1.
Salzburg
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Salzburg is the fourth-largest city in Austria and the capital of the federal state of Salzburg. Salzburgs Old Town is internationally renowned for its architecture and is one of the best-preserved city centers north of the Alps. It was listed as a UNESCO World Heritage Site in 1997, the city has three universities and a large population of students. Tourists also visit Salzburg to tour the historic center and the scenic Alpine surroundings, Salzburg was the birthplace of 18th-century composer Wolfgang Amadeus Mozart. In the mid‑20th century, the city was the setting for the musical play, traces of human settlements have been found in the area, dating to the Neolithic Age. The first settlements in Salzburg continuous with the present were apparently by the Celts around the 5th century BC, around 15 BC the Roman Empire merged the settlements into one city. At this time, the city was called Juvavum and was awarded the status of a Roman municipium in 45 AD, Juvavum developed into an important town of the Roman province of Noricum. After the Norican frontiers collapse, Juvavum declined so sharply that by the late 7th century it became a ruin. The Life of Saint Rupert credits the 8th-century saint with the citys rebirth, when Theodo of Bavaria asked Rupert to become bishop c. 700, Rupert reconnoitered the river for the site of his basilica, Rupert chose Juvavum, ordained priests, and annexed the manor Piding. He traveled to evangelise among pagans, the name Salzburg means Salt Castle. The name derives from the barges carrying salt on the Salzach River, the Festung Hohensalzburg, the citys fortress, was built in 1077 by Archbishop Gebhard, who made it his residence. It was greatly expanded during the following centuries, independence from Bavaria was secured in the late 14th century. Salzburg was the seat of the Archbishopric of Salzburg, a prince-bishopric of the Holy Roman Empire, as the reformation movement gained steam, riots broke out among peasants in the areas in and around Salzburg. The city was occupied during the German Peasants War, and the archbishop had to flee to the safety of the fortress It was besieged for three months in 1525. It was in the 17th century that Italian architects rebuilt the city center as it is today along with many palaces,21,475 citizens refused to recant their beliefs and were expelled from Salzburg. Most of them accepted an offer by King Friedrich Wilhelm I of Prussia, the rest settled in other Protestant states in Europe and the British colonies in America. In 1772–1803, under archbishop Hieronymus Graf von Colloredo, Salzburg was a centre of late Illuminism, in 1803, the archbishopric was secularised by Emperor Napoleon, he transferred the territory to Ferdinando III of Tuscany, former Grand Duke of Tuscany, as the Electorate of Salzburg
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Academy of Fine Arts Vienna
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The Academy of Fine Arts Vienna is a public art school of higher education in Vienna, Austria. In 1701 he was ennobled by Emperor Joseph I as Freiherr of the Empire, with his death in 1714, the academy temporarily closed. On 20 January 1725, Emperor Charles VI appointed the Frenchman Jacob van Schuppen as Prefect and Director of the Academy, hofakademie der Maler, Bildhauer und Baukunst. Upon Charles death in 1740, the academy at first declined, however during the rule of his daughter Empress Maria Theresa, a new statute reformed the academy in 1751. The prestige of the academy grew during the deanships of Michelangelo Unterberger and Paul Troger, in 1772, there were further reforms to the organisational structure. Chancellor Wenzel Anton Kaunitz integrated all existing art schools into the k. k. vereinigten Akademie der bildenden Künste, the word vereinigten was later dropped. In 1822 the art cabinet grew significantly with the bequest of honorary member Anton Franz de Paula Graf Lamberg-Sprinzenstein and his collection still forms the backbone of the art on display. In 1872 Emperor Franz Joseph I of Austria approved a statute making the academy the supreme government authority for the arts, a new building was constructed according to plans designed by the faculty Theophil Hansen in the course of the layout of the Ringstraße boulevard. On 3 April 1877, the building on Schillerplatz in the Innere Stadt district was inaugurated. In 1907 and 1908, young Adolf Hitler, who had come from Linz, was denied admission to the drawing class. He stayed in Vienna, subsisting on his allowance. Soon he had withdrawn into poverty and started selling amateur paintings, mostly watercolours, during the Austrian Anschluss to Nazi Germany from 1938–1945, the academy was forced to heavily reduce its number of Jewish staff. After World War II, the academy was reconstituted in 1955 and it has had university status since 1998, but retained its original name. It is currently the only Austrian university that doesnt have the university in its name. The Academy currently has about 900 students, almost a quarter of which are foreign students and its faculty includes stars such as Peter Sloterdijk. 110,000 volumes and its etching cabinet has about 150,000 drawings, the collection is one of the biggest in Austria, and is used for academic purposes, although portions are also open to the general public. Official website website of the Media Server Study in Austria, A Guide
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University of Fine Arts of Hamburg
