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Phillis Wheatley, Dichterin und Sklavin, musste 1772 vor einer Kommission von Bostoner Honoratioren glaubwürdig machen, das sie tatsächlich die Autorin ihrer Lyrik war - nach damaligem wissenschaftlichen Erkenntnisstand galt es als ausgeschlossen, dass Afrikaner mit dem natürlichen Potential zu kreativen Leistungen ausgestattet sind.
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For centuries, the African American struggle for freedom was tantamount to demanding equal status as human beings and inclusion in the all-American pursuit of happiness. This appeal to the Enlightenment's humanistic ideals was never without irony, since Africans, in the Enlightenment's celebration of the individual, more often than not were relegated to the lower ranks of humanity, if not excluded altogether. Among the men who signed the American Declaration of Independence in 1776, which announced that "all men are created equal," were slave owners. In 1772, Phillis Wheatley, poet and slave, was called before a committee of Boston honorary citizens to prove that she was indeed the author of her writings; according to the science of the day, Africans possessed no creative capacities. In 1955, a brave woman named Rosa Parks jump-started the Civil Rights Movement by claiming the right to take any seat in a public bus, race notwithstanding. Still, up until November 2000, the state of Alabama, home to Martin Luther King and Rosa Parks, had a law prohibiting interracial marriages.
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Bis vor kurzem galt in New York die verschärfte Form des Code Orange - der Code Orange Plus. Im Herzen des Finanzbezirks, nur einen Steinwurf entfernt von Ground Zero , leitet ein raffiniertes System von Absperrgittern mit Digitalkameras ausgerüstete Touristen vorbei an wetterfesten Kontrollstationen und Nationalgardisten.
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Until recently, it's been Code Orange Plus in New York. At the heart of the Financial District, inches away from Ground Zero, a subtle arrangement of barriers, weather-proof check-points and National Guards give way to a gaggle of tourists armed with digital cameras. Elsewhere, the extended anxiety of a post -9/11 world is carefully tucked away, rarely mentioned except when the TV stations cart out the code signals, just in time to remind us that the world is not yet quite at peace.. In New York, talk circles around the selection of the official memorial: is it really that bad? Is it really that good? The Mayor does what he can to settle tensions between the families of the victims and the families of the rescuers, each of whom want separate forms of recognition. It's an argument that ignores the fact that destruction is not selective and that New York, in any case, is certainly mending.
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Zugleich galt für uns aber auch das berühmte Statement des britischen Soziologen Stuart Hall: "Ein schwarzer Mann, der mit einer schwarzen Kamera fotografiert, macht nicht notwendigerweise eine gute Aufnahme."
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The 1980s also coincided with the rise of the academy in photography and a critique of the kind of documentary work that had emanated from the Family of Man tradition. The "otherness" of subject matter fell into theoretical and political disrepute. Of course, this applied to us as well, and as Stuart Hall once famously remarked, "a black man using a black camera doesn't necessarily make a good photograph." When I finally began to take a series of research trips to India, what I found was a great deal of commercial and editorial photography-and very little of the critical kind. The academy hadn't reached here as yet. Role models and mentoring were the order of the day. In the mid-century it had been Cartier-Bresson and his agency Magnum, which lives on in the work of Raghu Rai. Later, interventions came from the US: Mary Ellen Mark, Mitch Epstein, and even Lee Friedlander. Young Indians left the country in search of a photographic education. Many went to the US, instead of the more traditional British schools.
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"If I can make it there, I'll make it anywhere." Was für Frank Sinatra galt, gilt auch heute noch - auch für die vielen Künstler, die jedes Jahr versuchen, in New York Fuß zu fassen. Doch das ist gar nicht so einfach.
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"If I can make it there, I'll make it anywhere." What applied to Frank Sinatra still applies today for many artists who year after year try to get a foothold in New York. It is a tall order. "For an artist, New York is a fantastic opportunity with its high energy and cultural variety. However at the same time it is also intimidating for a new comer. It is a hard trip to go through If someone is not already integrated through a school or close friends," explains Anna Pasztor. Or if they have a mentor. Pasztor, a Hungarian multi-media artist, trained dancer and choreographer, has benefited from an innovative program offered by the New York Foundation for the Arts (NYFA). As mentors, NYFA Fellowship winners help non-American artist mentees to get connected in the New York art scene. And they support these practicing artists in concrete ways. For example, they help them write applications for grants in English, prepare their portfolios or statements, and give tips about where to procure materials for their work. Together with NYFA, Deutsche Bank Americas Foundation piloted the Mentoring Program for Immigrant Artists and funded it from the very beginning.
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Die flüchtigen Zeichnungen, Wörter und Diagramme veranschaulichen Beuys’ Lehrtätigkeit ganz unmittelbar – als fließender Prozess, der Diskussionen und Denkvorgänge initiiert. Nur selten gab der Professor seinen Studenten konkrete Aufgaben. Stattdessen galt es, eigene Inhalte, Ziele und Lösungswege zu finden.
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At the same time, Beuys is interested in more than theory and action. "It is often maintained that in my class everything is only conceptual or political. But I put the greatest value on something coming out of it that is sensuously accessible according to the broad principles of the theory of recognition," he says in 1972 in an interview with Georg Jappe. "The most important thing to me is that people, by virtue of their products, have experience of how they can contribute to the whole and not only produce articles but become a sculptor or architect of the whole social organism. The future social order will take its shape from compatibility with the theoretical principles of art."The Minneapolis Fragments from the Deutsche Bank Collection also show how much his teaching methods are based on these theoretical principles. The series was made in 1974 on the occasion of a lecture he gave at the university there. The fleeting drawings, words and diagrams lend immediate visual form to Beuys' teaching – as a process in flux that sets discussions and thought processes into motion. The professor seldom gave his students concrete assignments. Instead, it was a matter of finding one's own personal content, one's goals, and the paths one needed to take to attain them.
