Dia Center for the Arts, New York
December 4, 1998 - June 13, 1999
Dia Center for the Arts
Liens vers d'autres messages connexes du blog : Anciens Compacts Nikon --- Nikon Coolpix 100 --- Nikon Coolpix 300 --- Nikon Coolpix 700 --- Nikon Coolpix 775 --- Nikon Coolpix 800 --- Nikon Coolpix 880 --- Nikon Coolpix 885 --- Nikon Coolpix 900 --- Nikon Coolpix 950 --- Nikon Coolpix 990 --- Nikon Coolpix 995 --- Nikon Coolpix 2000 --- Nikon Coolpix 2100 --- Nikon Coolpix 2500 --- Nikon Coolpix 3100 --- Nikon Coolpix 3500 --- Nikon Coolpix 3700 --- Nikon Coolpix 4300 --- Nikon Coolpix 4500 --- Nikon Coolpix 5000 --- Nikon Coolpix 5400 --- Nikon Coolpix 5700 --- Nikon Coolpix SQ
A Laboratory of Modernity: Image and Society in the Weimar Republic
Exhibition explores the visual culture of Germany during the Weimar period.
This is a special exhibition, organized to accompany Professor Eric Rentschler's fall course at Harvard in the Department of Germanic Languages and Literatures Weimar Cinema: The Laboratory of Modernity, explores aspects of the dynamic, avant-garde visual culture of Germany between the two world wars, including many direct and indirect references to film.
Seven extraordinary vintage photographs by László Moholy-Nagy, lent by Robert and Gayle Greenhill of New York City, will anchor the exhibition, which will also include works by artists such as Hannah Höch, Kurt Schwitters, Otto Dix, George Grosz, August Sander, John Heartfield, Josef Albers, Albert Renger-Patzsch, Herbert Bayer, and others.
A Laboratory of Modernity has been selected by Tawney Becker, curatorial assistant of the Busch-Reisinger Museum, and Graham Bader, graduate student in the Department of History of Art and Architecture at Harvard.
Although the short-lived and turbulent Weimar Republic (1919-1933) was a period at times troubled by political and economic instability, ultimately succumbing to the Nazi rise to power in Germany, new media and technologies emerged, fueling the vibrant cultural scene, particularly in the cities. The fall of the imperial regime and its institutions at the end of World War I infused the arts with new vitality. The founding of the Bauhaus, a progressive school for art, architecture, and design, in 1919 heralded a new era for art education, production, and industrial design. Modernism took hold, and avant-garde culture flourished even as the democracy and the economy were weak. It was a time of conflicts and contrasts: new artistic movements and trends struggled with broadening political and social conservatism. The 1920s saw the efflorescence of the photo-illustrated press, and the freshness of the new media-photojournalism, documentary film, broadcasting, and sound recording-in works from this period are felt to this day.
A Laboratory of Modernity is structured around three key themes that investigate use of materials and technique as well as content. The first section Montage: Abstraction and Politics features artistic explorations of the montage technique in collage, prints, and photographs. The flood of technologically recorded reality in both image and sound made suddenly available to the public triggered a splintering of vision seen in the various types of montage witnessed in literature and theater as well as the visual arts. Moholy's manipulation of light in his photograms and dadaist collages by Hannah Höch and Kurt Schwitters evoke the excitement of early experimentation, opening a path for later political application in Heartfield's scathing photomontages for the Berlin-based Arbeiter-Illustrierte Zeitung (workers' illustrated paper) and Lissitzky's dynamic use of the technique in his Catalogue for the Soviet Pavilion for the International Press Exhibition Cologne 1928.