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The Hochschule für bildende Künste Hamburg is the University of Fine Arts in Hamburg. It dates to 1767, when it was called the Hamburger Gewerbeschule, the main building, located in the Uhlenhorst quarter of Hamburg-Nord borough, was designed by architect Fritz Schumacher, and built between 1911 and 1913. In 1970, it was accredited as an artistic-scientific university, the Hamburger Gewerbeschule was founded in 1767 by the Patriotische Gesellschaft. It was named the Staatliche Kunstgewerbeschule in 1896, later the Landeskunstschule, Fritz Schumacher designed the main building especially for the art school. Located at Am Lerchenfeld 2 in Uhlenhorst, a quarter of Hamburg-Nord, after World War II, it re-opened as the Landeskunstschule by Friedrich Ahlers-Hestermann, who had previously been a professor at the Kölner Werkschulen. He was succeeded by architect Gustav Hassenpflug, who changed the institution to the Hochschule für bildende Künste Hamburg, the school was accredited as a university in 1970. In July 2007, a scandal erupted when the university administration under Martin Köttering came under pressure to expel students for having protested newly introduced tuition fees. Joerg Draeger and the Hamburg Senate, dominated by the Christian Democratic Union demanded expulsion of more than half of the art students for having taken part in a tuition boycott, the scandal gained nationwide press coverage. In June 2008, about 680 students were enrolled at HFBK Hamburg, two stolpersteine – memorials to victims of Nazism – have been laid for two faculty members. Friedrich Adler, who taught at the Kunstgewerbeschule from 1907 until his retirement in 1933, was killed in Auschwitz in 1942. Hugo Meier-Thur, who taught from 1910 to 1943, was killed at Fuhlsbüttel concentration camp in 1943
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Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
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Conceptual art
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Conceptual art, sometimes simply called conceptualism, is art in which the concept or idea involved in the work take precedence over traditional aesthetic and material concerns. Some works of art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions. The notion that art should examine its own nature was already a potent aspect of the art critic Clement Greenbergs vision of Modern art during the 1950s. One of the first and most important things they questioned was the assumption that the role of the artist was to create special kinds of material objects. Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as conceptual with an artists intention. The French artist Marcel Duchamp paved the way for the conceptualists, providing them examples of prototypically conceptual works — the readymades. The artistic tradition does not see an object as art because it is not made by an artist or with any intention of being art. This concept, also called Art esthapériste, derived from the infinitesimals of Gottfried Wilhelm Leibniz - quantities which could not actually exist except conceptually, the current incarnation of the Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small. In 1961 the term art, coined by the artist Henry Flynt in his article bearing the term as its title. By the mid-1970s they had produced publications, indices, performances, texts, in 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual-art exhibition, took place at the New York Cultural Center. Conceptual art emerged as a movement during the 1960s - in part as a reaction against formalism as then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a process of progressive reduction and those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is, later artists continued to share a preference for art to be self-critical, as well as a distaste for illusion. Lawrence Weiner said, Once you know about a work of mine you own it, theres no way I can climb inside somebodys head and remove it. It is sometimes reduced to a set of written instructions describing a work, Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. This linguistic turn reinforced and legitimized the direction the artists took. Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art, osborne later made the observation that contemporary art is post-conceptual in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9,2010. It is a claim made at the level of the ontology of the work of art
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Artist's book
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Artists books are works of art that utilize the form of the book. They are often published in editions, though they are sometimes produced as one-of-a-kind objects. Artists books have employed a range of forms, including scrolls, fold-outs. Artists books are books or book-like objects over the appearance of which an artist has had a high degree of control. Artists books are made for a variety of reasons and they are often created to make art that is interactive, portable, movable and easily shared. Many artists books challenge the conventional book format and become sculptural objects and they may be created in order to make art accessible to people outside of the formal contexts of galleries or museums. These works would set the tone for later books, connecting self-publishing and self-distribution with the integration of text, image. All of these factors have remained key concepts in books up to the present day. As Europe plunged headlong towards World War I, various groups of artists across the continent started to focus on pamphlets, posters, manifestos. This move toward radicalism was exemplified by the Italian Futurists, the publication of the Futurist Manifesto,1909, on the front cover of the French daily newspaper Le Figaro was an audacious coup de théâtre that resulted in international notoriety. Marinetti used the fame to tour Europe, kickstarting movements across the continent that all veered towards book-making and pamphleteering. With regards to the creation of Artists books, the most influential offshoot of futurist principles, however, Marinetti visited in 1914, proselytizing on behalf of Futurist principles of speed, danger and cacophony. Russian futurism gradually evolved into Constructivism after the Russian Revolution, centred on the key figures of Malevich, Artists books from this era include Kurt Schwitters and Kate Steinitzs book The Scarecrow, and Theo van Doesburgs periodical De Stijl. Dada was initially started at the Cabaret Voltaire, by a group of exiled artists in neutral Switzerland during World War I. Whilst concerned mainly with poetry and theory, Surrealism created a number of works that continued in the French tradition of the Livre dArtiste, one important Russian writer/artist who created artist books was Alexei Remizov. Drawing on medieval Russian literature, he creatively combined dreams, reality, in the fifties artists in Europe developed an interest in the book, under the influence of modernist theory and in the attempt to rebuild positions destroyed by the war. A fine example of the latter is Isidore Isous Le Grand Désordre, two other examples of poet-artists whose work provided models for artists books include Marcel Broodthaers and Ian Hamilton Finlay. Yves Klein in France was similarly challenging Modernist integrity with a series of such as Yves, Peintures
