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2 episodes with Sigmar Polke
2 episodes with Sigmar Polke
2 episodes with Sigmar Polke
3 episodes with Sigmar Polke
2 episodes with Sigmar Polke
2 episodes with Sigmar Polke
2 episodes with Sigmar Polke
2 episodes with Sigmar Polke
2 episodes with Sigmar Polke
In this episode of Jo's Art History Podcast, Jo McLaughlin is joined by British artist Neil Morley to discuss the artist Sigmar Polke.Whether you're an art enthusiast, a history buff, or just curious about the stories behind the masterpieces of the past, this episode is packed with fascinating discussions and fresh perspectives.Guest Details:Neil MorleyFind Neil online:Website: https://www.neil-morley.com/Instagram:https://www.instagram.com/neilmorleystudio/?hl=enHost Details:Jo McLaughlin is the creator and host of Jo's Art History Podcast, an art historian, writer, and passionate storyteller dedicated to making art history accessible and engaging for all.Find Jo online:Website: www.josarthistory.comInstagram: @josarthistoryLinkedIn: Jo McLaughlinResources & References:The works we discuss:Higher Powers Command paint the right-hand corner blackModerne KunstPaganiniThis is how you sit correctly (after Goya)Three Lies of PaintingMore on the artist:https://www.davidzwirner.com/artists/sigmar-polkehttps://www.youtube.com/watch?v=0GE30hI8X78https://www.youtube.com/watch?v=3Zq8GcqG2E8Support the Podcast:If you enjoyed this episode, please consider leaving a review and rating on whatever platform you are listening on. Your support helps us reach more art lovers!Follow Jo's Art History Podcast for more episodes on Itunes, Spotify or wherever you listen to podcasts.Let's keep the conversation going! Share your thoughts on social media using #JoArtHistoryPod and tag us @josarthistory.If you would like to purchase a book from my Amazon wish list as a gift to say thank you and support a future episode, please do so here:https://www.amazon.co.uk/hz/wishlist/ls/FZ1XZKILJJCJ?ref_=wl_shareThanks for listening!
durée : 00:27:38 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique, des expositions : "Sigmar Polke, Sous les pavés, la terre" à la Fondation Van Gogh d'Arles et "Anita Molinero - Plastic Butcher" au MAC - Musée d'art contemporain de la ville de Marseille. - réalisation : Laurence Malonda, Marie Plaçais - invités : Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art; Sally Bonn Maître de conférence en esthétique à l'Université Picardie Jules Verne, auteure, critique d'art et commissaire d'exposition.
Polo Ramírez comentó la actualidad. En Figura y Fondo, César Gabler habló sobre la exposición individual de Sigmar Polke, en el Museo del Prado de Madrid. Además, conversó con el Doctor Carlos Fardella, investigador de Thani Biotechnologies, académico de la Pontificia Universidad Católica y director del Centro Traslacional de Endocrinología UC , sobre las características del nuevo fármaco para obesidad y el proceso de investigación.
La venganza, el poder, el deseo... ¿Tienen género y entienden de épocas? La periodista y escritora argentina Pola Oloixarac nos acompaña esta tarde para hablar de todo esto a propósito de 'Bad hombre', su nueva novela. Aquí las mujeres se vengan de hombres de forma injusta, aunque ellos sean, para muchos, "bad hombres", que por cierto es un término que les sonará, porque lo acuño Donald Trump. Después teatro que no busca hacernos mejores, como decías, ni hablar de vencedores o vencidos, pero sí recrear el horror de la Guerra Civil. Es la propuesta de Andrés Lima, en el Centro Dramático Nacional, con '1936', que se ha presentado este mediodía.Además, hablaremos con Ángela Núñez del pintor alemán Sigmar Polke, de su afinidad con Goya, que primero cultivó en el Prado, observando y fotografiando sus pinturas negras, y que después llevó al lienzo. Es la primera vez que sus obras se ven en España y es curioso que lo hagan, además, en el Prado, siendo él un creador del siglo XX.Y terminaremos con Martín Llade y con los últimos compases de Tomás Bretón. Escuchar audio
Spricht man über Kunstfälschungen, so fällt zwangsläufig auch der Begriff des Originals. Mit ihm wird stets auf die Echtheit eines Objekts verwiesen, so dass das Original den natürlichen Gegenpart zur Fälschung bildet. Der Begriff hat sich im Laufe der Jahrhunderte zu einer herausragenden Qualitäts- und Wertkategorie entwickelt. Doch das Original ist nicht leicht zu definieren, da es eine große Grauzone gibt, bei der Fragen mitunter nicht eindeutig geklärt werden können. Muss ein Kunstwerk eigenhändig ausgeführt sein, um als Original zu gelten? Ist ein posthumer Bronzeguss ein Original? Können bildnerische Reproduktionen Originale sein? Kann ein Künstler oder eine Künstlerin eine Fälschung zu einem Original erklären? Solche Fragen werden in dem Vortrag diskutiert und anhand von mitunter skurrilen Beispielen anschaulich gemacht. Der Kunsthistoriker, Kunsttheoretiker und Publizist Hubertus Butin ist als unabhängiger Gutachter weltweit für Museen, Sammler, Kunsthändler, Auktionshäuser und Ermittlungsbehörden tätig. 2020 erschien im Suhrkamp Verlag sein Buch „Kunstfälschung. Das betrügliche Objekt der Begierde“. Den Originalbeitrag und mehr finden Sie bitte hier: https://lisa.gerda-henkel-stiftung.de/kunstundfaelschung_hubertusbutin
Michael Raedecker talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Raedecker, born in Amsterdam in 1963, brings together paint, thread and printed imagery to create canvases pregnant with unsettling and uncanny atmosphere. At the heart of his work is the meeting between humanity and nature and, even though his paintings are mostly unpopulated, the presence of people is always implied through their absence. We see the interiors and exteriors of homes, with lights on, beds ruffled, curtains half-drawn, cars outside; we witness empty loungers beside a swimming pool or an unoccupied lilo floating on its surface. We see landscapes that seem only recently to have been vacated. In still lifes we seem to witness a hastened process of decay. Images become almost hallucinatory through the emphases Michael gives elements of his compositions, with heightened texture or colour or surreal disjunctions. We are thrust into riddles, stories or dreams that are familiar yet otherworldly. He discusses his early encounter with the work of Edward Kienholz, how seeing Luc Tuymans at Documenta in Kassel in 1992 was a turning point in his work, and hear about an encounter with Sigmar Polke at the Stedelijk Museum in Amsterdam. Raedecker reflects on the importance of 1980s New Romantic and Blitz Kids culture to his early life and how music continues to be central to his time in the studio today. We hear about more studio rituals and he answers our usual questions, including the ultimate: what is art for?Michael Raedecker: Material Worlds, Kunstmuseum den Haag, The Hague, The Netherlands, 13 April-28 August; Michael Raedecker, Grimm, Amsterdam, 30 May-20 July Hosted on Acast. See acast.com/privacy for more information.