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Aus dem Städtischen Museum Skopje lieh sich der Künstler dafür Tanges großes, historisches Architekturmodell - zur visuellen Ergänzung seiner Zeichnungen und als Sinnbild dessen, was einst als Zukunft galt.
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The factual and the latitude of fiction: numerous artists, especially of the younger generation, have addressed this topic. Since the fall of the Berlin Wall in 1989, the cities in Central and Eastern Europe have been continually remodeled. The transformations usually result in the disappearance of buildings with a socialist or post-socialist influence, with which the artists in Sofia, Riga, Vilnius or Dresden grew up. But the new urban planning according to western patterns doesn't just raise questions about their aesthetic legitimacy. Ultimately, they supplant any other view of the world. Thus, the building of cities becomes a question of power, and architecture becomes an instrument of ideology. Yane Calovski, who, with his recent project Ponder Pause Process at the Tate Britain dealt with that museum's warehouse in order to analyze structures of collecting and conservation, shares that view. The artist began his research in 2004, when the Macedonian government wanted to sell centrally-located plots of land in the city in order to create space for - among other things - a new United States embassy. Master Plan, a continuous conceptual work, was part of the exhibition The Rest of Now, at the 7th Manifesta in 2008 in South Tyrol. For that show, the artist borrowed Tange's large, historical architectural model from the Museum of the City of Skopje - as a visual complement to his drawings, and as a symbol of what was once seen as the future.
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Die Bedeutung von Kunst für die Gesellschaft, die Beuys immer wieder betonte, spiegelt sich auch in der Entstehung der Sammlung Deutsche Bank Ende der siebziger Jahre. Beuys berühmte Formel "Kunst=Kapital" galt auch hier.
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Art’s meaning for society as Beuys stressed it again and again is also reflected in the birth of the Deutsche Bank Collection in the late 1970s. Beuys’ famous formula "Art = Capital" also applies here, but not in the sense that the art is regarded as a decorative investment for the upper floors of the board. As the motto "Art at the Workplace" expresses, the collection’s founders were committed to enabling people to have a direct encounter with contemporary positions outside the established institutions, such as museums or galleries. Art is cultural capital that should benefit all staff members, visitors, and the public. Beuys’ great significance for the collection is also manifested in the top floor of one of the twin towers in Frankfurt, which is dedicated to the artist. The main focus of interest is his drawings, a medium of key importance both for Beuys and for the collection. Beuys regarded drawing as "an extension of thought" that directly reflects the creative process.
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Neben Gerhard Richter galt Polke als bedeutendster deutscher Maler der Gegenwart. Gemeinsam hatten sie in ihrer Zeit an der Düsseldorfer Kunstakademie 1963 den "Kapitalistischen Realismus" proklamiert.
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Gerhard Richter and Polke were considered to be the two most important German contemporary painters. In 1963, during their time at the Dusseldorf art academy, they called "Capitalist Realism" into being. Both had fled from the GDR, both had reacted in their work to the Socialist Realism propagated there, but also to Informel, the West’s abstract answer to the artistic doctrine of the East. They developed a quintessentially German version of American Pop Art and used it to poke fun at the stuffiness of the Adenauer years. Instead of Brillo boxes, Polke adapted motifs from German housekeeping magazines, and instead of working with silkscreen, he painted his screened images by hand, dot by dot. From the very beginning, quotations in motif and style played a key role in his work. He reworked media imagery, illustrations, and comics, portraying the post-war German "economic wonder" aesthetic with its flamingos, leopard skin patterns, and palm trees on cheap fabrics; he provided subversive commentary on bourgeois desires.
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Im Vergleich zu seinen Kollegen galt er als eine Spur ironischer, rotziger, gar skrupelloser - mehr dem Geiste Kippenbergers oder dem kühlen Neo-Pop von Michel Majerus verpflichtet als der Aufarbeitung gesamtdeutscher Befindlichkeiten.
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And the different levels in his works look sampled as well. With a mix of styles, of themes, of high and low, with a touch and a boldness like the Old Masters, Martin has had a strong impact on the image of young German painting, with only very few other artists of his generation having as much of an influence. Along with the "New Leipzig School" and stars such as Tim Eitel and Norbert Bisky, his name was always mentioned in connection with the hype of new figuration. Still, Martin occupied a kind of loner position. He was regarded as being a bit more ironic, snotty, and unscrupulous than his fellow artists - more committed to the spirit of Kippenberger or the cool Neo-Pop of Michel Majerus than to coming to terms with pan-German sensitivities. He is a conceptual painter, he emphasizes repeatedly, as though he wants to give his work a stringency that one might deny. Indeed, at first glance Martin's paintings look like anarchic, excessive pictorial narratives. His dictum that "We're in a supermarket and I'm filling up the cart" is continually cited. In the paintings he executed since the late 1990s, girls wearing baby dolls or miniskirts bustle about in surreal compositions consisting of logos, paint smears, sunsets, design fragments, and comic figures. Martin zaps from media images and set pieces of mass culture to citations from art history. He virtuously conjures up the coloring, motifs, and style of his painter heroes from the last century, ranging from Cranach via Rembrandt, Velasquez, and Goya to Picasso and Balthus.
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