yorks – -Translation – Keybot Dictionary

Show text Show cached source Open source URL	Den Geheimnissen New Yorks auf der Spur: "Waterworks" in der Lobby Gallery
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain	Discovering New York's Hidden Underworld: "Waterworks" in the Lobby Gallery

Schließlich ist Cai Guo-Qiang eine "fixe Größe im internationalen Kunstbetrieb" und "sehr beliebt auf dem Rummelplatz der Biennalen" – so Harald Fricke in seinem Vorabbericht zur Ausstellung in der taz. Zusammen mit ausgewählten Kollegen aus Deutschland konnte er die Entstehung einer Schießpulverzeichnung miterleben – im Atelier des Künstlers vor den Toren New Yorks.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

Prior to the show, the expectations for Head On ran high. After all, Cai Guo-Qiang is an established name in the international art establishment and "highly popular in the carnival of biennials," as Harald Fricke put it in his preview of the exhibition in the taz. Together with a number of selected colleagues from Germany, he was invited to experience the making of a gunpowder drawing in the artist’s studio outside New York City. Cai’s "alchemy Pop," however, reminded Fricke of "sulfurous, expressionist graffiti," while his fireworks and fabulous creatures – "a mixture between New-Age ambience and higher spirituality" – came across like "local customs on a globalized level." Yet despite this, Cai’s "tribute to his homeland is more than just a coy stylization," because the work also reflects the abrupt transitions in the biography of an artist who left his native China only to "watch the massacre on Tiananmen Square on TV during a travel grant to Japan. … Revolting against the system is another way of remaining true to one’s cultural roots." Yet in an exhibition review two months later, Fricke complains of the "conceptual deficit" of the installation at the Deutsche Guggenheim. To his mind, the symbolism of the wolves and the glass wall, the references to the exhibition location remain "puzzling". "In his involvement with Berlin’s past, Cai apparently never progressed beyond a few vague associations."

db-art.info

+++ Die Pforten zu New Yorks Unterwelt finden sich hinter Backsteinfassaden von Pumpstationen, Schachteinstiegen, oder unter den Strassen Brooklyns: Oliver Koerner von Gustorf berichtet über den Fotografen Stanley Greenberg, dessen brillante schwarz-weiß Aufnahmen vom Wassersystem der Millionenstadt in der Lobby Gallery zu sehen sind.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

After last month’s issue was dedicated to New York as the melting pot of a variety of art movements from both the old and new worlds, the city on the Hudson River is once again at the center of our current theme. This time, however, it’s under the sign of the painter and sculptor Richard Artschwager, one of the greatest American contemporary artists: “Back and Forth/Up and Down” is the title Artschwager has given his current show at the Deutsche Guggenheim. Through July 6, 2003, over 40 drawings, sculptures, paintings, and multiples dating from 1965 to 2003 can be seen in Berlin. Cheryl Kaplan visited Richard Artschwager in his New York apartment and interviewed him exclusively for db-art.info. Their lively discussion carried on for more than two hours, and the author even managed to find out what the artist is planning on telling Britney Spear’s parents. +++ For the New York-based director and artist Robert Wilson, “drawing is a way of thinking.” Cheryl Kaplan introduces his works from the collection of the Deutsche Bank and investigates what role drawing has played in the busy cosmopolite’s oeuvre, whose Büchner musical “Leonce and Lena” has just premiered in Berlin. +++ The gates to New York’s underworld can be found behind the brick facades of pumping stations, in shaft entranceways, or under the streets of Brooklyn: Oliver Koerner von Gustorf reports on the photographer Stanley Greenberg, whose brilliant black and white photographs of the city’s water system can be seen at the Lobby Gallery.