The Modern Subject takes various forms in the second grouping, which is divided into sections focused on figures and types, artist portraits, and the mannequin or doll-like figure. Here exploration of the figure reveals the artists' varied approaches to process and subject-whether viewed through the sober lens of the "New Objectivity" (Neue Sachlichkeit) in realistic portraits by Rudolf Schlichter or Karl Hubbuch, in Otto Dix's intense self-portrait, or in the satirical caricature of Hitler as a barbarian by George Grosz. Beyond these prints and drawings, the photography in this section-penetrating documentary photographs of the German people as catalogued by August Sander and Erna Lendvai-Dircksen, the inspired manipulation of the image by Herbert Bayer and Moholy-Nagy, the unusual viewpoint in Werner Feist's Head (1929), and Joseph Albers' and Lyonel Feininger's investigations of the mannequin-exemplify the new range of approaches to the figure that the camera made possible.
The Weimar period is popularly identified with 1920s Berlin, and it was in the city where culture boomed. Artistic incentive to experiment and explore also drives the Urban Visions presented in the third group of the exhibition. Moholy-Nagy was one of the key members of the Bauhaus faculty and proponent of "productive creation," not reproduction; his ground-breaking Bauhaus Book No. 8: Painting, Photography, Film (1925) in which Paul Citroen's photomontage Metropolis I (1923) is reproduced, is included in the exhibition. Experiments with distorting and often dizzying angles and abstraction are captured in architectural views by Moholy-Nagy and his wife Lucia Schulz Moholy as well as in photographs by Albert Renger-Patzsch and a student of the Bauhaus, Iwao Yamawaki. Grosz's socio-critical street scenes reflect his sharp political views whereas Herbert Bayer's mock-ups for a movie house and a multi-media building still carry the freshness of ideas of the brainstorming architect-designer.
A Laboratory of Modernity will provide the public with a first glimpse at several recent acquisitions by the Busch-Reisinger and the Fogg, including exciting photography from this period as well as a few rarely seen examples of work by women photographers. The exhibition is supported with funds from the John M. Rosenfield Teaching Exhibition Fund.
Gallery talks at Busch-Reisinger Museum
November 7-8, with Christine Mehring, Ph.D. candidate, Department of History of Art & Architecture.
November 28-29, with Graham Bader, graduate student, Department of History of Art & Architecture.
December 5, with Sarah Miller, Werner and Maren Otto Curatorial Intern, Busch-Reisinger Museum
December 20, January 9, with Tawney Becker, curatorial assistant, Busch-Reisinger Museum.
Film Series - Weimar Cinema
September 22 through December 15, 1998
Harvard Film Archive, Carpenter Center for the Visual Arts
The Cabinet of Dr. Caligari (1920), directed by Robert Wiene
Destiny (1920), directed by Fritz Lang
Nosferatu (1922), directed by F.W. Murnau
The Last Laugh (1924), directed by F.W. Murnau
The Joyless Street (1925), directed by G.W. Pabst
Secrets of a Soul (1926), directed by G.W. Pabst
Metropolis (1927), directed by Fritz Lang
Berlin, Symphony of a Big City (1927), directed by Walter Ruttman
The White Hell of Pitz Palü (1929), directed by A. Franck and G.W. Pabst
M (1931), directed by Fritz Lang
The Blue Angel (1930), directed by Joseph von Sternberg
Mädchen in Uniform (1931), directed by Leontine Sagan
The Blue Light (1932), directed by Leni Riefenstahl
HARVARD ART MUSEUMS
Busch-Reisinger Museum from October 31, 1998 through January 10, 1999
"In principle, Hasselblad XPan is two cameras in one. Firstly, it is a remarkably slender panoramic camera that delivers sharp 24x65 mm extended format images on 35 mm format film. On the same roll of film, it is also possible to take (24x36 mm) regular format pictures. This makes XPan a highly versatile camera, being the ideal choice for landscape, while providing unique capabilities for documentary, fashion and commercial photography in an unusual image format."
Philadelphia Museum of Art Publications Receive US National Recognition
Two publications developed by the Philadelphia Museum of Art in conjunction with the exhibition India: A Celebration of Independence, and one designed for Best Dressed: 250 Years of Style, were award recipients in the Museum Publications Design Competition. Announcements were made on May 11, 1998, in Los Angeles, during the annual meeting of the American Association of Museums.