Mathieu Malouf "I am genuinely trying to make beautiful paintings. Not beautiful by contemporary standards of beauty, but something more atemporal or enduring. My paintings are not anchored in any particular period. I like art that is beautiful, even if that makes no sense in our era. No one discusses whether things are beautiful or not anymore. It's more difficult to paint women than men. I have only painted men—nude men, gay men, famous men. I think men can be more ugly and weird, and it doesn't really matter; they are more forgiving. But painting women is more difficult. I started noticing how intensely omnipresent women were in art, and I thought that I probably have something to learn from that; by trying to paint women, maybe I'll discover why. It is a way for me to learn about something that people have traditionally thought is beautiful. Painting women is a way to address art history itself. The Odalisque as a historical genre intrigues me. This was a woman who was essentially enslaved, but she was always richly adorned and confidently portrayed. She looked empowered to me, like Manet's Olympia. The women in my paintings are not goofy like some of my male subjects tend to be. They are not cynical or sarcastic. Maybe painting beautiful women right now is like a comedian today telling a joke from the 1920s. Penguins have been lingering in my mind for a while. Unlike women, there are not a lot of penguins in art, maybe in a Sigmar Polke. My attraction to them began as a formal one. They are very aesthetically minimal: only three colors and simple shapes. They are crisp and uncomplicated. My painted penguins are materially simple, they are loose and flat, painted in acrylic–unlike the women, who are painted in oil and highly modeled. These two subjects are hard to paint at once, as they occupy different parts of the brain. Maybe there is an allegory there." - Mathieu Malouf Malouf lives and works in New York. He has been featured in exhibitions at institutions such as Swiss Institute, New York (2018); Le Consortium, Dijon (2018); LUMA Foundation, Zürich (2017); Artists Space, New York (2017); Stavanger Art Museum (2014); Kunsthalle Lüneburg, (2014); and SculptureCenter, New York (2012). Work by the artist is included in museum collections worldwide, including the Astrup Fearnley Museum of Modern Art, Oslo; Hirshhorn Museum and Sculpture Garden, Washington, DC; and Whitney Museum of American Art, New York. Mathieu Malouf, Untitled, 2023-24 Acrylic and ceramic plates on canvas 86 x 92 inches (218.44 x 233.68 cm) Mathieu Malouf, The Writer, 2023-24 Oil and ceramic plates on canvas 60 x 70 inches (152.4 x 177.8 cm) Mathieu Malouf, The Legionnaire, 2023-24 Oil and acrylic on canvas, artist's frame 35 x 29.5 x 2.5 inches (88.9 x 74.93 x 6.35 cm)
Polish artist Wilhelm Sasnal talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Sasnal, born in 1972 in Tarnów, Poland, has made one of the most significant contributions to painting in the 21st century. He works with photographic imagery, drawn from an array of sources including newspapers, film, music videos, album covers, graphic novels, historic art and, crucially, his own photographs, including those taken on his smartphone, of his family. He also makes films, both in collaboration with his wife Anka and on his own. The result is a body of work that engages profoundly with contemporary life and the saturation of images that accompanies it. He discusses his array of source images and the process of choosing and using them, and how he has balanced the public and private across his career. He talks about risk-taking and allowing the paint to dictate the path of a picture. He reflects on how music was the spur for his discovery of art, and how it continues to be central to his work today. He talks about artists as diverse as Degas, Seurat, Sigmar Polke and Wolfgang Tillmans. And he answers our usual questions, including the ultimate: “What is art for?”Wilhelm Sasnal, Sadie Coles HQ, Kingly St, London, until 16 March; Stedelijk Museum, Amsterdam, 30 March-1 September; Wilhelm's film The Assistant will be screened later in 2024. Hosted on Acast. See acast.com/privacy for more information.
heute u.a. Kritik an Israel-Statements: Autorin Regula Venske tritt bei PEN International zurück; "Höhere Wesen befehlen": Sigmar Polke im Museum Morsbroich; "Das Gedächtnis der Töchter": Roman von Irene Langemann über das Schicksal der Russlanddeutschen; Gedicht. "Die Vögel singen im Regen am schönsten" von Sarah Kirsch; Krimitipps: "Groll" von Gianrico Carofilio und "Hildur - die Spur im Fjord" von Satu Rämo. Moderation: Claudia Dichter. Von Claudia Dichter.
Als Daniel von Schacky neun Jahre alt war, gab sein Stiefvater ihm 500 DM; die waren allein für den Erwerb von Kunst bestimmt. Was von Schacky sich davon kaufte, weiß er heute gar nicht mehr so genau. Aber das Ziel war trotzdem erreicht, der Funke in ihm war gezündet. Er entwickelte eine besondere Vorliebe für Gerhard Richter, Sigmar Polke, Robert Rauschenberg sowie die Klassische Moderne, ging für zehn Jahre in die USA, arbeitete als Galerist, Auktionator und Kunstberater. Bis irgendwann erneut sein Vater auf ihn zukam. Bei dem handelt es sich nämlich um den Grisebach-Gründer Bernd Schultz. Und der machte nun den Weg frei für Daniel von Schacky als seinen Nachfolger. Gemeinsam mit Diandra Donecker hat von Schacky in diesem noch jungen Jahr die Grisebach-Leitung übernommen. Was die beiden im Duo vorhaben und wie sie sich die Zukunft von Grisebach vorstellen, erzählt er uns jetzt, in der 58. Folge von Die Sucht zu SEHEN. Wir sagen herzlich willkommen, lieber Daniel von Schacky!
Vom Friseurweltmeister zum Maler und Sammler – dieses Gespräch sollte man sich nicht entgehen lassen! Alexander Giese trifft den vielseitig künstlerisch tätigen Gernot Schauer. Dieser gibt Einblicke in seinen persönlichen Werdegang, erzählt von seinen Freundschaften mit Künstlern wie Sigmar Polke oder Franz West und gibt Tipps für Sammler*innen. Und nicht zuletzt verrät er, wieso man für das Sammeln seiner Meinung nach sowieso ein wenig verrückt sein muss. Kontakt: redaktion@gieseundschweiger.at Website: https://www.gieseundschweiger.at/de/ Redaktion: Fabienne Pohl, Lara Bandion; Musik: Matthias Jakisic; Sprecherin: Sarah Scherer; Grafische Gestaltung: Studio Riebenbauer
In this London 2022 Winter auction preview, we speak to Helen Newman at Sotheby's, who will tell us about their $60 million Magritte, half a dozen Monets, a Picasso and a Van Gogh. Katharine Arnold at Christie's will discuss their late Francis Bacon triptych, a portrait by Lucian Freud, as well as a Bridget Riley work held by the same family for 57 years. Giovanna Bertazzoni tells us about Christie's restituted Franz Marc painting and their surrealist Picasso. Finally, Cheyenne Westphal goes through the long list of breakout artists—like Lauren Quin, Doron Langberg, Jadé Fadojutimi, and Emily Mae Smith—at Phillips and others whose markets continue to roll on. But she also takes a moment to discuss a rare, unseen work of Sigmar Polke coming from the well-known collection of Emily and Jerry Spiegel.