Ist der Ruf New Yorks als Kunstmetropole unbestritten, scheint Hongkong eher als boomender Wirtschaftsraum im kollektiven Bewusstsein verankert zu sein. Doch die Stadt am Pearl River hat sich mit erstaunlicher Geschwindigkeit zu einem der wichtigsten Kunstzentren Asiens entwickelt.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

While New York is indisputably a major art center, Hong Kong is primarily anchored in the collective consciousness as a booming economic zone. But the city on the Pearl River has developed into one of Asia's most important art hubs at an astonishing speed. Today, based on auction proceeds, Hong Kong is the world's third-largest art market. Important galleries such as Gagosian, White Cube, and Perrotin have opened branches here in the last few years. And Pearl Lam, who has championed Chinese art outside of the political pop cliché for around 20 years, has returned with her gallery to her home city. In addition to her spaces in Shanghai and her foundation in New York, she has resided in the Pedder Building since last year. The neoclassical building, one of the few historic edifices remaining in the center of the city, also houses Gagosian, Ben Brown, and, since March of this year, Lehmann Maupin. The gallery opened its new premises with an exhibition devoted to the Korean artist Lee Bul.

Angesichts dieser Betriebsamkeit ließe sich durchaus behaupten, dass die Lobby Gallery - an einer derart exponierten Stelle gelegen - sicherlich mehr Besucher als die großen Museen New Yorks verbuchen kann.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

For its part, the Deutsche Bank Lobby Gallery in Midtown Manhattan is currently showing the exhibition Dreamspaces/Entresuenos (more here). Situated between Fifth and Sixth Avenues, the twenty-nine-story building of Deutsche Bank is accessible from 52nd and 53rd streets. Many pedestrians use the passageway as a welcome shortcut set off from the noise of the street. In addition, there are the approximately 3,500 employees passing through the rattling turnstiles in the entrance area each day, signalling the beginning of the working day, lunch break, and quitting time. In the face of this bustling activity, one could safely say that The Lobby Gallery, situated as it is in such an exposed place, regularly receives more visitors than New York's largest museums. In the final analysis, it can be assumed that every employee, passerby, guest, or client takes a look at the works exhibited, just as the numerous art enthusiasts in The Lobby Gallery of Deutsche Bank do. And with Dreamspaces/Entresuenos, taking a closer look is well worthwhile. Guest curator Holly Block is presenting over twenty works by twelve Latin American artists who live and work in the United States. Dreamspaces are the blueprints of an imagined architecture, visions of interior and exterior spaces, surreal landscapes of the imagination.

Anfang der Achtziger, als die Five Boroughs von New York von einem dichten Netz Graffiti-Signaturen überzogen war, als Zeitungen Geschichten über bekannte Sprayer wie Taki 183 veröffentlicht und die Fotografen wie Henry Chalfant die vollgetaggten U-Bahn-Züge New Yorks festhielten – als das subkulturelle Phänomen Graffiti also kurz davor war, ernsthaft mit einem Sprung über den Atlantik nach Europa anzusetzen, entwickelte sich der Begriff "Street Art" als Beschreibung für eine spezielle Untergattung der Sprühkunst.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

So, are we looking at the next big sell-out of an urban sub-culture—a culture that, in its temporary occupation of urban space, has always had a turbulent understanding of the concept of private property? The big street art market offensive can't be explained quite this easily, because the scene was never really homogenous. In the early eighties, when the five boroughs of New York City were covered by a dense sprawl of graffiti tags; when newspapers starting printing stories about well-known graffiti artists like Taki 183 and photographers like Henry Chalfant documented the graffiti-covered subway trains of New York—when the subcultural phenomenon of graffiti was about to take a serious leap across the Atlantic towards Europe, the term "street art" was coined in reference to a special sub-genre of spray-paint art. The Briton John Fekner, who with his slogans and sprayed dates was one of the pioneers of this movement, recalls the scene's skepticism towards the new label in the book Street Art — The Graffiti Revolution: "We laughed at the term "street art". If you had a degree, you did "street art" as opposed to graffiti."

db-art.info

Wordsearch tastet die hybriden Oberflächen der Sprachlandschaft New Yorks ab: Auf vier Doppelseiten des Wirtschaftsteils der Zeitung, an einer Stelle also, die sonst täglich Börsennotierungen und Aktienkursen vorbehalten ist , ordnen sich in Kolumnen Wörter aus 250 in New York gesprochenen Muttersprachen, von denen jeweils eines - stellvertretend für die gesamte, hier buchstäblich "zu Wort kommende" Sprache - von einem in New York lebenden "Native Speaker" beigesteuert wurde.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

