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Keybot 11 Results  db-artmag.de  Page 3
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Schon früh warf die Fotografie einen ästhetisierenden Blick auf die Natur: In den USA erforschten E.O. Beaman oder Timothy H. O’Sullivan seit 1865 Canyons, weil sich dort durch den extremen Lichteinfall die Gesteinsmassive oder Felsformationen besonders ausdrucksstark zwischen Himmel und Erde abhoben.
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Indeed, photography shed an aesthetic light on nature ever since its inception: in the United States, E.O. Beaman and Timothy H. O’Sullivan began exploring canyons in 1865 because the extreme lighting situation set off the rock massifs and cliff formations to create particularly expressive images of wilderness. At the same time, landscape photography became a symbol of man’s rule over nature. In 1873, Eadweard Muybridge was commissioned by the government not only to photograph the last free Indian tribes in California; he was also asked to document the progressive conquering of the continent by the railroad companies – as a sign of civilization that was bringing technical progress even to the most remote areas. The conquering of the West depended heavily on photographic evidence to convince East-Coast investors that the settlement was progressing successfully.
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Der junge, attraktive Mann warf sich ins coolste Outfit, das er hatte. In engen Hemden, dunklen Brillen, kurzen Hosen posierte er auf Plateausohlen oder barfuss. Manchmal blickte er dabei in die Kamera, öfter jedoch fixiert er wie ein kontrollierter Tänzer einen imaginären Punkt im Leeren.
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The young attractive man slipped into the coolest outfit he had. He posed in tight shirts, dark glasses, short pants, on platform heels and barefoot. Sometimes he looked into the camera, but more often he focused on an imaginary point in space, like a controlled dancer. It's difficult to believe that Fosso was paralyzed until he was four years old. When western medicine failed, his grandfather, a medicine man, took over the case and performed sacrificial rituals, waking him in the middle of the night and rolling him off the roof of the house. The child gradually learned to walk.
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Die beiden Imis setzen sich in ihren Fotoserien ebenfalls mit dem Thema Abstraktion auseinander: Knoebel hält seine Projektionen fest – reduzierte Formen aus Licht, die er an nächtliche Hausfassaden warf.
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Although the work they were doing was heavily influenced by Russian Constructivism and diametrically opposed to his own, Beuys admitted the two into his class. "Beuys couldn’t make much of our stuff. But he could allow people to do completely different things." He even made one of his three classrooms available to them, where Blinky Palermo was initially still working. A master student of Beuys’, his series of designs for wall drawings, simple straight lines in geometric arrangements, are also on show in Ahlen. The two Imis also investigated abstraction in their photographic series; in one of these, Knoebel recorded his projections, reduced forms of light that he shone onto building facades at night. In Giese’s work, luminous digits merge to form lines.
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Die Künstlerin Betye Saar, die sich in ihrem bekanntesten Werk "The Liberation of Aunt Jemima" (mehr hier) selbst - auf programmatisch emanzipatorische Weise - mit rassistischer Ikonographie auseinander setzte, warf Walker vor, dass sie weißen Rassisten zuarbeite, anstatt Rassismus zu kritisieren.
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Walker dares to wed the autobiographical accounts of slave narratives to the racist fantasies of white supremacists. For many African Americans, this amounts to an outrage, a slap in the face; her art has met with much anger. Consequently, there have been ongoing and controversial debates about it ever since it was first exhibited in the early nineties. The artist Betye Saar assailed Walker for playing into the hands of white racists instead of criticizing racism. In her most popular piece "The Liberation of Aunt Jemima," Saar herself has dealt with racist iconography – in a deliberately emancipatory fashion.
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Häufig warf die Kritik Trockel vor, ihre Arbeit sei rätselhaft, nicht greifbar oder schwer zu verstehen. Doch das tat dem Erfolg der 1952 geborenen Künstlerin keinen Abbruch, wie ihre Teilnahme an zahlreichen wichtigen Ausstellungen beweist - von der Biennale in Venedig, wo sie 1999 den Deutschen Pavillon bespielte, bis zur diesjährigen documenta 13. Vielleicht ist Trockel selbst der ultimative Desperado der internationalen Kunstszene, doch ihr jüngstes und vielleicht wichtigstes Statement ihrer Laufbahn wird selbst jene begeistern, die denken, dass sie all ihre Tricks kennen.
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For most of her career, the artist has been accused by critics of being enigmatic, evasive, or elusive in exhibitions such as the recent documenta, or earlier at the 1999 Biennale di Venezia, where she represented Germany. Trockel may be the ultimate trickster, but her latest and most significant contribution to the art world, on view in New York, is likely to stop you in your tracks. Rosemarie Trockel: A Comos is a stunning and disturbing exhibition that began in Madrid at the Reina Sofia and travels next to the Serpentine in London before concluding at the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland in Bonn.
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Im Rahmen des Projekts Intermedia 1969 in Heidelberg waren die Projektionen beinahe als Performance zu begreifen. Knoebel fuhr mit einer auf ein Wohnmobil fixierten Lichtkanone durch die Stadt und warf eine rechtwinklige Kreuzform, ein X, an Häuserwände, um es dann zu fotografieren.
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With the works in which he projected lines on the walls of interior rooms, it was important for Knoebel that these rooms were not darkened, but that the projection was only visible peripherally. In the project Intermedia carried out in Heidelberg in 1969, the projections could almost be viewed as a performance. Knoebel drove through the city in a camper to which a light cannon was attached projecting a right-angled X shape on the walls of buildings and then photographed it. He uses the same shapes in the projections - distorted squares or crosses - that appear again and again in his other work, for example in 24 Farben für Blinky. The fact that he repeatedly returned to this theme may have to do with his rejection of the imitative function of art, with Malevich's credo that the expressive power of a work should be based solely on its color and form.