Richard Flood serves on the International Leadership Council and Ideas City Initiative at the New Museum. For nine years, he was the museum's Director of Special Projects and Curator at Large, and from 2005 to 2010, he served as Chief Curator. Prior to this, he was Chief Curator and Deputy Director at the Walker Art Center. He has curated notable exhibitions of the work of Rivane Neuenschwander, Sigmar Polke, and other artists. Flood previously served as the director of Barbara Gladstone Gallery, curator at P.S. 1, and Managing Editor of Artforum. He has taught at the Rhode Island Institute of Art and Design, The Royal College of Art in London, and the National College of Art and Design in Dublin. His writing has appeared frequently in Artforum, Parkett, and Frieze. www.newmuseum.org · www.creativeprocess.info
Richard Flood serves on the International Leadership Council and Ideas City Initiative at the New Museum. For nine years, he was the museum's Director of Special Projects and Curator at Large, and from 2005 to 2010, he served as Chief Curator. Prior to this, he was Chief Curator and Deputy Director at the Walker Art Center. He has curated notable exhibitions of the work of Rivane Neuenschwander, Sigmar Polke, and other artists. Flood previously served as the director of Barbara Gladstone Gallery, curator at P.S. 1, and Managing Editor of Artforum. He has taught at the Rhode Island Institute of Art and Design, The Royal College of Art in London, and the National College of Art and Design in Dublin. His writing has appeared frequently in Artforum, Parkett, and Frieze. · www.newmuseum.org · www.creativeprocess.info
We discussed: - the need to constantly evolve - changes in the photo industry over his career - Making a book - The value of working collaboratively - The importance of light - Print trades - Inspiration - archival materials - storage of old negatives People + Places mentioned: - Harry Benson - https://harrybenson.com - Carol LeFlufy (his agent) - https://eye-forward.com - David Bowie - https://www.davidbowie.com - Black Eye Gallery - https://blackeyegallery.com.au - The Icon - https://www.iconla.com - Film Solutions - https://www.filmsolutions.com - Palm Springs Photo Festival - https://review.palmspringsphotofestival.com - Fotografiska - https://www.fotografiska.com/sto - Teneues - https://books-teneues.com - Beth Middleworth - http://www.bats4bones.com - Milton H. Greene - https://www.morrisonhotelgallery.com/photographers/Qyj2uu/Milton-H-Greene - Len Irish - https://www.lenirish.com - Robert Longo - https://www.robertlongo.com - Cindy Sherman - https://www.instagram.com/cindysherman - Clay Patrick McBride - http://www.claypatrickmcbride.com - Tate Modern - https://www.tate.org.uk/visit/tate-moderm - Anselm Kiefer - https://gagosian.com/artists/anselm-kiefer/ - Richard Serra - https://gagosian.com/artists/richard-serra/ - Cy Twombly Gallery - https://www.menil.org/visit/campus/cy-twombly-gallery - Gregory Heisler - https://gregoryheisler.com - Beckett Ockenfels - https://www.instagram.com/beckett.ockenfels - Diane Wiedenmann - https://www.dianewiedenmann.com - David Frawley - https://www.instagram.com/davidfrawleyphoto - Sigmar Polke - https://www.davidzwirner.com/artists/sigmar-polke/survey - Deborah Turbeville - https://aperture.org/editorial/deborah-turbeville-collages/ - Jock Sturges - https://paulcava.com/jock-sturges - Shelby Dimond - https://www.shelbiedimond.com https://fwo3.com Audio engineering by Mickey at CushAudio Services Music by Peat Biby Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no
We discussed: - the need to constantly evolve - changes in the photo industry over his career - Making a book - The value of working collaboratively - The importance of light - Print trades - Inspiration - archival materials - storage of old negatives People + Places mentioned: - Harry Benson - https://harrybenson.com - Carol LeFlufy (his agent) - https://eye-forward.com - David Bowie - https://www.davidbowie.com - Black Eye Gallery - https://blackeyegallery.com.au - The Icon - https://www.iconla.com - Film Solutions - https://www.filmsolutions.com - Palm Springs Photo Festival - https://review.palmspringsphotofestival.com - Fotografiska - https://www.fotografiska.com/sto - Teneues - https://books-teneues.com - Beth Middleworth - http://www.bats4bones.com - Milton H. Greene - https://www.morrisonhotelgallery.com/photographers/Qyj2uu/Milton-H-Greene - Len Irish - https://www.lenirish.com - Robert Longo - https://www.robertlongo.com - Cindy Sherman - https://www.instagram.com/cindysherman - Clay Patrick McBride - http://www.claypatrickmcbride.com - Tate Modern - https://www.tate.org.uk/visit/tate-moderm - Anselm Kiefer - https://gagosian.com/artists/anselm-kiefer/ - Richard Serra - https://gagosian.com/artists/richard-serra/ - Cy Twombly Gallery - https://www.menil.org/visit/campus/cy-twombly-gallery - Gregory Heisler - https://gregoryheisler.com - Beckett Ockenfels - https://www.instagram.com/beckett.ockenfels - Diane Wiedenmann - https://www.dianewiedenmann.com - David Frawley - https://www.instagram.com/davidfrawleyphoto - Sigmar Polke - https://www.davidzwirner.com/artists/sigmar-polke/survey - Deborah Turbeville - https://aperture.org/editorial/deborah-turbeville-collages/ - Jock Sturges - https://paulcava.com/jock-sturges - Shelby Dimond - https://www.shelbiedimond.com https://fwo3.com Audio engineering by Mickey at CushAudio Services Music by Peat Biby Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no
Trauriger Widder, kunstvoller Regenschirm - das Vorarlberger Landestheater nimmt morgen sein Stück "Wir reden über Polke, das sieht man doch!" wieder auf. (OT: Gerhard Meister, Autor; Anna Polke, Tochter von Sigmar Polke; Red: Ingrid Bertel)//Mit Zinken und Posaunen, Pauken und Trompeten - das Concerto Stella Matutina präsentierte die Missa Bruxellensis. (OT: Martina Gmeinder, Sängerin; Johannes Hiemetsberger, musikalischer Leiter; Red: Ingrid Bertel)//Lass uns offen reden: Autor Andreas Wassner beschreibt in seinem neuen, autobiographischen Buch wie uns Krisen zu glücklichen Menschen machen (OT: Andreas Wassner, Autor; Red.: Ines Hergovits-Gasser)//Moderation: Annette Raschner//
Unser Gast heute ist Clemenvia Labin, eine venezoelanische Künstlerin, die schon lange in Hamburg lebt und in der hiesigen Künstlerszene bekannt ist. Ihr Studium absolvierte sie an der Hochschule für Bildende Künste Hamburg (HfBK) bei Kai Sudeck, Franz Erhard Walther und Sigmar Polke. Ihr Weg zu ihrer künstlerischen Ausbildung war nicht geradlinig: sie hat an der Colombia University in New York Wirtschaft und Anthropolgie studiert und während dieser Zeit ihren Mann aus Hamburg kennengelernt. Über die Liebe ist sie nach Hamburg gekommen und hat erstmals der neuen Sprache und Kultur und anschliessend den Kindern ihre Zeit gewidmet, bevor sie der Kunst voll und ganz nachgehen konnte.Clemencia Labin erzählt mit viel Leidenschaft über ihre künstlerische Entwicklung, was sie bewegt und geprägt hat. Ihre Einflüsse sind ihre Wurzeln, ihre Heimat, die Menschen, der Austausch und die vielen Begegnungen mit anderen Künstlern. Ihre Bilder drücken dies alles aus und einen Teil davon können Sie aiuf unserer Webseite sehen, während Sie diesem interessanten Podcast lauschen.
heute u.a. Prachtband zum Abschluss von Herlinde Koelbls Merkel-Portraitstudie; Herlinde Koelbls Merkel-Portraitstudie; Serien-Tipp: "Glauben" nach Ferdinand von Schirach; "Bildstörung": Sigmar Polke inspiriert in Düsseldorf; Service Netzkultur: El Cuco Projekt auf Instagram; Moderationb: Sebastian Wellendorf.
Die Memoiren der Medusa - Pinar Karabulut bringt das neue Stück der Dramatikern Sivan Ben Yishais "Like Lovers Do" an den Münchner Kammerspielen zur Uraufführung. Plastik für die Ewigkeit - Restaurator Tim Bechthold von der Pinakothek der Moderne berichtet über die konservatorischen Herausforderungen bei Kunststoffen. Und: Retrospektive mit Raster-Bildern - Das Kunstforum Ostdeutsche Galerie Regensburg zeigt die Ausstellung "Sigmar Polke. Dualismen”.
Dalla mescalina di Aldous Huxley al piscio di renna lisergico di Carsten Holler, l'arte contemporanea è stata profondamente affascinata dalla psichedelia. In questa puntata, che chiude la seconda stagione di ArteFatti, Costantino e Francesco ci parlano di come una caduta abbia spinto Patti Smith alla conversione, dell'inatteso legame tra la Heidi dei cartoni animati e gli incubi di Mike Kelley, di come i Velvet Underground siano figli di uno dei più visionari organisti del Novecento e di come acidi e funghetti abbiano ispirato tanti grandi artisti o li abbiano aiutati a sciogliersi un po'. ArteFatti si prende una piccola vacanza e vi augura un bellissimo trip.In questa puntata si parla di Aldous Huxley, Jeremy Shaw, Carsten Holler, Eleonora Brigliadori, Dan Graham, Patti Smith, Olivier Messaien, Alex Ross, Velvet Underground & Nico, Lou Reed, Laurie Anderson, Andy Warhol, Frank Zappa, The Mothers of Invention, Jim Morrison, Jack Nicholson, Julie Christie, Dennis Hopper, 13th Floor Elevators, Roky Erickson, Luke Fowler, Ken Russell, R.D. Laing, Neil Campbell, Vibracathedral Orchestra, Astral Social Club, Mike Kelley, Paul McCarthy, Heidi, Hieronymus Bosch, Pieter Bruegel il Vecchio, Tadanori Yokoo, Marta Marzotto, Miles Davis, Sun Ra, Sigmar Polke, Gerhard Richter e Julian Schnabel.