Her work of art, which she calls a "translinguistic sculpture," will be printed on October 4, 2002 in the New York Times. Wordsearch explores the hybrid surfaces of New York's linguistic landscape: on four double page spreads in the newspaper's business section, and thus in place of the daily share quotations and stock prices, words from 250 mother tongues spoken in New York are arranged into columns, each one having been donated by a native speaker living in the city and representative of the entire respective language, which has an opportunity to "get a word in" here in a literal sense. Each word, whether personally meaningful or particularly characteristic of the "donor's" culture, is in turn translated into every other language spoken in New York. The filigree web of text arising out of this and covering the pages of the newspaper may be read as a kind of dictionary – the result of a research project in linguistic anthropology. At the same time, however, it works as an abstract image: even at a short distance from the page, it resembles an information matrix difficult to comprehend and comprised of a pattern of lighter and darker grays.

In den Straßen New Yorks fotografiert sie heimlich die Hinterköpfe von Passanten: Die Frankfurter Künstlerin Tamara Grcic zeigt Close ups einer Körperregion, die für einen selbst nur per Spiegel sichtbar ist.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

On the streets of New York, she secretly photographs the backs of pedestrians’ heads: Frankfurt-based artist Tamara Grcic shows close-ups of an area of our bodies we can only see in the mirror. Hair curls wildly over necks and spills over collars. The artist films the backs of boxers training with a sack of sand – close-up, showing only the play of muscles beneath skin glistening with sweat, accompanied by the sound of the men groaning and their blows hitting home. Or she shows a young Romany man playing accordion before a backdrop of Frankfurt’s skyscrapers. His melancholic "gypsy melodies" form an acoustic antipode to the cool financial towers rising high into the sky behind him. With her photographs, films, and installations, Tamara Grcic isolates parts of reality and succeeds in winnowing out a new, often poetic presence.

Post-Minimal, Femministische Kunst, die Pictures Generation - obwohl sich die Kunstszene New Yorks gerade in einer aufregenden Umbruchsphase befand, als das New Museum 1977 eröffnete, war es doch noch relativ einfach, die Medien, mit denen Künstler arbeiteten, voneinander zu unterscheiden.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

Post-Minimalism, Feminist Art, the Pictures Generation: if art was in a thrilling tumult of change when, in 1977, New Yorks New Museum first opened its doors and started collecting, it was at least fairly easy to tell one medium from another. But its surely a mark of how extensively art has changed and grown since the late seventies that Daria Martins new project, Minotaur, takes on several media at once. Its a film, first and foremost, but its also concerned with Rodins bronze Minotaur of 1886. Watercolors of writhing figures appear during its title sequence; as they disappear, a choreographer and two dancers come into view. It is as though the new art had, like the Minotaur itself, become a monsterboth man and beast.

"Es ist ein typisches New Yorker Problem", so Amrhein, "in der Stadt wird viel für Museen getan, und auch mit Sammlungen sind wir gut ausgestattet. Nur für die Künstler, die in der Stadt leben, gibt es keine Förderung. Dabei sind sie es, die den Boden für den Ruf New Yorks als Kunstmetropole bereiten. Auch wenn wir als Galerie keine Unterstützung erhalten, werden wir deshalb natürlich weitermachen. Aber ich werde mir noch einmal überlegen, ob ein neues Konzept her muss. Zunächst werden die Files nach dem Rotationsprinzip fortgeführt, das heißt, für neue Künstler muss ich ältere Arbeiten herausnehmen. Das war zwar nicht die Absicht, als wir damit begonnen haben, aber mittlerweile melden sich selbst Künstler aus dem Ausland, die in unser Verzeichnis aufgenommen werden wollen, da muss ich entsprechend handeln und selektieren."

