. You've given me a different perspective as well on your jewelry. Thank you for being here today, Jennifer. Jennifer: Yes. Thank you so much for having me. It's been a pleasure. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Cyrus Naderpour is a standup comedian from Los Angeles, CA. Topics: takes a village, insomniac with dave attell, bill burr vs philly, tech to comedy, Franklin Marshall III, Louis Lambert Gallery, Gerhard Richter, the Caboose.

In this episode, we dig into Gerhard Richter's lifetime of painting and his incursions in more conceptual works. We visited his first exhibition at David Zwirner, London, where we discovered drawings, paintings, mirror works and much more. Our research led us to his beginnings in Dresden and Düsseldorf, in post war GDR and Western Germany. What is fascinating is how the photographic image is the guiding light in his relation to trauma, to history, to the present but most of all, to painting. Pop Art, Abstract Expressionism, Duchamp, all had an impact on Richter who nevertheless built his own path in the always menaced painting genre throughout the end of the century. Indeed, how many times was painting declared dead in the 20th century?! Too many to count.We kept our relation to Richter's work personal and fluid (Emily even got to do some reading), as there are so many sources out there for further information, amongst which: the catalogue raisonné published in 2022 by Hatjze Cantz; the Richter Interviews published in 2019 by Heni Publishing; and much more, which you can find here: https://gerhard-richter.com/en/literatureInfo about the exhibition:https://www.davidzwirner.com/exhibitions/2024/gerhard-richterYou can also explore Richter's website:https://gerhard-richter.com/en/Music: Sarturn

Deutschland blockiert Abstimmung zum EU-Lieferkettengesetz, Bundeskanzler Scholz zu Besuch bei US-Präsident Biden, Russlands Präsident Putin gibt ultrakonservativem US-Moderator Carlson Interview, Israels Ministerpräsident Netanyahu lässt Angriff auf Rafah im Süden des Gazastreifens vorbereiten, Bundesgerichtshof urteilt über Barrierefreiheit in Mehrfamilienhäusern, Filmfestival Berlinale lädt AfD-Poliker aus, Ausstellungshaus in Auschwitz eröffnet mit "Birkenau"-Zyklus von Gerhard Richter, Das Wetter

Moritz, Alexanderwww.deutschlandfunk.de, Kultur heute

Themen u.a.: Unregelmäßigkeiten bei Corona-Kulturhilfe, Nachruf auf den Bildhauer Carl Andre, Ehrung des Auschwitz-Komittes für Gerhard Richter, Serientipps, Moderation: Claudia Dichter Von WDR 5.

Bundesrat verabschiedet Mandat für neue Verhandlungen mit der EU, Departementswechsel von Elisabeth Baume-Schneider, die aktuelle Lage im Nahen Osten, Gerhard Richter und das Engadin

Es sind die 2000er und der Kunstmarkt boomt! Einer, der damals besonders hoch fliegt, ist der Kunstberater Helge Achenbach. Er war Deutschlands bekanntester und am bester vernetzter Kunstberater, pflegte gute Kontakte zu Künstlern wie Gerhard Richter oder Jeff Koons. Er stattete Banken und Versicherungen, die deutsche High Society und sogar das Teamquartier der Fußballnationalmannschaft mit Kunst aus. Doch die Geschäfte liefen nur scheinbar rund. Deshalb baute Achenbach ein Betrugssystem auf, bei dem es um Millionenbeträge ging. Lenore und Torben erklären, wie dieses komplexe System funktionierte und wie ein enger Mitarbeiter Achenbachs es schließlich zum Einsturz brachte. Torben und Lenore versuchen durch das System durchzusteigen. René Allonge vom LKA Berlin unterstützt die beiden Hosts bei der Frage, wie man im Milieu der Superreichen ermittelt. Außerdem trifft sich Torben auf seiner Spurensuche mit Helge Achenbach persönlich und es wird emotional… Hier könnt ihr direkt den zweiten Teil des spannenden Kunstkrimis um Helge Achenbach hören: https://1.ard.de/kunstverbrechen_achenbach-2 Schreibt uns gerne an: kunstverbrechen@ndr.de Unser Podcast-Tipp in dieser Folge: Sprechen wir über Mord?! https://www.ardaudiothek.de/sendung/sprechen-wir-ueber-mord/72550376/