Taking first prize in the poster category was the Museum's design for the photography exhibition, India: A Celebration of Independence. The poster reproduces Women Praying at Dawn, Srinagar, 1948, an image by Henri Cartier-Bresson. The poster was designed by Diane Gottardi, Senior Graphic Designer with the Philadelphia Museum of Art.
An opening announcement for the India exhibition received honorable mention in the invitations category. Incorporating Gandhi at a Prayer Meeting, Birla House, Bombay, a 1946 photograph by Sunil Janah, and Mary Ellen Mark's Ganges River, 1989, the invitation was also designed by Diane Gottardi, with the assistance of Paula Cyhan. India: A Celebration of Independence was organized by the Philadelphia Museum of Art in conjunction with Aperture Foundation, and was on view at the Museum from July 6 through August 31, 1997.
Honorable mention in the poster category was awarded to the striking design produced for Best Dressed: A Celebration of Style, an exhibition organized by the Philadelphia Museum of Art and on view from October 21, 1997, through January 4, 1998. Designed by James Scott, Associate Designer with the Philadelphia Museum of Art, the poster highlights a dramatically cropped, kaleidoscopically colorful detail from Issey Miyake's 1994 Flying Saucer dress.
The Department of Publications and Graphics of the Philadelphia Museum of Art was established in 1968. Headed by George Marcus, the department develops and publishes exhibition catalogues, scholarly and popular examinations of the Museum's permanent collections, and graphic materials related to many aspects of the Museum's activities.
Philadelphia Museum of Art Exhibits 20 Philadelphia Artists To Salute 20 Years Of Samuel S. Fleisher Challenge Exhibition
This year the venerable Samuel S. Fleisher Art Memorial-a tuition-free art school and gallery located in South Philadelphia-celebrates its 100th anniversary. At the same time, its Challenge series of juried exhibitions, which since its inception in 1978 has been among Philadelphia's most prestigious non-commercial exhibition programs, celebrates its 20th year. Twenty Philadelphia Artists: Celebrating Fleisher Challenge at Twenty, an exhibition on view at the Philadelphia Museum of Art from July 18 through September 13, 1998, salutes these two milestone anniversaries. Annually, more than 300 artists apply to be one of 12 artists selected to exhibit in the Fleisher Challenge. The variety and the vitality of the Philadelphia-area artists who have participated is surveyed in this exhibition that spans many approaches, from the traditional to the cutting edge.
The 20 artists in the exhibition were selected by John Ravenal and Ann Temkin, curators in the Museum's Department of 20th-Century Art, together with Thora Jacobson, Director of Fleisher, and Warren Angle, Gallery Coordinator at Fleisher. The Museum exhibition will take place in the Berman and Stieglitz Galleries on the ground floor, and additional spaces in the building will feature several new installation works. Artists include Lisa Bartolozzi, Lanny Bergner, Norinne Betjemann, Charles Burwell, Syd Carpenter, Frank Galuszka, Michael Grothusen, Mei-ling Hom, Stacy Levy, Tristin Lowe, Gabriel Martinez, Susan Moore, Kate Moran, Brooke Moyer, Don Nakamura, Stuart Netsky, Bruce Pollock, Judith Schaechter, Hester Stinnett, and Stephen Talasnik.
As a reflection of the diversity of the work highlighted in Fleisher's exhibitions over the past 20 years, the selection of artists includes figurative painters working with Renaissance techniques, abstract painters working with conceptual structures, ceramists making sculptures, sculptors making multimedia installation pieces, a stained-glass artist who uses a medium associated with spiritual settings to present violent and disturbing imagery, a photographer who bleaches and paints black-and-white prints, and printmakers who incorporate materials as unconventional as ground pharmaceuticals into their art.