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

The collection’s growth, however, has also brought Amrhein close to his own limitations. As a non-profit gallery, he isn’t in a position to employ assistants to keep the vast number of portfolios up to date on an ongoing basis or to look after the conservation and care of the drawings. “It’s a typical New York dilemma,” according to Amrhein, “that so much is done for the city’s museums – we also have a good number of collections here. But there’s no support for the artists who actually live in this city, and yet they’re the ones who form the basis for New York’s reputation as an art metropolis. That’s why we’ll continue doing what we do, of course, even if we, as a gallery, receive no support. But I’ll have to think about whether we need to come up with a new concept. At first, the files will be continued according to a rotating principle, which means that older works have to be taken out to accommodate new artists. That wasn’t the original intention when we began, but artists have already begun getting in touch with us from abroad who want to be part of the list, and so I have to act – and select.”

Das visuelle Vokabular von Os Gêmeos ist überbordend und mitreißend: Die Inspirationen für ihre knallbunten, mit gelben Figuren bevölkerten Wandbilder oder riesigen, wie Zimmer möblierten Köpfe sind ebenso Träume wie alltägliche Eindrücke. Das urbane Chaos New Yorks, die Volkskunst, Farben, Muster und Mythologien Brasiliens - all das absorbieren Os Gêmeos für ihre surrealen Bilder und Installationen.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

"Graffiti art in the Rococo phase" is what New York Times critic Roberta Smith called the works of Os Gêmeos (The twins). This August, the Institute of Contemporary Art (ICA), Boston, presents the work of the Brazilian brothers Otavio and Gustavo Pandolfo in their first U.S. solo museum show, sponsored by Deutsche Bank. Like Banksy and Shepard Fairey, these so-called street artists have made the leap into established museums. They have been working on their fantastic, imagistic world since 1987, which bounces high against low and speaks both to the art world and the average member of the public. Os Gêmeos's visual vocabulary is exuberant and irresistible: dreams and everyday impressions inspire its colorful murals, populated with yellow figures, or huge installations of heads that are furnished like rooms. In these surreal paintings and installations, Os Gêmeos absorb everything from New York's urban chaotic energy to folk art, bright colors, patterns, and Brazilian mythology. The brothers photograph people in their surroundings and then immortalize them in their works: kids and artists from São Paulo's graffiti scene, musicians, carnivals, and processions.

Neben den bereits erwähnten Künstlern fallen vor allem die im Executive Floor konzeptionell intelligent zueinander in Bezug gesetzte Bilder, Skulpturen und Fotografien von Roy Lichtenstein und Blinky Palermo, Günther Förg und Lawrence Weiner, Louise Nevelson und Irving Penn auf. Und bei den großzügig mit weiten Fenstern durchbrochenen Wänden ist der Blick auf die einzigartige Skyline New Yorks ein fester Bestandteil dieser außergewöhnlichen Kunstbetrachtung.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

Beyond this, the works presented in the building reflect the dynamics and internationalism of the New York location as the center of the art and financial worlds. Just as the bank's position itself has changed over the past decades, so too has the strategy underlying the acquisition policy. At the beginning of a new millennium, the market has become decentralized and the concept of art broadened. The collection's strength and credo, however, continues to remain bringing German and American post-war and contemporary artists into a creative dialogue with one another. Here, the list of artists represented reads like a "Who's Who" of the most important makers and pioneers of art. Along with the artists already mentioned, what also stand out are the paintings, sculptures, and photographs by Roy Lichtenstein, Blinky Palermo, Günther Förg, Lawrence Weiner, Louise Nevelson, and Irving Penn on the Executive Floor, where the works are hung intelligently and in clear conceptual reference to one another. And, on the walls generously supplied with wide windows, New York's unique skyline provides yet another component in this extraordinary setting for viewing art.

