sein leben – -Translation – Keybot Dictionary

Show text Show cached source Open source URL	Sie haben gesagt: "DeKooning hat herausgefunden, dass sein Leben einen größeren Wert besitzt als seine Stellung in der Gesellschaft." Wie hat diese Feststellung Ihr Denken über die Kunst verändert?
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	You've said: "De Kooning figured out his life had more value than his place within society." How did that observation change your thinking about art?

Der Mann, ein Künstler, um die dreißig Jahre alt, blieb so gut wie unsichtbar. Stets hinterließ er nur undeutliche Spuren, in Ausstellungsräumen, in Gesprächen. Wollte man diese Spuren lesen, musste man mehr erfahren über diesen Menschen und sein Leben, so schien es.

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For a long time the artist's existence was scarcely more than a rumor, and his name was merely a promise, or a joke. Just three years ago, if you searched the Internet for photos from one Danh Vo, you found portraits of an Asian-looking schoolboy with a large pair of glasses. The man, an artist around 30 years old, remained virtually invisible. He invariably left only vague traces in exhibition spaces or in interviews. If you wanted to read these traces, it seemed, you had to find out more about this person and his life.

Eine innere Stimme verkündet: "Du gehörst nicht dir selbst. Du gehörst dem Universum." Statt sich im Lake Michigan zu ertränken, wird er sein Leben von nun an ganz dem Allgemeinwohl widmen. So beginnt Fuller 1927 ein Langzeit-Experiment, das bis zum Tod von "Guinea Pig B" wie er sich selbst gerne bezeichnet im Jahre 1983 andauern wird.

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Already at the age of 32, he seemed to have arrived at a dead end. Richard Buckminster Fuller had neither money nor a job; his daughter had just died. But then, all at once he was overcome by a kind of religious awakening. An inner voice told him: "You do not belong to you. You belong to the Universe." Instead of drowning himself in Lake Michigan, he began dedicating his life to the common good. In 1929, Fuller began a long-term experiment that would last until the death of "Guinea Pig B"which is how he liked to refer to himselfin 1983. His goal was to "find what a single individual [could] contribute to changing the world and benefiting all humanity." In the process, the failed Harvard student and bankrupt former Marine radio operator metamorphosed into the "Leonardo da Vinci of our time," as the communication theorist Marshall McLuhan called him.

Immer wieder hat Solakov sein Leben in einer sozialistischen Diktatur thematisiert, ebenso wie die Erfahrung des Systemwechsels und der dabei eben nur scheinbaren erworbenen Wahlfreiheit. Zu seinen bekanntesten Werken zählt jener unscheinbare Kasten, den er im Frühling 1990, also auf dem Höhepunkt der demokratischen Umwälzungen im ehemaligen Ostblock, zum ersten Mal ausstellte und der 2007 auch auf der documenta 12 zu sehen war.

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Solakov has often addressed his life in a socialist dictatorship, including his experience of the change in political system and the alleged right to vote. Among his better-known works are the unassuming index boxes that he showed for the first time in the spring of 1990, at the high point of the democratic uprising in the former East Bloc, and again at documenta 12 in 2007. Top Secret, created between December 1989 and February 1990, consists of an index box, filled with a series of cards detailing the artists youthful collaboration with the Bulgarian state security, which he stopped in 1983. In Bulgaria, twenty years after the changeover, the official files remain closed, and there are no publicly known documents on the artists collaboration. The work caused great controversy when it was first exhibited in the spring of 1990, at the height of the political changes to the long-standing Communist rule. The self-disclosing gesture in this artistic project is still unique in the context of post-Communist Europe, and since its appearance Top Secret has become an icon of its time.

"Ich glaube, dass der Ort für die Malerei nicht unwichtig ist." sagt K.R.H. Sonderborg über die Entstehung seiner Bilder die von Eisenbahnbrücken, Treppen oder Gitter inspiriert sein können. den Künstler Bettina Ruhrberg über Sonderborgs Arbeit, und sein Leben in europäischen und amerikanischen Metropolen.

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The structural framework of Sonderborg's paintings results from a confident combination of various forms of perception: conscious and unconscious, mental and physical, exterior and interior. Referring to the development of his paintings, which are inspired by railroad bridges, stairways, and gratings, Sonderborg has said: "I think the location is not unimportant for painting." Bettina Ruhrberg has written about Sonderborg's work and life in various major European and American cities.