Gast: Martijn van Nieuwenhuyzen, directeur en hoofdconservator De Pont Museum. Voorafgaand aan de heropening van de musea sprak Robert van Altena met Martijn van Nieuwenhuyzen over de tentoonstelling 'Sigmar Polke. Das kann doch kein Motiv sein' in musem De Pont. In deze tentoonstelling worden de edities uit de collectie Kunstraum am Limes getoond in relatie met de vier monumentale Hermes Trismegistos-schilderijen van Polke uit de collectie van De Pont (te zien t/m 5 september 2021). SPRINGVOSSEN redactie + presentatie: Robert van Altena contact: springvossen@gmail.com INSTAGRAM www.instagram.com/springvossen FACEBOOK www.facebook.com/springvossen HOMEPAGE www.amsterdamfm.nl/springvossen Foto: Sigmar Polke ‘Hermes Trismegistos I-IV' (1995) collectie De Pont museum Tilburg (foto Peter Cox).
Wir sind zu Besuch in der Anna-Polke-Stiftung und lauschen gebannt Nelly Gawellek, wie sie uns mit Herz, Humor und Hintergrundwissen viel über den Befehl höherer Wesen, Kartoffeln und den realistischen Kapitalismus erzählt.
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. Eine halbe Stunde schauen sich die beiden ein Gemälde, eine Fotografie oder eine Skulptur an und reden darüber: „Ein Gespräch ist die beste Möglichkeit, Kunst zu erschließen“, sagt Alexander Klar. Diesmal geht es um Stück deutsche Geschichte, die das Bild „Flucht Schwarz – Rot – Gold“ von Sigmar Polke erzählt. Das ist praktisch die künstlerische Umsetzung des berühmten Fotos, auf dem man einen DDR-Grenzsoldaten sieht, der 1961 kurz vor dem Mauerbau über Stacheldraht in den Westen springt. „Das Bild hat übrigens Peter Leibing gemacht, ein Fotograf des Hamburger Abendblatts“, erzählt Lars Haider, der zunächst auf dem entsprechenden Gemälde wenige Ähnlichkeiten mit der Realität entdeckt. Im Gegenteil: „Der Soldat sieht aus wie ein Yeti, der gerade mit einem Skateboard eine Rampe hochfährt“, sagt Alexander Klar. Aber auch das hat natürlich einen Sinn…
Grant Foster and I pick up where we left off, discussing connections between his work and J G Ballard's 1970 novel 'The Atrocity Exhibition'. Considering Ballard often referred to parallels with painters, it seems natural that an artist might return the gesture, drawing on this author to feed his own practice. In this episode, Grant talks about eternal life, use of the motif and painting as a sequence of gestures where reality is founded in the ideas which follow the forms.(Mixed Tapes is an introductory series recorded in lockdown with variations in audio quality.) Notes and Links: GRANT FOSTER - grantfoster.org (website) - foster_grant (instagram) - tintypegallery.com/artists/grant-foster (gallery) BOOKS / TEXT - 'Ambit' magazine - 'The Cradle of Humanity: How the Changing Landscape of Africa Made us so Smart' by Daniel Lieberman - 'The Picture of Dorian Gray' by Oscar Wilde - 'The Yellow Wallpaper' by Charlotte Perkins Gilman - 'Apollo' magazine, article by Simon Grant - 'Thoughts on Doom' by Eleanor Hartney of AICA (aicainternational.com) - 'The Brothers Karamazov' by Fyodor Dostoevsky - 'Pattern Recognition' by William Gibson GALLERIES - Lychee One ('I'm not being Funny' solo exhibition, 2019) - Transition Gallery ('A Stone in the Mountain' with Georgia Hayes, 2018) - Tintype Gallery ('Ground Figure Sky' solo exhibition, 2017) PODCASTS - 'Weird Studies' with Phil Ford and J F Martel - 'Extinction Rebellion and the End of the World' hosted by Rana Mitter on 'BBC Arts & Ideas' ARTISTS - Georgia Hayes b. 1946, Sigmar Polke 1941-2010, Andy Warhol 1928-1987, Max Ernst 1891-1976, Marcelle Duchamp 1887-1968, Francis Picabia 1879-1953, George Grosz 1893-1959, J W Turner 1775-1851, Albrecht Dürer 1471-1528
Grant Foster selects 'The Atrocity Exhibition' by J G Ballard, first published by Jonathan Cape UK, 1970. Both artist and writer embrace in equal measure the freedom, fear and disappointment that results from the individual being a fragmented composition, vulnerable to manipulation and capable of dynamic reconfiguration. In hope and despair, Grant points out that there is the possibility that 'true form' can be found 'beneath the lie; beneath the sludge'. We discuss in detail, works from his exhibitions at Tintype, Lychee One and Transition Galleries, as well as the ideas, concerns and formal observations which shape his paintings.(Mixed Tapes is an introductory series recorded in lockdown with variations in audio quality.) Notes and Links: GRANT FOSTER - grantfoster.org (website) - foster_grant (instagram) - tintypegallery.com/artists/grant-foster (gallery) BOOKS / TEXT - 'Ambit' magazine - 'The Cradle of Humanity: How the Changing Landscape of Africa Made us so Smart' by Daniel Lieberman - 'The Picture of Dorian Gray' by Oscar Wilde - 'The Yellow Wallpaper' by Charlotte Perkins Gilman - 'Apollo' magazine, article by Simon Grant - 'Thoughts on Doom' by Eleanor Hartney of AICA (aicainternational.com) - 'The Brothers Karamazov' by Fyodor Dostoevsky - 'Pattern Recognition' by William Gibson GALLERIES - Lychee One ('I'm not being Funny' solo exhibition, 2019) - Transition Gallery ('A Stone in the Mountain' with Georgia Hayes, 2018) - Tintype Gallery ('Ground Figure Sky' solo exhibition, 2017) PODCASTS - 'Weird Studies' with Phil Ford and J F Martel - 'Extinction Rebellion and the End of the World' hosted by Rana Mitter on 'BBC Arts & Ideas' ARTISTS - Georgia Hayes b. 1946, Sigmar Polke 1941-2010, Andy Warhol 1928-1987, Max Ernst 1891-1976, Marcelle Duchamp 1887-1968, Francis Picabia 1879-1953, George Grosz 1893-1959, J W Turner 1775-1851, Albrecht Dürer 1471-1528
Episode Notes One of the best Sigmar Polke works you'll ever see! Find out more at https://three-minute-modernist.pinecast.co
Autor: Oelze, Sabine Sendung: Echtzeit Hören bis: 19.01.2038 04:14
Mary Dinaburg has over 30 years of art industry experience, with extensive knowledge of the Asian art market. She is the founder of DinaburgArts LLC, providing curatorial advice and consultation for galleries, museums, institutions, and corporations, with a focus on business development and cultural branding. Her expertise also includes acquisition and de-accession of Post-Impressionist and Modern masters as well as established and emerging international Contemporary artists. Having recently returned to New York, Mary is now involved in a variety of projects both in the United States and abroad. During the 1980s, Mary served as the director of Jack Shainman Gallery. In 1993, she founded the art agency, DinaburgArts, where she not only continued her work in exhibitions and sales but also deepened her involvement in acquisitions and de-accessions. DinaburgArts was one of the first agencies to bring fine art to the fashion industry. This started with Saks Fifth Avenue when Mary developed the “Saks Project Art” program, making contemporary art an integral part of the corporation's identity and branding. Since then, DinaburgArts has worked with other brands like Hermès, and Firmenich. Additionally, Mary has consulted the Kirov Theatre in St Petersburg Russia on their cultural marketing; worked with CEC-Artslink on marketing strategies for nonprofit organizations; instituted a corporate art collection at 14 Wall Street; provided management consulting to Maison Gerard; and for three years curated Gallery W52. Mary also served as advisor and curator to the international law firm, Clifford Chance; establishing a comprehensive curatorial program intended to motivate both employees and clients, as well as broaden the firm’s cultural branding. This was achieved through revolving exhibitions, an acquisitions program, educational lectures, tours, events, and the law firm’s three-year sponsorship of The Armory Show. From 2000 onwards, Mary expanded her services into the Asian art market. Focusing her attention in South Korea and China (Shanghai, Nanjing, Beijing, and Hong Kong), Mary connected major international art galleries and artists - including Michael Werner, Sperone Westwater, Julian Schnabel, Sigmar Polke and William Wegman - with key collectors in Asia. From 2006 to 2016, Mary partnered with Howard Rutkowski to create Fortune Cookie Projects. The company played two cross-cultural roles: introducing major international artists - spanning from Impressionism and Modernism through Contemporary practitioners - to the Asian market and to bringing established and emerging artists from the Asiatic region to the West. Fortune Cookie Projects also worked with the Royal Academy of Arts (London) to establish the Encounter exhibitions in Asia and the Middle East. DinaburgArts continues to have an active presence in Asia and Europe, and having recently relocated to New York, Mary is currently working on a number of US based projects.