Neben solch formalen Experimenten nähern sich die präsentierten Künstler auch immer wieder der gesellschaftlichen Realität New Yorks an: In A Way In (2012) begleitet die Videokünstlerin Shelly Silver einen alternden chinesischen Homosexuellen bei seiner Rückkehr nach Chinatown und entwickelt dabei eine Topografie des Viertels und seiner Bewohner.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

Artist-curator John Silvis visited a number of studios and art spaces, particularly in the Bushwick neighborhood, and chose 19 artists from various generations. One feature that stands out is how often the artists work with handicraft and design. For the past 12 years, the brothers Steven and William Ladd have been creating their hyperaesthetic objects. The two collect items and pack them into artfully made boxes, which they then stack on top of one another to create towerlike sculptures. Along with conducting such formal experiments as these, many of the artists in the exhition address the social realities of New York: in A Way In (2012), video artist Shelly Silver accompanies an aging gay Chinese man on his return to Chinatown, sketching a topography of the area and its inhabitants. New. New York gives us not only a deliberately fresh look, but an alternative, empathic view of the city and its artists.

Auf der Suche nach der verlorenen Zeit: Ob Peter Doigs geheimnisvoll-melancholische Landschaftsbilder, Karen Kilimniks Impressionen des alten New Yorks oder der Hang aktueller deutscher Malerei zur neo-romantischen Idylle – in schwierigen Zeiten scheint die junge Kunstszene von der Hinwendung zu Stilen und Werten vergangener Epochen getragen.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

In search of things past: whether it's Peter Doig's mysteriously melancholic landscape images, Karen Kilimnik's impressions of old New York, or contemporary German painting's bent for the Neo-Romantic idyll - times are getting harder, and young artists have begun turning back to the styles and standards of by-gone eras. "Second Modernism" and "New Romanticism" are the catchwords currently used to describe this return to introspection, sensuousness, and visual opulence. Yet does quoting the past really testify to a nostalgic longing to flee from the world in search of ideals or the hope of rescue? Oliver Koerner von Gustorf on artistic strategies of repetition and remembrance.

Als diesjähriger Stipendiat des von der New York Foundation of the Arts und der Deutschen Bank vergebenen Architecture and Environmental Structures Fellowship stellt der Künstler seinen Werkkomplex vor, der die Wasserversorgung New Yorks fokussiert.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

Following Invisible New York – The Hidden Infrastructure of the City (1998), Greenberg's photo book Waterworks: A Photographic Journey Through New York's Hidden Water Systems has recently been published. The works collected in this new volume can currently be seen in the exhibition of the same name at Deutsche Bank Lobby Gallery in New York. As this year's recipient of the Architecture and Environmental Structures Fellowship, jointly awarded by the New York Foundation of the Arts and Deutsche Bank, the artist is introducing a body of work that focuses on New York's drinking water system.

In seinen Kurzgeschichten hat der US-Schriftsteller F. Scott Fitzgerald immer wieder ein Paradox der 20er Jahre beschrieben. Im Trubel und in der geschäftigen Hektik New Yorks sind die Menschen bei ihm so vollkommen eingeschlossen, dass sie vergessen, wie klein ihre Stadt doch im Vergleich mit dem restlichen Land ist.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

In his short stories, the American writer F. Scott Fitzgerald repeatedly described a paradox of the 1920s. His characters are so locked into the everyday frazzle and hubbub of New York that they forget how small their city really is in comparison to the rest of the country. On the other side of the Hudson River lies an entire continent that was discovered and annexed in degrees over the course of centuries. This is why, even for the dandy that Fitzgerald was, real America begins beyond the Big Apple; that's where the free land lies, as it did in the time of the great natural philosopher Henry David Thoreau (1817-62), the land that New Yorkers caught in the daily survival grind never experience. For them, the city is the center of the world, even if it amounts to no more than a tiny appendage on a mammoth continent.

Sie bedeutete das Ende seiner Tätigkeit für das Nobelkaufhaus und war zugleich sein furioser Einstieg in die Galerienszene New Yorks: Die von ihm zusammengestellte Krippenszene vereinte das japanische Merchandising-Wunder "Hello Kitty" als neugeborenes Jesuskind, Bart Simpson in der Rolle der heiligen drei Könige und die schwangere Madonna Ciccone als Jungfrau Maria.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

Tom Sachs is considered to be someone with a reliable sense of irony and timing: the Christmas decoration he designed for a storefront window at Barney's in the winter of 1994 unleashed a veritable scandal. It marked the end of his affiliation with the prestigious department store and simultaneously paved his way with bravado into New York's gallery scene. The Nativity scene he constructed combined the Japanese merchandising wonder "Hello Kitty” as the newborn Christ Child, Bart Simpson in the role of the Three Wise Men, and a pregnant Madonna Ciccone as the Virgin Maria.