Twenty Philadelphia Artists: Celebrating Fleisher Challenge at Twenty is supported by The Pew Charitable Trusts and The William Penn Foundation. The exhibition is accompanied by an illustrated catalogue written by Mr. Ravenal, who is the organizing curator, with an essay by Ms. Jacobson. The book also contains a checklist of the exhibition and a list of all the artists who have participated in the Challenge exhibition series since its inception.
The Museum's show will provide a retrospective cross-section of a full generation of regional artists and is planned to complement the Fleisher Art Memorial's own invitational exhibition, 20 x 12: A Generation of Challenge Artists, which will present the work of some 180 of the 250 artists who have participated in the Fleisher Challenge over the past two decades. 20 x 12 will be on view from July 18 through August 28, 1998, throughout the Fleisher Art Memorial, which encompasses six joined buildings: a former vocational school, a former church and belltower, and three row houses. Artists have been encouraged to select and fashion environments appropriate to their vision with an emphasis on recent work.
The Fleisher Art Memorial is located at 719-21 Catharine Street in the Bella Vista section of Philadelphia.
Hachette Filipacchi Médias (HFM) vient de lancer au Japon la septième édition internationale du magazine de cinéma PREMIERE. Ce nouveau lancement porte à 1 million d'exemplaires, la diffusion du magazine Première dans le monde.
Première Japon a un tirage initial de 100.000 exemplaires et compte 140 pages dont 43 de publicité, annonce HFM qui précise également que le nouveau mensuel vise une diffusion en rythme de croisière de 60.000 exemplaires, à un prix équivalent à 24 FF.
L'édition japonaise de Première, publiée par Hachette Filipacchi Japan, s'appuie sur une rédaction sur place de 7 personnes. La rédaction en chef a été confiée à un spécialiste américain du cinéma, Gregory Starr, ancien rédacteur en chef de Winds et de Tokyo Journal, qui vit depuis vingt ans à Tokyo. Il dirige sur place une équipe de 6 personnes dont 2 maquettistes, chargées de réaliser chaque mois une édition adaptée du Première français et qui respecte le concept originel. Le magazine s'articule autour de trois parties : les sorties de films et les critiques (articles courts), une partie magazine, très développée, avec portraits et interviews et enfin un cahier spécial de 16 pages « Home Guide » présentant vidéos, CD et livres.
En valeur, le Japon est le deuxième marché du cinéma dans le monde. Pour 129 millions d'habitants, on compte 150 millions d'entrées en 1997, chiffre en augmentation constante (+20% d'entrées par rapport à 1996), soit le même niveau qu'en France, mais avec un prix de la place élevé (entre 95 et 120 FF). 8 millions de Japonais se définissent comme de fréquents « visiteurs » de salles de cinéma et ils sont 300.000 à y aller plus de vingt fois par an. Ces 300.000 cinéphiles constituent le coeur de cible de Première, souligne HFM dans son communiqué de presse.
Côté production, sur 598 films montrés au Japon en 1996, 320 étaient d'origine étrangère. Mais les grands succès sont souvent japonais : sur les 10 films qui ont réalisé le plus d'entrées, 5 sont japonais et pèsent pour 45% des recettes globales de ce Top Ten. HFM entend bien entendu tenir compte de ces données pour le contenu rédactionnel de l’édition japonaise de Première..
Avec sept éditions du magazine Première dans le monde, cette publication mensuelle fait partie des grandes marques internationales du groupe HFM, à côté de ELLE, ELLE Décoration, Car and Driver, Quo et depuis peu Paris Match. Ainsi Première a des éditions en France depuis 1976, aux Etats-Unis depuis 1987, en Grande Bretagne depuis 1992, en Corée du Sud depuis 1995, à Taiwan depuis 1997, en Russie également depuis 1997 et désormais au Japon.
The Photography Show 98, sponsored by the Association of International Photography Art Dealers (AIPAD), will return to New York City February 13th to 15th, 1998. The Photography Show 98, the world's largest art fair devoted to fine art photography, will be held in the Exhibit Halls at the New York Hilton, 53rd Street and Avenue of the Americas.