Richard Flood serves on the International Leadership Council and Ideas City Initiative at the New Museum. For nine years, he was the museum's Director of Special Projects and Curator at Large, and from 2005 to 2010, he served as Chief Curator. Prior to this, he was Chief Curator and Deputy Director at the Walker Art Center. He has curated notable exhibitions of the work of Rivane Neuenschwander, Sigmar Polke, and other artists. Flood previously served as the director of Barbara Gladstone Gallery, curator at P.S. 1, and Managing Editor of Artforum. He has taught at the Rhode Island Institute of Art and Design, The Royal College of Art in London, and the National College of Art and Design in Dublin. His writing has appeared frequently in Artforum, Parkett, and Frieze. www.newmuseum.org · www.creativeprocess.info
Richard Flood serves on the International Leadership Council and Ideas City Initiative at the New Museum. For nine years, he was the museum's Director of Special Projects and Curator at Large, and from 2005 to 2010, he served as Chief Curator. Prior to this, he was Chief Curator and Deputy Director at the Walker Art Center. He has curated notable exhibitions of the work of Rivane Neuenschwander, Sigmar Polke, and other artists. Flood previously served as the director of Barbara Gladstone Gallery, curator at P.S. 1, and Managing Editor of Artforum. He has taught at the Rhode Island Institute of Art and Design, The Royal College of Art in London, and the National College of Art and Design in Dublin. His writing has appeared frequently in Artforum, Parkett, and Frieze. www.newmuseum.org · www.creativeprocess.info
Zanger en componist Blaudzun maakt een soundtrack voor de nieuwe expositie ‘Polke vs Blaudzun, muziek van onbekende herkomst’, in het Cobra Museum in Amstelveen. Hij componeerde en produceerde audio voor negen werken van de overleden Duitse kunstenaar Sigmar Polke. Daardoor zijn ze in 3D audio te ervaren. Presentatie: Elisabeth van Nimwegen
La mi-temps c'est un condensé de l'actu photo à retrouver tous les mois avec notre journaliste Manon Michel. Notre mail pour nous envoyer vos actus : contact@visionspodcast.fr Expositions Raghu Rai, Voyages dans l'instant - Académie des Beaux-Arts https://www.offi.fr/expositions-musees/academie-des-beaux-arts-salle-comtesse-de-caen-4680/raghu-rai-voyages-dans-linstant-76859.html André Kertész, Marcher dans l'image - Maison Robert Doisneau https://www.offi.fr/expositions-musees/maison-robert-doisneau-3658/andre-kertesz-marcher-dans-limage-76645.html Tommaso Protti, Amazônia - MEP https://www.offi.fr/expositions-musees/maison-europeenne-de-la-photographie-2699/tommaso-protti-amazonia-76937.html Les infamies photographiques de Sigmar Polke, Le Bal http://www.le-bal.fr/2019/06/les-infamies-photographiques-de-sigmar-polke Livres "Human Interest Stories", Stephen Dock. "Traversée", Clément Chapillon. "BKK", Yan Morvan. Actus LesRencontres photographiques de Bamakoouvraient leur porte dans la capitale du Mali. Et cette année, alors que la Biennale fête ses 25 ans, les femmes sont à l’honneur. Cinq photographes ont porté plainte contre le gouvernement américain, qui porterait atteinte à la liberté de la presse,à la frontière mexicaine. “Down with Disney”, un projet photo devenu viral autour de la beauté des enfants atteints de trisomie 21.
Founded by art consultant Mary Dinaburg, critic Saul Ostrow, art historian Kathy Battista and financial planner Bryan Faller, Art Legacy Planning brings together a multiplicity of art world expertise to offer a much needed and unique organization. Our expertise, tacit knowledge and our active participation allows us to observe, analyze prescribe and facilitate the necessary course of action for our clients. Mary Dinaburg brings to ALP four decades of experience in the art world. From setting up galleries and private advising to exhibitions and projects with major museums and corporations. She has worked all over the globe, with extensive experience in Asia. She has experience working with pre-eminent artists including, among many others, Julian Schnabel, Isa Genzken, Sigmar Polke, and William Wegman.
durée : 01:00:00 - Les Petits matins - Bernard Marcadé vous parle de l'exposition "Les infamies photographiques de Sigmar Polke", et Barbara Loyer du poids de la "question territoriale" sur la crise politique en Espagne. Les chroniques s'intéressent à la psychiatrie et à la PMA. - réalisation : Mydia Portis-Guérin - invités : Bernard Marcadé Historien de l’art et professeur d'esthétique et d'histoire de l'art, critique d'art, commissaire d'expositions; Barbara Loyer politologue spécialiste de l'Espagne et enseignante et chercheure en géopolitique à l'Université de Paris-VIII
durée : 00:27:01 - Le Réveil culturel - par : Tewfik Hakem - Rencontre avec Bernard Marcadé,commissaire de l'exposition "Les infamies photographiques de Sigmar Polke", au BAL, à Paris - réalisation : Vincent Abouchar - invités : Bernard Marcadé Historien de l’art et professeur d'esthétique et d'histoire de l'art, critique d'art, commissaire d'expositions
durée : 00:27:01 - Le Réveil culturel - par : Tewfik Hakem - Rencontre avec Bernard Marcadé,commissaire de l'exposition "Les infamies photographiques de Sigmar Polke", au BAL, à Paris - réalisation : Vincent Abouchar - invités : Bernard Marcadé Historien de l’art et professeur d'esthétique et d'histoire de l'art, critique d'art, commissaire d'expositions
Richard Flood serves on the International Leadership Council and Ideas City Initiative at the New Museum. For nine years, he was the museum's Director of Special Projects and Curator at Large, and from 2005 to 2010, he served as Chief Curator. Prior to this, he was Chief Curator and Deputy Director at the Walker Art Center. He has curated notable exhibitions of the work of Rivane Neuenschwander, Sigmar Polke, and other artists. Flood previously served as the director of Barbara Gladstone Gallery, curator at P.S. 1, and Managing Editor of Artforum. He has taught at the Rhode Island Institute of Art and Design, The Royal College of Art in London, and the National College of Art and Design in Dublin. His writing has appeared frequently in Artforum, Parkett, and Frieze. · www.newmuseum.org · www.creativeprocess.info
The Creative Process · Seasons 1 2 3 · Arts, Culture & Society
Richard Flood serves on the International Leadership Council and Ideas City Initiative at the New Museum. For nine years, he was the museum's Director of Special Projects and Curator at Large, and from 2005 to 2010, he served as Chief Curator. Prior to this, he was Chief Curator and Deputy Director at the Walker Art Center. He has curated notable exhibitions of the work of Rivane Neuenschwander, Sigmar Polke, and other artists. Flood previously served as the director of Barbara Gladstone Gallery, curator at P.S. 1, and Managing Editor of Artforum. He has taught at the Rhode Island Institute of Art and Design, The Royal College of Art in London, and the National College of Art and Design in Dublin. His writing has appeared frequently in Artforum, Parkett, and Frieze. www.newmuseum.org · www.creativeprocess.info
Rabbits and Hares in Art Hello Listener! Thank you for listening. If you would like to support the podcast, and keep the lights on, you can support us whenever you use Amazon through the link below: It will not cost you anything extra, and I can not see who purchased what. Or you can become a Fluffle Supporter by donating through Patreon.com at the link below: Patreon/Hare of the Rabbit What's this Patreon? Patreon is an established online platform that allows fans to provide regular financial support to creators. Patreon was created by a musician who needed a easy way for fans to support his band. What do you need? Please support Hare of the Rabbit Podcast financially by becoming a Patron. Patrons agree to a regular contribution, starting at $1 per episode. Patreon.com takes a token amount as a small processing fee, but most of your money will go directly towards supporting the Hare of the Rabbit Podcast. You can change or stop your payments at any time. You can also support by donating through PayPal.com at the link below: Hare of the Rabbit PayPal Thank you for your support, Jeff Hittinger. Rabbits and hares are common motifs in the visual arts, with variable mythological and artistic meanings in different cultures. The rabbit as well as the hare have been associated with moon deities and may signify rebirth or resurrection. They may also be symbols of fertility or sensuality, and they appear in depictions of hunting and spring scenes in the Labours of the Months. Humans have depicted rabbits and hares for thousands of years. Rabbit-like creatures feature in 7,500-year-old rock paintings found in Baja California; they are also prevalent in ancient Egyptian paintings and are often found on Grecian urns. Many Prints, Drawings and Painting Collections contains an array of images of rabbits and hares covering many of these creatures’ natural personality traits and representing much of the symbolism that these traits have inspired throughout the history of art. Rabbits have paradoxically been used as both symbols of sexuality and virginal purity. They have been a sex symbol since antiquity. In ancient Rome rabbits were frequently depicted as the animal of Venus. Conversely the rabbit was used by artists of the Middle Ages and Renaissance as a symbol of sexual purity and was often depicted alongside the Madonna and Child. Antiquity In antiquity, the hare, because it was prized as a hunting quarry, was seen as the epitome of the hunted creature that could survive only by prolific breeding. Herodotus, Aristotle, Pliny and Claudius Aelianus all described the rabbit as one of the most fertile of animals. It thus became a symbol of vitality, sexual desire and fertility. The hare served as an attribute of Aphrodite and as a gift between lovers. In late antiquity it was used as a symbol of good luck and in connection with ancient burial traditions. Judaism In Judaism, the rabbit is considered an unclean animal, because "though it chews the cud, does not have a divided hoof." This led to derogatory statements in the Christian art of the Middle Ages, and to an ambiguous interpretation of the rabbit's symbolism. The "shafan" in Hebrew has symbolic meaning. Although rabbits were a non-kosher animal in the Bible, positive symbolic connotations were sometimes noted, as for lions and eagles. 