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sculpture [visual works] --- outdoor sculpture --- drawing [image-making] --- space [composition concept] --- Abstract [fine arts style] --- time --- wall pieces --- wood [plant material] --- Hall, Nigel --- Abstract [modern European style]
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Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual Art of the late sixties. Yet he does not see his own work as "conceptual." The "space" he works within is the entire cultural context. His works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more. Since his earliest days as a professional artist Weiner has given written and verbal expression to questions concerning his work and its context. The utterances (statements, interviews, lectures, conference contributions) have been collected together in this publication for the first time, and ordered chronologically. Taken as a whole they afford an insight both into a complex individual biography and into the wider development of art and culture and the challenge that this entails.
Weiner, Lauwrence --- Art --- Beeldende kunsten. --- Weiner, Lawrence. --- Weiner, Lawrence, --- Weiner, Lawrence --- Entretiens. --- Art conceptuel --- Artists --- Conceptual art --- Written works.
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Aeronautics, Commercial --- Airports --- Air travel --- Industrial design --- 660/180 --- 745 --- design --- luchtvaart --- luchtvaartgeschiedenis --- Vitra Design Museum --- (069) --- 749.04 --- Kostuums ; uniformen ; vliegtuigmaatschappijen --- Luchthavens ; vliegvelden ; vliegtuigen --- Tentoonstellingscatalogi ; Weil am Rhein ; Vitra Design Museum --- Thema's in de grafische vormgeving ; rond luchtverkeer --- Thema's in design en architectuur ; luchtverkeer --- Design, Industrial --- Mechanical drawing --- New products --- Design --- Routes of travel --- Communication and traffic --- Transportation --- Travel --- Voyages and travels --- In-flight entertainment systems --- Aerodromes --- Air fields --- Air parks --- Air ports --- Airdromes --- Airfields --- Airparks --- Aeronautics --- Air service --- Air transport --- Air transportation industry --- Air transportation system --- Civil aeronautics --- Civil aviation --- Commercial aeronautics --- Commercial aviation --- Equipment and supplies --- Design and construction --- History --- luchtvaart - overige onderwerpen --- CAD, design en industriële vormgeving --- (Musea. Collecties) --- Meubelkunst en design ; iconografie, thema's --- Passenger traffic --- Exhibitions --- Engineering sciences. Technology --- Transport. Traffic --- Architecture --- Applied arts. Arts and crafts --- architecture [discipline] --- design [discipline] --- interior design --- airports --- airplanes
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Life Portrait, Hannah Höch's last extensive photocollage, was created in 1973. This visual autobiography is the largest collage ever created by the artist. The artist provides rare insights into her work and her personality. She also ironically and poetically comments on the key political, social, and artistic events in her life. Hannah Höch selected 38 sections of the collage. These sections of the collage are complemented by explanatory texts and numerous quotations.
Artists --- Collage --- Art, German --- 7.07 --- Beeldende kunst ; 20ste eeuw ; Hannah Höch --- Dadaïsme --- Dada --- Collages --- Fotocollages --- Kunst ; van vrouwen ; 20ste eeuw --- Hoch, Hannah ; autobiografisch werk --- Kunst en maatschappij --- Kunst en politiek --- Kunst en feminisme --- Hoch, Hannah 1889-1978 (°Gotha, Duitsland) --- Art --- Found objects (Art) --- Handicraft --- Montage --- Art, Modern --- ABR-Stuttgart (Group of artists) --- Bewegung Nurr (Group of artists) --- Blaue Reiter (Group of artists) --- Blaue Vier (Group of artists) --- Die Sieben (Group of artists) --- Ellipse (Group of artists) --- Gruppe Kranich (Group of artists) --- Künstlergruppe Chemnitz --- Neben E1N Ander (Group of artists) --- Pathetiker (Group of artists) --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Höch, Hannah, --- collages [visual works] --- collage [technique] --- Höch, Hannah
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Jaume Plensa's sculptures are primarily not material things, but ideas that have taken shape. The sculptural material that the artist, born in Barcelona in 1955, primarily uses is the human mind. He challenges the viewer with his works. He asks questions and is permanently in search of the "really important questions" in his work. Sculpture for Plensa is the presence of the altered power of thought in a given space, the union of idea and matter, of the abstract and the physical. In his works, which can be seen as flights of the human spirit, he uses both the power of the image and the energy of the word with all its widely ramified and diverse fields of meaning. In doing so, Plensa has increasingly worked in recent years with transparent materials such as polyester, alabaster, nylon and glass, in order to do justice to the weightlessness and immateriality as well as the fragility and vulnerability of thought and