In Platemark s3e41, host Ann Shafer talks with Susan Tallman, an art historian and essayist who co-founded the journal Art in Print and served as its editor for its entire run, 2011–2019. A regular contributor to New York Review of Books and The Atlantic Monthly, she has authored and co-authored many books, most recently No Plan At All: How the Danish Printshop of Niels Borch Jensen Redefined Artists Prints for the Contemporary World, as well as the new catalogue raisonné of prints by Kerry James Marshall. Ann and Susan talk about the word "original" as an unhelpful term to describe fine art prints, last summer's blockbuster Vermeer exhibition at the Rijksmuseum in Amsterdam, Gerhard Richter's 2020 exhibition at the Metropolitan Museum in New York, and the state of the state of the print world. In the end you'll understand why Susan loves ambiguity in art.  William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum block. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa. Julie Mehretu (American, born Ethiopia, 1970). Treatises on the Executed (from Robin's Intimacy), 2022. 10-panel etching and aquatint from 50 plates. 93 1/2 x 173 1/8 in. (237.5 x 439.7 cm.). Gemini G.E.L., Los Angeles. Edvard Munch (Norwegian, 1863–1944). The Vampire, 1895. color lithograph and woodcut with watercolor [trial proof]. sheet: 38.9 × 55.7 cm (15 5/16 × 21 15/16 in.). National Gallery of Art, Washington, D.C. Susan Tallman. The Contemporary Print from Pre-Pop to Postmodern. London and New York: Thames and Hudson, 1996. Jasper Johns (American, born 1930). Target, 1960. Lithograph. 12 1/16 x 12 3/16 in. (30.7 x 30.9 cm.); sheet: 22 13/16 x 17 13/16 in. (57.9 x 45.2 cm.). Published by ULAE. Museum of Modern Art, NY. Jasper Johns (American, born 1930). Target, 1961. Encaustic and newpaper on canvas. 167.6 × 167.6 cm. (66 × 66 in.). Art Institute of Chicago, Chicago. Susan Tallman. Kerry James Marshall: The Complete Prints. New York: Ludion/D.A.P., 2023. Vermeer. Rijksmuseum, Amsterdam. February 10–June 4, 2023.   Johannes Vermeer (Dutch, 1632–1675). Allegory of the Catholic Faith, c. 1670–72. Oil on canvas. 45 x 35 in. (114.3 x 88.9 cm.). Metropolitan Museum of Art, New York. Johannes Vermeer (Dutch, 1632–1675). Woman with Pearl Necklace, c. 1664. Oil on canvas. 55 × 45 cm. (21 5/8 × 17 3/4 in.). Gemäldegalerie, Staatliche Museen, Berlin. Johannes Vermeer (Dutch, 1632–1675). Woman Holding a Scale, c. 1664. Oil on canvas. 42.5 x 38 cm (16 3/4 x 14 15/16 in.). National Gallery of Art, Washington, D.C. Kouros, c. 530 B.C. Getty Museum, Los Angeles. Calouste Gulbenkian Foundation, Lisbon. Terra Cotta Warriors: Guardians of China's First Emperor. National Geographic Museum, Washington, D.C. November 19, 2009–March 31, 2010. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Oil on canvas. 6.77  × 9.94 m (267  × 391 in.). Louvre Museum, Paris. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Factum Arte digital copy. 6.77  × 9.94 m (267  × 391 in.). San Giorgio Maggiore, Venice. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Anonymous Andean painting hanging in Susan's home. Jan Wierix (Netherlandish, 1549–1615), after Martin de Vos (Netherlandish, 1532-1603). Annunciation, 1549-before 1585. Engraving. Plate: 265 × 197 mm. Rijksmuseum, Amsterdam. Gerhard Richter: The Birkenau Paintings. Met Fifth Avenue. September 5, 2020–January 18 2021. Credit: Charlie Rubin for The New York Times. Stanley William Hayter (British, 1901–1988). Père Lachaise from the portfolio Paysages urbains, 1930. Engraving and drypoint. Sheet: 283 × 381 mm. (11 1/8 × 15 in.); plate: 208 × 268 mm. (8 3/16 × 10 9/16 in.). Baltimore Museum of Art, Baltimore. Edge of Visibility. IPCNY, New York. October 4–December 2018.   USEFUL LINKS Susan's website: https://www.susan-tallman.com/ Art in Print on Jstor: https://www.jstor.org/journal/artprint The Getty's Paper Project: https://www.getty.edu/projects/paper-project/ New York Public Library. The Miriam and Ira D. Wallach Division of Art, Prints, and Photographs. https://www.nypl.org/locations/schwarzman/wallach-division/print-collection Factum Arte: https://www.factum-arte.com/pag/38/a-facsimile-of-the-wedding-at-cana-by-paolo-veronese  

In this live episode, Helen and Benjamin H.D. Buchloh discuss his new book, Gerhard Richter: Painting After the Subject of History. This conversation was recorded in the exhibition Gerhard Richter, on view at David Zwirner through April 29th. Gerhard Richter: Painting After the Subject of History is now available wherever books are sold.