16th century German scholar Rabbi Yosef Hayim Yerushalmi, saw the rabbits as a symbol of the Diaspora. In any case, a three hares motif was a prominent part of many Synagogues. Christian art In Early Christian art, hares appeared on reliefs, epitaphs, icons and oil lamps although their significance is not always clear. The Physiologus, an inexhaustible resource for medieval artists, states that when in danger the rabbit seeks safety by climbing high up rocky cliffs, but when running back down, because of its short front legs, it is quickly caught by its predators. Likewise, according to the teaching of St. Basil, men should seek his salvation in the rock of Christ, rather than descending to seek worldly things and falling into the hands of the devil. The negative view of the rabbit as an unclean animal, which derived from the Old Testament, always remained present for medieval artists and their patrons. Thus the rabbit can have a negative connotation of unbridled sexuality and lust or a positive meaning as a symbol of the steep path to salvation. Whether a representation of a hare in Medieval art represents man falling to his doom or striving for his eternal salvation is therefore open to interpretation, depending on context. The three hares at Paderborn Cathedral The Hasenfenster (hare windows) in Paderborn Cathedral and in the Muotathal Monastery in Switzerland, in which three hares are depicted with only three ears between them, forming a triangle, can be seen as a symbol of the Trinity, and probably go back to an old symbol for the passage of time. The three hares shown in Albrecht Dürer's woodcut, The Holy Family with the Three Hares (1497), can also be seen as a symbol of the Trinity. The idea of rabbits as a symbol of vitality, rebirth and resurrection derives from antiquity. This explains their role in connection with Easter, the resurrection of Christ. The unusual presentation in Christian iconography of a Madonna with the Infant Jesus playing with a white rabbit in Titian's Parisian painting, can thus be interpreted christologically. Together with the basket of bread and wine, a symbol of the sacrificial death of Christ, the picture may be interpreted as the resurrection of Christ after death. The phenomenon of superfetation, where embryos from different menstrual cycles are present in the uterus, results in hares and rabbits being able to give birth seemingly without having been impregnated, which caused them to be seen as symbols of virginity. Rabbits also live underground, an echo of the tomb of Christ. As a symbol of fertility, white rabbits appear on a wing of the high altar in Freiburg Minster. They are playing at the feet of two pregnant women, Mary and Elizabeth. Martin Schongauer's engraving Jesus after the Temptation (1470) shows nine (three times three) rabbits at the feet of Jesus Christ, which can be seen as a sign of extreme vitality. In contrast, the tiny squashed rabbits at the base of the columns in Jan van Eyck's Rolin Madonna symbolize "Lust", as part of a set of references in the painting to all the Seven Deadly Sins. Hunting scenes in the sacred context can be understood as the pursuit of good through evil. In the Romanesque sculpture (c. 1135) in the Königslutter imperial Cathedral, a hare pursued by a hunter symbolises the human soul seeking to escape persecution by the devil. Another painting, Hares Catch the Hunters, shows the triumph of good over evil. Alternatively, when an eagle pursues the hare, the eagle can be seen as symbolizing Christ and the hare, uncleanliness and the evil's terror in the face of the light. In Christian iconography, the hare is an attribute of Saint Martin of Tours and Saint Alberto di Siena, because legend has it that both protected hares from persecution by dogs and hunters. They are also an attribute of the patron saint of Spanish hunters, Olegarius of Barcelona. White hares and rabbits were sometimes the symbols of chastity and purity. In secular art In non-religious art of the modern era, the rabbit appears in the same context as in antiquity: as prey for the hunter, or representing spring or autumn, as well as an attribute of Venus and a symbol of physical love. In cycles of the Labours of the Months, rabbits frequently appear in the spring months. In Francesco del Cossa's painting of April in the Palazzo Schifanoia in Ferrara, Italy, Venus' children, surrounded by a flock of white rabbits, symbolize love and fertility. In Italian Renaissance and Baroque art, rabbits are depicted more often than hares. In an allegory on lust by Pisanello, a naked woman lies on a couch with a rabbit at her feet. Pinturicchio's scene of Susanna in the Bath is displayed in the Vatican's Borgia Apartment. Here, each of the two old men are accompanied by a pair of hares or rabbits, clearly indicating wanton lust. In Piero di Cosimo's painting of Venus and Mars, a cupid resting on Venus clings to a white rabbit for similar reasons. Still lifes in Dutch Golden Age painting and their Flemish equivalents often included a moralizing element which was understood by their original viewers without assistance: fish and meat can allude to religious dietary precepts, fish indicating fasting while great piles of meat indicate voluptas carnis (lusts of the flesh), especially if lovers are also depicted. Rabbits and birds, perhaps in the company of carrots and other phallic symbols, were easily understood by contemporary viewers in the same sense. As small animals with fur, hares and rabbits allowed the artist to showcase his ability in painting this difficult material. Dead hares appear in the works of the earliest painter of still life collections of foodstuffs in a kitchen setting, Frans Snyders, and remain a common feature, very often sprawling hung up by a rear leg, in the works of Jan Fyt, Adriaen van Utrecht and many other specialists in the genre. By the end of the 17th century, the grander subgenre of the hunting trophy still life appeared, now set outdoors, as though at the back door of a palace or hunting lodge. Hares (but rarely rabbits) continued to feature in the works of the Dutch and Flemish originators of the genre, and later French painters like Jean-Baptiste Oudry. From the Middle Ages until modern times, the right to hunt was a vigorously defended privilege of the ruling classes. Hunting Still lifes, often in combination with hunting equipment, adorn the rooms of baroque palaces, indicating the rank and prestige of their owners. Jan Weenix' painting shows a still life reminiscent of a trophy case with birds and small game, fine fruits, a pet dog and a pet monkey, arranged in front of a classicising garden sculpture with the figure of Hercules and an opulent palace in the background. The wealth and luxurious lifestyle of the patron or owner is clearly shown. The children's tales of the English author Beatrix Potter, illustrated by herself, include several titles featuring the badly behaved Peter Rabbit and other rabbit characters, including her first and most successful book The Tale of Peter Rabbit (1902), followed by The Tale of Benjamin Bunny (1904), and The Tale of The Flopsy Bunnies (1909). Potter's anthropomorphic clothed rabbits are probably the most familiar artistic rabbits in the English-speaking world, no doubt influenced by illustrations by John Tenniel of the White Rabbit in Lewis Carroll's book Alice's Adventures in Wonderland. Joseph Beuys, who always finds a place for a rabbit in his works, sees it as symbolizing resurrection. In the context of his action "How to Explain Pictures to a Dead Hare", he stated that the rabbit "...has a direct relationship to birth... For me, the rabbit is the symbol of incarnation. Because the rabbit shows in reality what man can only show in his thoughts. He buries himself, he buries himself in a depression. He incarnates