Lange Zeit bildete sich die Bedeutung New Yorks als vielleicht wichtigstem Produktionsort für Gegenwartskunst nur in den Museen, Galerien und Ateliers ab. Die Messen dagegen spiegelten den Stellenwert der Stadt für die internationale Kunstszene nicht wirklich wieder.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

For a long time, New York's position as perhaps the most important place of production for contemporary art was attested to only in museums, galleries, and studios. New York's art shows did not really reflect the city's significance for the international art scene. That has changed. The significantly streamlined Armory Show, the Art Show of the Art Dealers Association of America (ADAA), the Independent established in 2010, and of course the Frieze ensure that New York's art shows are in keeping with the city's role as a cultural capital of the world.

Die Pforten zu New Yorks Unterwelt finden sich hinter Backsteinfassaden von Pumpstationen, Schachteinstiegen von Großbaustellen oder unter spiegelnden Wasseroberfläche eines Stausees im Umland: Während die meisten Fotokünstler das Leben in der Millionenstadt dokumentieren, indem sie die Menschen, Gebäude oder bekannte architektonische Wahrzeichen festhalten, richtet Stanley Greenberg sein Augenmerk auf eher entlegene Motive.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

The gates to New York's underworld are located behind the brick facades of pumping stations, in the tunnel entrances of large construction sites, or beneath the reflective surfaces of water reservoirs in the nearby countryside: while most artist photographers seek to capture people, buildings, or well-known architectural landmarks in order to document life in the big city, Stanley Greenberg's eye is directed to more remote motifs.

Show text Show cached source Open source URL	New Yorks Wassersystem ist in der Tat überwältigend: Täglich versorgt es über neun Millionen Menschen mit annähernd fünf Milliarden Liter (1.3 Billion Gallons) Wasser. Seine Aquädukte, Auffangbecken, Leitungen und Pumpstationen werden seit 1830 kontinuierlich ausgebaut, der jüngste Tunnelbau ist das weltweit größte städtische Bauvorhaben und wird nicht vor 2020 fertiggestellt sein.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain	Indeed, New York's water system is fairly overwhelming: each day, it provides over nine million people with nearly 1.3 billion gallons of water. Since 1830, its aqueducts, retaining basins, pipes, and pumping stations have been constantly expanded, while the latest tunnel construction, scheduled for completion in 2020, constitutes the largest municipal building project worldwide.

Show text Show cached source Open source URL	"Making it", die aktuelle Ausstellung in der 60 Wall Street Gallery der Deutschen Bank, zeigt Arbeiten der Teilnehmer des NYFA Mentoring Programs for Immigrant Artists 2008 und demonstriert gleichzeitig die nach wie vor immense Anziehungskraft New Yorks für die internationale Kunst-Community.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain	Twenty artists from eleven nations. "Making It," the current exhibition at Deutsche Bank's 60 Wall Street Gallery, features works by participants in the 2008 NYFA Mentoring Program for Immigrant Artists, demonstrating that New York continues to have an immense attraction for the international art community.

db-art.info

Show text Show cached source Open source URL	Täglich versorgt New Yorks Wassersystem über neun Millionen Menschen mit annähernd fünf Milliarden Liter Wasser. Der Fotograf Stanley Greenberg hat den Weg des Wassers in der Metropole dokumentiert. Oliver Koerner von Gustorf über Greenbergs Exkursionen, die auch kollektive Erinnerungen, Sehnsüchte und Ängste der Millionenstadt sichtbar machen.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain	Each day New Yorks water system provides over nine million people with nearly 1.3 billion gallons of water. The photographer Stanley Greenberg has documented the paths water takes throughout the metropolis. Oliver Koerner von Gustorf on Greenberg's excursions, which also shed light on the big city's collective memories, longings, and fears.