Eighty AIPAD dealers from the United States, Canada, Europe and Japan will participate in the 1998 exposition. An extensive range of fine art photography, from rare vintage works to cutting edge contemporary, will be on view and available for purchase. The Photography Show, now in its eighteenth year, is internationally recognized for unparalleled connoisseurship and has become an invaluable event for leading museum curators, established as well as beginning collectors, and interior designers.
To showcase contemporary photography, a special section at The Photography Show 98 will be devoted to cutting edge photography. Photographs on display in this special exhibit area will be large scale images produced after 1990.
For The Photography Show 98, AIPAD will host a symposium, Creating & Collecting: It Takes Two, on February 14th from 9:30 to 11:30. The panel discussion, organised by Stephen Perloff, Editor of The Photograph Collector and The Photo Review, will feature couples who collaborate on photographic projects. The symposium is open to the public at no charge.
The 1998 event will be The Photography's sixth year at the exhibit hall of the New York Hilton Hotel. The popularity has grown steadily since AIPAD's return to NYC in 1993. Week end attendance for the last show in March 1997 was over 7000 visitors.
The Photography Show 98 will be open to the public on three consecutive days: Friday, Saturday and Sunday: February 13th, 14th and 15th. Admission price is $15 daily; $30 for a three-day pass. The admission price includes AIPAD's annual Illustrated Catalogue and Membership Directory, 288 pages, over 200 illustrations. After February 15th, the catalogue can be purchased by mail from the AIPAD office: $25 postpaid; $35 outside the U.S. postpaid.
PHOTOGRAPHY SHOW 98 EXHIBITORS
banning + associates
Stuart B. Baum Photography
Deborah Bell Photographs
Bonni Benrubi Gallery, Inc.
Janet Borden, Inc.
Christian Bouqueret A.R.D.P.
J.J. Brookings Gallery
Stephen Bulger Gallery
The Camera Obscura Gallery
Zelda Cheatle Gallery
Galerie Michele Chomette
John Cleary Gallery
Stephen Cohen Gallery
Commerce Graphics Ltd, Inc.
Jane Corkin Gallery
Stephen Daiter Photography
James Danziger Gallery
Keith de Lellis Fine Art Photography
Catherine Edelman Gallery
Gary Edwards Photographs
Ehlers Caudill Gallery Ltd.
Kathleen Ewing Gallery
Peter Fetterman Photographic Works of Art
Wm. Floyd Gallery, Inc.
Barry Friedman Ltd.
Fay Gold Gallery
Howard Greenberg Gallery
The Halsted Gallery
Hamiltons Galleries Ltd.
Leon Herschtritt Gallery
Paul M. Hertzmann, Inc.
Michael Hoppen Photography
Edwynn Houk Gallery
Hyperion Press Limited
Charles Isaacs Photographs
Jackson Fine Art, Inc.
Ken & Jenny Jacobson
Galerie Rudolf Kicken
Robert Mann Gallery
Lee Marks Fine Art
Laurence Miller Gallery
Scott Nichols Gallery
Robert Klein Gallery
Robert Koch Gallery
Paul Kopeikin Gallery
Hans P. Kraus, Jr. Inc.
Janet Lehr Inc.
Lewis Lehr, Inc.
LIFE Gallery of Photography
Gallery Luisotti (RAM)
Photographs Do Not Bend
Photography: The Platinum Gallery
Picture Photo Space
The Ralls Collections
Yancey Richardson Gallery
Richard T. Rosenthal
Julie Saul Gallery
William L. Schaeffer/Photographs
Scheinbaum & Russek, Ltd.
Howard Schiekler Fine Art
Charles Schwartz Photography
Lisa Sette Gallery
Andrew Smith Gallery
Joel Soroka Gallery
Galerie Zur Stockeregg
The Tartt Gallery
Throckmorton Fine Art, Inc.
1609 Connecticut Avenue, NW
Washington DC 20009