himself in the earth, and that alone is important." Masquerade (book) (1979), written and illustrated by the artist Kit Williams, is ostensibly a children’s book, but contains elaborate clues to the location of a jewelled golden hare, also made by Williams, which he had buried at the location in England to which the clues in the book led. The hare was not found until 1982, in what later emerged as dubious circumstances. The Welsh sculptor Barry Flanagan (1944-2009) was best known for his energetic bronzes of hares, which he produced throughout his career. Many have a comic element, and the length and thinness of the hare's body is often exaggerated. Dürer's Young Hare Young Hare by Albrecht Dürer (1502) Probably one of the most famous depictions of an animal in the history of European art is the painting Young Hare by Albrecht Dürer, completed in 1502 and now preserved in the Albertina in Vienna. Dürer's watercolor is seen in the context of his other nature studies, such as his almost equally famous Meadow or his Bird Wings. He chose to paint these in watercolor or gouache, striving for the highest possible precision and "realistic" representation. The hare pictured by Dürer probably does not have a symbolic meaning, but it does have an exceptional reception history. Reproductions of Dürer's Hare have often been a permanent component of bourgeois living rooms in Germany. The image has been printed in textbooks; published in countless reproductions; embossed in copper, wood or stone; represented three-dimensionally in plastic or plaster; encased in plexiglas; painted on ostrich eggs; printed on plastic bags; surreally distorted in Hasengiraffe ("Haregiraffe") by Martin Missfeldt; reproduced as a joke by Fluxus artists; and cast in gold; or sold cheaply in galleries and at art fairs. Young Hare by Albrecht Dürer Completed in 1502, Young Hare was painted in water colour and gouache by German artist Albrecht Dürer who was not only a painter, but also an engraver, print-maker, a theorist and a mathematician. It has been suggested that the accuracy was the result of either the artist keeping a wild hare in his workshop or he initially sketched wild hares and used a dead specimen to add the details of the fur which points in many directions. http://totallyhistory.com/young-hare/ Since early 2000, Ottmar Hörl has created several works based on Dürer's Hare, including a giant pink version. Sigmar Polke has also engaged with the hare on paper or textiles, or as part of his installations, and even in rubber band form. Dieter Roth's Köttelkarnikel ("Turd Bunny") is a copy of Dürer's Hare made from rabbit droppings, and Klaus Staeck enclosed one in a little wooden box, with a cutout hole, so that it could look out and breathe. Dürer's Hare has even inspired a depiction of the mythological Wolpertinger. Millais’ watercolour was commissioned for an illustrated edition of Poets of the Nineteenth Century to illustrate the poem ‘Love’ by Samuel Taylor Coleridge. The poem tells of a moonlit meeting between two lovers. To a contemporary reader the poem’s content would have seemed quite risqué due to a woman meeting a man so late at night flirting with him and embracing him. Despite this deliberate attempt to titillate his audience, Coleridge repeatedly emphasises the heroine Genevieve’s modesty and virginity. This cannot be easily conveyed through one pictorial scene so it is possible that Millais added the rabbit to serve at once as a reminder of Genevieve’s virginal purity whilst alluding to the more intimate, and controversial, connection between the lovers. Hares Roasting a Hunter, Virgil Solis, ca. 1530-1562. Museum no. E.878-1927. © Victoria and Albert Museum, London. This rather gruesome, darkly humorous and absurd representation of hares roasting a hunter was inspired by the popular trope of ‘the world turned upside down’, with its use of ridiculous role reversal imagery. Again this image is illustrative of the paradoxical nature of the symbolism of rabbits and hares by simultaneously alluding to the cowardice of the animal whilst also revealing the fear rabbits instilled in some cultures. Because of the hares association with cowardice, connected to the animal’s natural tendency to be fearful of predators, the imagery of the hares roasting the hunter was perhaps the most absurd the artist could think of, particularly as one would normally think of rabbits as the hunted, rather than the hunter! In addition, in Christianity, rabbits were often thought to be witches’ familiars, making people fear them. Therefore, perhaps the hares in this image could be burning the men who persecuted them. Hare in Transit, Bruce Gernand, 2004. Museum no. © Victoria and Albert Museum, London/Bruce Gernand. Rabbits and hares still feature in contemporary art practices including computer art. Based on Aesop’s Fable ‘The Tortoise and the Hare’, this work by Bruce Gernand uses the hare as a vehicle to represent the relation between the virtual and material. The hare in this case is representative of the speed of computers and computer processes. The Nine of Hares, Master P W of Cologne. Museum no.E.14-1923. © Victoria and Albert Museum, London. This round playing card adorned with hares is part of a set from around 1500. Although rabbits and hares have long been a favorite subject in studies of nature card engravers usually depicted animals and plants from model books. However, in this case, the hares have been drawn from nature. This may be why these hares are so lifelike in terms of their poses with distinct personalities and characteristics –although some are a little menacing looking – sniffing the ground, standing to attention and looking around with curiosity. One thing that has become clear to me through my investigation into the symbolism of rabbits is its complexity which is fraught with paradoxes. https://en.wikipedia.org/wiki/Rabbits_and_hares_in_art https://commons.wikimedia.org/wiki/File:Brooklyn_Museum_-_Rabbit_Beneath_New_Year's_Pine.jpg http://www.vam.ac.uk/blog/factory-presents/merry-march-hares-and-rabbits http://www.vam.ac.uk/blog/factory-presents/merry-march-hares-and-rabbits http://www.metmuseum.org/toah/works-of-art/1978.412.118 http://www.jean-stote-fine-art.co.uk/ http://www.nolonstacey.com/limited-edition-prints/wide-eyed-hare https://www.pinterest.com/pin/51580358205744671/ http://caroleeclark.wordpress.com/2012/12/01/tilly-expressionistic-painting-of-a-belgain-hare/ http://fineartamerica.com/featured/moonlite-and-hare-amanda-clark.html http://www.think-differently-about-sheep.com/rabbits_and_hares_in_art.htm Elephant and Hare [Maasai] http://www.johntyman.com/africa/folk/ There was once a herd of elephants who went to gather honey to take to their in-laws. As they were walking along, they came upon Hare who was just about to cross the river. She said to one of them: "Father, please help me get across the river." The elephant agreed to this request and said to Hare: "You may jump on to my back." As Hare sat on the elephant's back, she was quick to notice the two bags full of honey that the elephant was carrying. She started eating honey from one of the bags, and when she had eaten it all, she called out to Elephant saying: "Father, please hand me a stone to play with." When she was given the stone, she put it in the now empty bag of honey, and started eating the honey from the second bag. When she had eaten it all, she again requested another stone saying: "Father, please hand me another stone for the one you gave me has dropped, and I want to throw it at the birds." Elephant handed her another stone, and then another, as she kept asking for stones on the pretext that she was throwing them at the birds, until she had filled both bags with stones. When Hare realized that the elephants were about to arrive at their destination, she said to the elephant which was carrying her: "Father, I have now arrived, please let me down." So Hare went on her way. Soon afterwards, the elephant looked at his bags, only to realize that they were full of stones! He exclaimed to the others: "Oh my goodness! The hare has finished all my honey!" They lifted up their eyes and saw Hare leaping away at a distance; they set off after her. They caught up with Hare within no time, but as the elephants were about to grab her, she disappeared into a hole. But the elephant managed to catch hold of her tail, at which time the skin from the tail got peeled off. Elephant next grabbed her by the leg. Hare laughed at this loudly, saying: "Oh! You have held a root mistaking it for me!" Thereupon Elephant let go of Hare's leg and instead got hold of a root. Hare shrieked from within and said: "Oh father, you have broken my leg!" As Elephant was struggling with the root, Hare maneuvered her way out and ran as fast as her legs could carry her. Elephant had by this time managed to pull out the root only to realize that it was not Hare's leg. Once more he lifted up his eyes and saw Hare leaping and jumping over bushes in a bid to escape. Elephant ran in pursuit of her once more. As Hare continued running, she came across some herdsmen and said to them: "Hey