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In seinem berühmten, im selben Jahr im Kunstmagazin Artforum erschienenen Essay American Painting and the Cold War warf der Kritiker Max Kozloff die Frage auf, ob die neue Strömung ihren Vormarsch dem Verlust gesellschaftlichen Selbstvertrauens und der Sehnsucht nach nostalgischen Sinnbildern amerikanischer Lebensart zu verdanken habe.
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Why does this still matter? It matters because when Photorealism first appeared, there were vehement arguments as to whether it represented artistic progression or retrenchment. Politically it emerged in the wake of the Vietnam War and the United States' humiliating withdrawal beginning in 1973. Critic Max Kozloff provides a well-known example of this argument in his May 1973 Artforum essay American Painting and the Cold War. Did the movement's advance reflect a loss of confidence, a retreat into nostalgia for Americana? Many writers in the 1970s, for example Sam Hunter and John Jacobus, saw Photorealism against the background of 1930s, Depression-era American realism (Precisionism and Regionalism), when the nation had withdrawn into semiisolationist introspection.
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Er prägte den Begriff vom Futtertrog-Sozialismus und warf den kommunistischen Konzepten ihren Materialismus und Utilitarismus vor, der zu kurzsichtig am Gegenständlichen klebte und die Möglichkeiten, darüber hinaus zu gelangen, verbaute.
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Yet for Malevich, Suprematism was never a matter for art alone. In his texts and speeches, he quickly assumed a critical position towards the Communist Party and their backwards-looking idea of art, their authoritarian structures, their demand for representation. He coined the term "feeding-trough socialism" and criticized the communist concepts for their materialism and utilitarianism, which adhered short-sightedly to the representational and barred all possibilities for going beyond it. In the process, he fought with the constructivists, who in his opinion took too much recourse to utilitarianism. Malevich assumed an important role in opposition to the party's cultural policies, one which was only, however, capable of assembling on the theoretical battlefield between art theories. For this reason, his charismatic effect in lectures and his nearly messianic manner not only earned him adherents and recognition, but increasingly a mistrustful scrutiny, as well.
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"Weil das Studio direkt am Meer lag, warf ich die Arbeiten ins Wasser. Vielleicht sorgte der Zwang, die Skulpturen wegwerfen zu müssen, dafür, dass mir ihre Dauerhaftigkeit nicht so wichtig war. Ich weiß es nicht mehr genau."
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Minimalism's reduced formal language fascinated her already as a young artist, Erkmen says. Born 1949 in Istanbul, where she began studying art in 1969, she was initially trained as a classical sculptress, although she was far more interested in contemporary artists like Robert Morris and Richard Serra. As soon as her professors graded them, she got rid of the sculptures she made. "I had no room to store them anywhere," Erkmen recalls. "Because the studio was situated directly by the sea, I threw the works into the water. Perhaps the fact of having to discard the sculptures resulted in permanence becoming less and less important to me. I don't really know anymore." In any case, she learned to distance herself from the materiality of her art.
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Obwohl dessen vom russischen Konstruktivismus geprägten Arbeiten in diametralem Gegensatz zu seinen eigenen Positionen standen, nahm ihn Beuys in die Klasse auf. In der Fotoserie, die in Ahlen zu sehen ist, hält Knoebel seine Projektionen fest - reduzierte Formen aus Licht, die er an nächtliche Hausfassaden warf.
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For many of his students Beuys' person was far more important than his actual work. "We needed someone who was searching, just like we were. We were looking for extremes," Imi Knoebel explained. Although Knoebel's work was heavily influenced by Russian Constructivism and diametrically opposed to his own, Beuys admitted the him into his class. In a series on view in Ahlen Knoebel recorded Knoebel's projections, reduced forms of light that he shone onto building facades at night. And although Beuys was skeptical of Immendorff's Maoism-influenced paintings, he encouraged him to find new ways of seeing things. For instance, the realization that "painting has a processual aspect to it" was like an "eye opener" to the artist. Immendorff's Biennale series (1976) still exudes the spirit of the student protests of the late 1960ties; Immendorff recorded the events of the week in journal-like form. Protest march on Thursday; poster action on the Biennale and a conspiratorial meeting on Friday: agitprop in the wall newspaper style.
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"Joseph Beuys war für Deutschland - und vielleicht für ganz Westeuropa - das, was Andy Warhol für die Vereinigten Staaten war: ein Leuchtturm, der sein Licht auf die Kunst der zweiten Hälfte des vergangenen Jahrhunderts warf. Aber anders als Warhol ist Beuys kein wirklich populärer Künstler."
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"Joseph Beuys (1921-1986) was for Germany-and maybe for all of Western Europe-what Andy Warhol was for the United States: the lighthouse artist, the one who shed light upon the contemporary art of the last half century. But unlike Warhol, Beuys is not a truly popular artist." This statement by Daniel Molina in the daily paper La Nación did not hold true, at least in terms of the great rush to see Beuys and Beyond: during the six weeks of the show, over 75,000 visitors flocked to the Centro Cultural Recoleta in Buenos Aires. The exhibition, which presents works by Joseph Beuys and his students in dialogue with contemporary Argentinean art, turned out to be a real success with the public. In his review, Molina summarizes it thus: "To juxtapose diverse works of so many artists has an extraordinary and complex effect. It is an exhibition that demands visitors spend time on the art in detail, to enjoy the dialogues between the various works and to discover the counterpoints involved." In the same newspaper Daniel Sander remarks on the show's concept: "What makes the exhibition so fascinating is the idea of exhibiting works by Pablo Siquier, one of the most recognized Argentinean contemporary artists, together with works by his students. In this way, two artistic worlds become visible, as well as two times: modern classics from Germany and future classics from Argentina."