ideas. Quotations and fragmentary excerpts from world literature, from Dante, Shakespeare or William Blake, or single, central concepts such as "Heart", "Blood" or "Death" are imprinted on the bodies of his works. For Plensa, words are simply another sculptural material. In his emphatically unadorned light bodies, for example, Plensa opens up sensually perceptible thought spaces that are reminiscent of places of spiritual experience. In the light of the transparent, internally illuminated text columns, the written word is transformed into magically effective typefaces or written bodies. "For me, sculpture is the best artistic means of dealing with the invisible, the abstract. Sculpture is clearly not about physicality, dealing with the material; sculpture is energy." (Jaume Plensa)
Sculpture --- sculpture [visual works] --- installations [visual works] --- light art --- mixed media --- Plensa, Jaume --- 75.036 --- 75.036 Moderne schilderkunst (na 1900) --- Moderne schilderkunst (na 1900) --- Plensah, G'eʾumeh,
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National socialism and art --- Art, German --- Nazisme et art --- Art allemand --- Exhibitions --- 1900-1999
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This is the first book about the history, influences, and impact of the 'Werkstatt für Photography'(Photography Workshop) founded by the Berlin photographer Michael Schmidt at the Volkshochschule Kreuzberg in 1976. In the midst of the Cold War, the Werkstatt initiated an artistic 'airlift' to the United States, a democratic field of experimentation beyond the pale of traditional vocational and political-institutional standards. Those same years witnessed the establishment of infrastructures in West Germany that paved the way for the emancipation of photography as an art form. These included 'documenta 6' (1977), the first photo galleries and photography journals, and a number of pathbreaking exhibitions. Berlin, Hanover, and Essen played important roles in that process. All in all, the picture of a medium in transition emerges, a medium that developed an autonomous form of artistic authorship in the field of documentary. This book presents the story of German photography in the 1970s and 1980s, its international ties, its protagonists, and its networks.
Photography, Artistic --- Photography --- fotografie --- twintigste eeuw --- fotografiegeschiedenis --- Duitsland --- Berlijn --- Berlin --- Werkstatt für Photographie --- Adams Robert --- Adler Gosbert --- Arbus Diane --- Baltz Lewis --- Blume Uschi --- Bottländer Wendelin --- Brohm Joachim --- Ciner Tuna --- Clark Larry --- Denkeler Friedhelm --- Deutschmann Thomas --- Eggleston William --- Eilmes Wolfgang --- Fink Larry --- Florschuetz Thomas --- Frank Robert --- Friedlander Lee --- Furuya Seiichi --- Gelpke André --- Görlich Ulrich --- Gossage John --- Graham Paul --- Grossmann André --- Gursky Andreas --- Heinze Volker --- Horlitz Andreas --- Kelm Ursula --- Koenig Wilmar --- Leuner Thomas --- Lüthi Urs --- Maron Kurt Wolfgang --- Mayer Christa --- Nothhelfer Gabriele --- Nothhelfer Helmut --- Ocherbauer Eva Maria --- Ochse Hildegard --- Riebesehl Heinrich --- Schmidt Michael --- Scholz Rittermann Philipp --- Schürmann Wilhelm --- Schulze Eldowy Gundula --- Shore Stephen --- Stamm Hermann --- Voutta Klaus-Peter --- Willmann Manfred --- Wittmar Petra --- Wüst Ulrich --- 77.038 --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Aesthetics --- Werkstatt für Photographie der VHS Kreuzberg --- Volkshochschule Kreuzberg. --- Werkstatt für Photographie der V.H.S. Kreuzberg --- Exhibitions --- photography [process] --- anno 1970-1979 --- anno 1980-1989 --- Germany
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L'artiste suisse Josef Herzog (1939-1998) a commencé ses études auprès de Max von Moos à la Kunstgewerbeschule de Lucerne en 1961. En 1970, il rejoint Heiner Kielholz, Max Matter, Markus Müller, Christian Rothacher et Hugo Suter au sein de l'Ateliergemeinschaft Ziegelrain, un collectif d'ateliers d'art à Aarau. Il s'est installé dans sa ville natale de Zoug de 1976 à sa mort. Josef Herzog date le début de son travail sérieux en 1964, année où il a commencé à produire des aquarelles et des dessins à l'encre aux structures cellulaires labyrinthiques. Il est resté fidèle aux techniques du dessin et de l'aquarelle dans toutes ses œuvres ultérieures. Et s'il change continuellement de sujets et d'atmosphère, la ligne reste l'élément caractéristique de ses dessins, une constante variable dans son œuvre. À partir de 1975, ses lignes s'affranchissent de leur fonction de contour pour devenir un moyen d'expression en soi, que ce soit au crayon, au crayon gras, à l'encre ou à l'aquarelle. À l'exception de quelques séries qui comportent occasionnellement un élément plan, Herzog s'est par la suite résolument limité à l'exploration des possibilités du design purement linéaire. Le caractère des lignes diffère considérablement d'une série à l'autre, en fonction du format et du choix du support de dessin, qui prennent tous deux une importance croissante en l'absence totale de motifs identifiables.
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