Das ist sein Thema: die Brüchigkeit des Ichs, der kulturellen Zugehörigkeit. Dass er dieses Problem anhand der Geschichte Vietnams und seiner Familie verhandelt, hat ihm auch skeptische Stimmen eingebracht: Er beute sein Leben aus, schrieb einmal ein Kunstmagazin.

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"The museums want to make things easy for visitors, they have a specific idea of the audience and what it can tolerate. I had all kinds of fights with curators because everything wasn't explained from beginning to end," says Vo. The artist has become more easy-going, though, as if he has become assured that he doesn't have to conceal himself anymore, because the motives and feelings of a person can't be completely fathomed anyway. The more that is written about him, the more he disappears again behind the words. That is his subject: the fragility of the ego, cultural affiliation. But the fact that he negotiates this problem based on the history of Vietnam and his family has also been criticized: An art magazine once wrote that Vo is exploiting his life.

So hat Richard Rogers zum Beispiel sein Leben nicht nur damit verbracht, ikonische Gebäude wie das Centre Pompidou oder das Terminal 5 von Heathrow zu entwerfen, sondern er hat auch über Stadtentwicklung geschrieben.

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An enlightened mayor is probably the most important person in shaping a city. All the best architects in the worldRenzo Piano, Norman Foster, Rem Koolhaaswill say that without a good client you have nothing. The role of architects in the future of cities is a difficult one they are trained to be enamored by the object they have just produced, just as they are paid to stop the design of their much-cherished building at the boundary of land ownership. Thats why you end up with objects without any relationship to one another. I can count the number of architects able to transcend that position on the fingers of two hands. Richard Rogers, for example, has spent his life not just designing iconic buildings like the Pompidou Centre or Terminal 5, but also writing about the city. Somewhat lesser known is Oriol Bohigas, the Catalan architect responsible for the 1992 Olympics who called his profession an "urban vocation," which is a very powerful term.

Show text Show cached source Open source URL	Ich habe angefangen, einen Teil der Richter-Biografie von Dietmar Elger zu lesen, der am Sprengel Museum in Hannover war. In dem Buch geht es um Richters Kunst und sein Leben sowie um die Entwicklung in seinem Werk, aber eigentlich findet man in der Biografie auf Ihre Frage keine Antwort...
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	I don't know, I'm not so sure about that. I started to read a portion of the biography by Dietmar Elger, who worked at the Sprengel Museum in Hanover and who wrote about Richter's work and life and about the development of his work, but there are very few answers about that somehow -

Für den Künstler selbst aber ergibt sich daraus ein schwer lösbares Problem: Weil sich sein Leben bei der Arbeit angeblich weitgehend im Atelier abspielt, kann er über die Wirklichkeit der Welt außerhalb seiner vier Wände nur wenig aussagen.

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At first, art was a window to the world, then it was expected to open up more to reality, and finally it was supposed to correspond to life completely. This is a frequently cited idealization that stands in stark contrast to another idealized image, namely that of the artist toiling away in his studio in front of the model, striving to create an original work of art on the canvas. For artists, a problem arises that proves to be difficult to solve: because their working lives take place to a large extent inside the studio, they are allegedly incapable of saying all that much about the reality of the world outside their own four walls.

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Jede dieser Arbeiten zeigt Feiningers präzise Beobachtungen von Menschen im Alltagsleben und vermittelt auf oftmals erfrischende Art und Weise den Einfluß von Feiningers früher Betätigung als Karikaturist. Feininger hat sein Leben lang gezeichnet – er hat Menschen auf der Straße, in Cafés, oder in Gruppen beobachtet – und nannte diese Zeichnungen Naturnotizen (nature notes).

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Strollers – The Passing Scene includes forty sketches executed in pencil, ink, watercolor and color crayon, as well as woodcut prints. Each reveals Feininger’s astute visual perceptions of people in daily life and often delightfully invokes the spirit of Feininger’s early training as a caricaturist. Feininger drew constantly throughout his life - observing how people walk on the street, sit in cafés or interact with each other, calling the drawings his Naturnotizen (nature notes). The figures are often elongated or exaggerated in size in proportion to their environments, and because they are rapidly sketched, evoke fleeting moments in time. According to Feininger, his drawing… “represents reality as I have experienced it – while the ‘real reality,’ if by chance I encounter the same situation again, looks very dreary to me and contaminated with unsympathetic associations.”