you, herdsmen, do you see that elephant from yonder, you had better run away, for he is coming after you." The herdsmen scampered and went their separate ways. When Elephant saw the herdsmen running, he thought they were running after Hare; so he too ran after them. When he caught up with them, he said: "Hey you, herdsmen, have you seen a hare with a skinned tail passing along here?" The herdsmen answered: "You have passed her along the way as she was going in the opposite direction." While Elephant had been chasing the herdsmen, Hare had gained some time to run in the opposite direction. Next, Hare came upon some women who were sewing outside the homestead and said to them: "Hey you, mothers who are sewing, do you see that elephant from yonder, you had better run away for he is coming after you." On hearing this, the women scampered for the safety of their houses immediately. But soon the elephant caught up with them and asked: "Hey you, honorable ladies, might you have seen a hare with a skinned tail going toward this direction?" The women answered: "There she goes over there." Hare kept running and this time she came upon antelopes grazing and she said to them: "Hey you, antelopes, you had better run away for that elephant is coming after you." The antelopes were startled and they ran away as fast as their legs could carry them. But soon the elephant was upon them, and he asked them: "Hey you, antelopes, have you seen a hare with a skinned tail going in this direction?" They pointed out to him the direction that Hare had followed. Still on the run, Hare next came upon a group of other hares, to whom she said: "Hey you, hares, do you see that elephant coming from yonder? You should all skin your tails for he is after those hares with unskinned tails." Thereupon all the hares quickly skinned their tails. At the same moment the elephant arrived and asked them: "Hey you, hares, have you seen a hare with a skinned tail going towards this direction?" The hares replied: "Don't you see that all our tails are skinned?" As the hares said this, they were displaying their tails confident it would please Elephant. On noticing that all the hares' tails were skinned, Elephant realised that Hare had played a trick on him. Elephant could not find the culprit, for all the hares were alike. And there ends the story. Word of the week: Sacrifice © Copyrighted
Lock Kresler discusses Lévy Gorvy's exhibition, 'Source and Stimulus' open until April 21, 2018 at 22 Old Bond St in London. The show features a series of outstanding museum quality loans and seminal examples of works by all three artists in the exhibition including Roy Lichtenstein’s ‘Frightened Girl’ (1964), being seen publicly for the first time in 25 years having been hidden away in a private collection in Europe since its last public display in 1993, when it was shown in the artist’s retrospective at the Guggenheim Museum in New York. Lévy Gorvy is also exhibiting Sigmar Polke’s ‘Untitled (Couple)’ (1965-66), which was purchased directly from the artist and has never been seen publicly or published before, and ‘Girlfriends’ (1964-65), which featured prominently in Polke’s retrospectives in 2014 at New York’s Museum of Modern Art and London’s Tate Modern. The exhibition also sees two paintings by Gerald Laing reunited for the first time since they were created in 1965. ‘Shout’ and ‘Rain Check’ were sold the same year by Richard Feigen to two different collectors in the US, and neither work has been seen publicly since then. In addition, Lévy Gorvy has a video (https://youtu.be/_9tFL9b1LDI)about the exhibition and you can see images of the show on the gallery's website (https://www.levygorvy.com/exhibitions/source-and-stimulus-polke-lichtenstein-laing/).
In this week's special end of the year episode of the ArtTactic Podcast, Judd Tully, veteran art market reporter, joins us to reflect on some of the major events in the art market over the past year. First, Judd identifies some of the top moments from 2017, including the $450 million da Vinci sale at Christie's, the increasing role of guarantees at auctions and the rise of Phillips auction house. Then, he declares some of the artists who were the biggest winners in 2017, such as Wolfgang Tillmans, Peter Doig, Mark Grotjahn and Sigmar Polke. Also, Judd tells us what aspects of the art market he will be following closely next year as well as sharing his bold prediction for the art market in 2018.
A wide range of different topics and media is on view in this selection of the Albertina's acquisitions and donations of the last 18 years. LOOK! An exhibition portrait by CastYourArt.
In der Folge 8 geht es um den Hamburger Pädagogen Johannes Böse der 1925 die Griffelkunst Vereinigung gegründet hat. Es ist der einfachste Weg sich mit geringem Geldeinsatz eine bedeutende Grafiksammlung aufzubauen. Die Gründer der Griffelkunst wollten einer breiten Bevölkerungsschicht Kunst zu einem erschwinglichen Preis nahebringen und nutzten dazu grafische Arbeiten. Künstler wie Horst Jansen, Sigmar Polke, Daniel Richter und viele andere Künstler stellten Arbeiten für die Griffelkunst Vereinigung zur Verfügung. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!! Achtung, auch die zweite Seite beachten, mit vier weiteren Episoden !!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Blog: http://rodensteinskunstkabinett.podspot.de Louisrodenstein@gmx.de Facebook: Louis Rodestein
Introduction to the film screening by special guests from Polke’s family who will discuss his relationship to film and Christof Kohlhöfer will also discuss his collaboration with Polke.
In the early 1980s the German artist Sigmar Polke became a dedicated scholar of pigment manufacture. He favoured highly toxic, banned or otherwise exotic substances, but as a modern day alchemist he shrouded his knowledge in mystery.
This audio recording aims to situate Sigmar Polke's significance within a wider art historical context before unpicking the complex layers of his diverse practice, raising questions around what makes his art of such contemporary relevance today.
On episode two, Erik and Nina are ordered around by this summer's MoMA retrospective for Sigmar Polke, whom we all love. Plus, listener mail!
This week: Duncan leads a panel discussion on the the state of painting and current MCA exhibition Constellations: Paintings from the MCA Collection(which closes October 18th!) the panel consists of Artists Vera Klement and Wesley Kimler, Artletter.com's Paul Klein and exhibition curator Julie Rodrigues Widholm! Stolen liberally from the MCA website: This exhibition explores various approaches to painting and how it communicates ideas about life and art from the 1940s to the present. Arranged in a series of constellations, or groupings, the exhibition highlights for the first time the MCA Collection's particular strengths in this medium. Augmented by major works from important private collections to fill gaps in the MCA Collection and to provide examples of recent works made during the last few years, the exhibition includes work by approximately 75 of the most important artists of the last sixty years including Chuck Close, Andy Warhol, Gerhard Richter, Jasper Johns, Lari Pittman, Rudolf Stingel, Clare Rojas, Laura Owens, Josef Albers, Rene Magritte, Francis Bacon, Brice Marden, Caroll Dunham, Thomas Scheibitz, Jean Dubuffet, Sherrie Levine, Jules Olitski, Kenneth Noland, Sigmar Polke, Rebecca Morris, Roberto Matta, and Yves Tanguy, among others. Featured Chicago artists include Angel Otero, Wesley Kimler, Kerry James Marshall, Judy Ledgerwood, Scott Reeder, Michelle Grabner, Marie Krane Bergman, and Vera Klement. This exhibition explores questions about the current state and future of painting by creating a dialogue with works from the past. These conversations within each section stimulate ideas about painting that are not limited to chronology or specific art historical narratives, but follow lines of thought. Within the exhibition, the constellations aim to make connections through the various interests, positions, styles, and histories that artists address within their approach to painting. For example, Constellations explores approaches to the landscape and figure, so-called "bad" painting, appropriation and collage in painting, the critique of illusion in painting, form and color, and paintings that exist in-between representation and abstraction. All of the works in this exhibition are united by the use of paint, a brush, and a support to emphasize the complex and varied manner in which artists use similar materials. This exhibition does not seek to redefine what can be considered a painting, but rather examines how it endures as a vibrant art form, more than 100 years after it was proclaimed "dead" at the advent of photography. Clearly there is no correct way, which is why painting continues to be a source of stimulating conversation and debate. From the perspective of the artist and viewer, painting is a subjective experience. This exhibition is organized by Julie Rodrigues Widholm, Pamela Alper Associate Curator.
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