Ob sie den Wandel New Yorks festhält oder physikalische Phänomene, Abbotts Arbeiten dokumentieren die ganz selbstverständlich wirkende visuelle Kraft gekonnter Straight Photography. Sie selbst hat das bewährt lakonisch auf den Punkt gebracht: "Die Leute behaupten, sie müssten ihre Emotionen ausdrücken. Das hängt mir zum Halse raus. Fotografie bringt dir nicht bei, wie du deine Gefühle ausdrückst, sie bringt dir bei zu Sehen."

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

Whether she recorded the changes in New York or physical phenomena, Abbott's works document the self-evident visual power of highly skilled straight photography. She herself summed it up in her characteristically laconic way: "People say they have to express their emotions. I'm sick of that. Photography doesn't teach you how to express your emotions; it teaches you how to see."

Show text Show cached source Open source URL	New Yorks Wassersystem ist in der Tat überwältigend: Täglich versorgt es über neun Millionen Menschen mit annähernd fünf Milliarden Liter Wasser. Der Fotograf Stanley Greenberg hat den Weg des Wassers in der Metropole dokumentiert.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain	New York's water system is fairly overwhelming: each day, it provides over nine million people with nearly 1.3 billion gallons of water. The photographer Stanley Greenberg has documented the paths water takes throughout the metropolis. Oliver Koerner von Gustorf on Greenberg's excursions, which also shed light on the big city's collective memories, longings, and fears.

db-art.info

Auf dem im Internet präsentierten Material wird das Stadtbild New Yorks als Vielzahl unterschiedlicher Orte dokumentiert, die nicht nur von Hunderten hier gesprochener Sprachen durchdrungen werden, sondern auch mit ihren Worten übersät sind - auf Reklametafeln, Graffitis, Verpackungen, Firmenschildern, Hinweistafeln, auf T-Shirts, Speisekarten, Leuchtreklamen, Preisschildern, Buchseiten, Flugblättern, Schultafeln und Zeitungen.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

In the material presented on the internet site, New York is documented as a multiplicity of locales that are not only permeated by the hundreds of languages spoken there, but whose surfaces are also covered by their words - in the form of billboards, graffiti, packaging, company signs, information boards, T-shirts, menus, neon signs, price tags, book pages, flyers, chalkboards, and newspapers.

db-art.info

Show text Show cached source Open source URL	Als Reise durch die Makro- und Mikrokosmen New Yorks verbinden sich im Magazin fotografische Momentaufnahmen einer Weltstadt mit Beiträgen von deutschen und amerikanischen Autoren, wie dem Kolumnisten des New Yorker, Hilton Als, oder dem Kurator Hans Ulrich Obrist.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain	As a journey through New York’s macro and microcosms, the magazine combines snapshots of a major city with articles by German and American authors, such as the New Yorker columnist Hilton Als or the curator Hans Ulrich Obrist. Now, Karin Sander’s art work in The New York Times and the accompanying wordsearch magazine are available in a transparent case.

Denn die von der Deutsche Bank Stiftung geförderte Schau im Essl Museum liefert eine Bestandsaufnahme der aktuellen Szene, die sich in Brooklyn formiert hat. Doch es geht nicht nur um neue Trends oder die Bedeutung New Yorks als globaler Kunstmetropole.

Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain

Asked how she would explain her work to a stranger, Letha Wilson responded: "Sometimes I describe it as taking a beautiful landscape photograph and then punching it in the face." Indeed, her photo installation Rock Face (2011) in the exhibition New. New York looks as though a comet has fallen from the sky. A huge rock presses heavily into a photograph of a landscape panorama in the American West. The photo is bent inward, lending it three-dimensionality and almost palpable depth. In the work, Wilson paradoxically demonstrates both the limitations and unlimited possibilities of photography. Her installation, which can be seen immediately on entering New. New York, questions the borders between photography and sculpture. The show at the Essl Museum , supported by the Deutsche Bank Foundation, surveys current art making in Brooklyn. But it is not merely about new trends or New York's importance as a global art metropolis. The exhibition primarily shows how these artists experiment with media, materials, and genres to develop novel forms and formats. The spectrum of New. New York extends from painting and object-based art to conceptual installation and documentary film.