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Show text Show cached source Open source URL	Weil er nicht emigriert war, sondern sein Leben lang versucht hatte, im Land selbst gegen zu halten, wurde er für viele Künstler seiner Zeit und nachfolgende Generationen zu einer moralischen Instanz.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	Malevich died in 1935 in Leningrad. Because he hadn't emigrated, but had tried throughout his lifetime to resist while continuing to remain in his country, he became a moral authority both for many artists of his time and for generations to come.

Obwohl die Gliederung der Zeichnungen an die Kompositionen eines Filippino Lippi, Botticelli oder gar Piero della Francesca erinnert, ist Wilsons Empfinden stark von seinen Anfängen in den Sechzigern geprägt, als er im Umfeld des Choreographen Merce Cunningham gegen die Strömung des Minimalismus arbeitete und auf Happenings und das Living Theater reagierte. Als Student war Wilson ein Schüler des abstrakten Expressionisten George McNeil, und das hat seine Kunst grundlegend beeinflusst, aber vielleicht sogar mehr noch sein Leben.

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In Leonce and Lena, the public begins seeing the actors the moment they enter the theater. Soon the characters will be stationed between columns, an actor will be jumping up, and others will be silhouetted against an eerie landscape. While the breakdown in the drawings may recall the divisions in a Filippino Lippi, Botticelli, or even Piero della Francesca, Wilson’s sensibility is very much informed by his emergence in the 60s as part of the circle around Merce Cunningham, working against the tide of minimalism and reacting to Happenings and Living Theater. Wilson studied with the abstract expressionist George McNeil, and this profoundly informed his drawings, but perhaps even more so his life.

"Mein Vater arbeitete als Näher bei der Northeast Shoe Company. Als die Fabrik geschlossen wurde, lebten wir von Sozialhilfe. In Main bedeutete das ein unglaubliches Stigma. Obwohl er Alkoholiker war, hat mein Vater sein Leben einigermaßen im Griff gehabt. Und er hat mich nie wirklich verletzt. Er hat die Familie zwar vernachlässigt, war aber nicht gewalttätig. Vielleicht ein bisschen, wenn er völlig dicht war. Ich habe ihm vergeben."

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Rollins was also walking the line between art and religion. Raised by his Revivalist great grandmother during the summers, Rollins recalls: "She had no running water, we’d go to Revival Tent meetings and heal in rural Burnham, Maine. Daddy was hard drinking, bowling alley and Mom believed in God. In Maine, the only time you had art was Friday afternoons at Church." Even now, the first place I found the artist was at Harlem’s Baptist Memorial Church. When I called the receptionist responded: "Praise be the Lord, can I help you?" In Rollins’ case, his interest in art provided a way out of a difficult family life. "Daddy was a hand sewer for the Northeast Shoe Company. When the shop closed, we were on welfare. In Maine, the stigma is unbelievable. Daddy was an alcoholic, he was relatively functional, he never hurt me that bad. He was neglectful, but not violent. A little bit; he was out of it. I’ve forgiven him."

Zwei Wochen vor Damien Hirsts geschichtsträchtiger Sotheby-Auktion gab Michael Craig-Martin folgendes zu bedenken: "Ein Künstler zu sein bedeutet, sein Leben in erster Linie aus einer Arbeit zu gestalten, für die man sich selbst entschieden hat. Es ist nicht möglich, das Engagement beizubehalten, das dies erfordert, ohne dass man dabei eine Art von Lust empfindet. Ich spreche nicht von Spaß. Das Produzieren von Kunst kann ebenso langweilig wie deprimierend sein. Aber die Essenz ist Lust."

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"To be an artist means making a life primarily of doing the work that you yourself decide to do. It isn't possible to sustain the engagement this requires unless the doing of it gives you pleasure. I don't mean fun, and making art can be both boring and depressing, but in essence it is a pleasure," Michael Craig-Martin contended a week before Damien Hirst's history-making auction at Sotheby's. One of Craig-Martin's achievements is to relate this kind of pleasure to his students at The University of London's Goldsmiths College, encouraging them to recognize and value the aspects of their work that gives them pleasure. Hirst, his most famous student, has certainly taken this to heart. He acknowledges this debt in his painting Michael with Diamond Skull, 2008, the last lot, Nr. 287, the ultimate parting shot of the Hirst blockbuster. Who has the cheekier smile-the skull or the teacher?