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Contemporary art
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Contemporary art is the art of today, produced by artists who are living in the twenty-first century. Contemporary art provides an opportunity to reflect on contemporary society and the relevant to ourselves. Contemporary artists work in a globally influenced, culturally diverse, and their art is a dynamic combination of materials, methods, concepts, and subjects that challenge traditional boundaries and defy easy definition. In vernacular English, modern and contemporary are synonyms, resulting in some conflation of the modern art. Some define contemporary art as art produced within our lifetime, recognizing that lifetimes, however, there is a recognition that this generic definition is subject to specialized limitations. The classification of art as a special type of art, rather than a general adjectival phrase. In London, the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide, Australia, particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has perhaps been a lack of natural break points since the 1960s, and definitions of what contemporary art in the 2010s vary. Art from the past 20 years is likely to be included, and definitions often include art going back to about 1970, the art of the late 20th and early 21st century. Many use the formulation Modern and Contemporary Art, which avoids this problem, smaller commercial galleries, magazines and other sources may use stricter definitions, perhaps restricting the contemporary to work from 2000 onwards. One of the many people have in approaching contemporary artwork is its diversity - diversity of material, form, subject matter. It is distinguished by the lack of a uniform organizing principle, ideology, or -ism that we so often see in other. Broadly speaking, we see Modernism as looking at modernist principals - the focus of the work is self-referential, likewise, Impressionism looks at our perception of a moment through light and color as opposed to attempts at stark realism. Contemporary art, on the hand, does not have one. Its view, instead, is refracted, prismatic, and multi-faceted, reflecting the diversity of the world today, in all of its complexities, contemporary art reflects life as we know it. It can be, therefore, contradictory, confusing, and open-ended, there are, however, a number of common themes that have appeared in contemporary works. Post-modern, post-structuralist, feminist, and Marxist theory have played important roles in the development of theories of art
8.
University of Applied Arts Vienna
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The University of Applied Arts Vienna is an institution of higher education in Vienna, the capital of Austria. It has had university status since 1970, the predecessor of the Angewandte was founded in 1867 as the k. k. It was closely associated with the Österreichischen Museums für Kunst und Industrie and it was the first school of its kind on the continent. In 1941 it became an institution of higher education, in 1970 it was awarded the title of a university and in 1998 the school was renamed the Universität für angewandte Künste. Today its faculty includes many distinguished artists and teachers, such as Judith Eisler, Erwin Wurm, Hartmut Esslinger, Greg Lynn, Wolf D Prix, the university has currently c.1,800 students and c.340 faculty. The students come from 49 different countries to study in the 29 disciplines of the school and they form their creative ideas in 56 different languages. The outcome of their processes is made public in 200 exhibitions a year, Applied arts live art and technology as symbiosis. Applied arts live art and society in interaction, Applied arts live art as an experimental approach towards science
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Franz West
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Franz West was an Austrian artist. West was born on 16 February 1947 and his father was a coal dealer, his mother a dentist who took her son with her on art-viewing trips to Italy. West did not begin to study art seriously until he was 26, West began making drawings around 1970 before moving on to painted collages incorporating magazine images that showed the influence of Pop Art. His art practice started as a reaction to the Viennese Actionism movement has been exhibited in museums, over the last 20 years he had a regular presence in big expositions like Documenta and the Venice Biennale. Wests artwork is made out of plaster, papier-mâché, wire, polyester, aluminium and other. In the late 1990s, West turned to large-scale lacquered aluminum pieces, with their monochrome colors and irregular patchwork surfaces, these works were also meant for sitting and lying. One is bright pink, the other painted in blocks of green, yellow, blue. Both have round stools projecting from the ends of the loops. For the season 2009/2010 in the Vienna State Opera Franz West designed a large scale picture as part of the exhibition series Safety Curtain, for another exhibition in 2012, West collaborated with fellow artist Anselm Reyle on a series of furniture sculptures. Around 1980 West started to create objects, usually a few feet long, meant to be placed over the face. Although they suggest masks and props for the commedia dellarte, their shapes are usually ambiguous, no matter how figurative and sexual Mr. Wests objects may be, the pieces can be worn on the street or carried like a partner in an enraptured solipsistic dance. They leave the wearer looking both protected and trapped and his friend Reinhard Priessnitz called these Passstücke, which was rendered into English as Fitting pieces, but West came to prefer another translation, Adaptives. 1987 Wiener Secession, Vienna 1988 Kunsthalle Bern, Bern 1988 Kunsthistorisches Museum, West was represented by Gagosian Gallery, Galerie Meyer Kainer, Vienna, and Galerie Eva Presenhuber, Zürich until his death in 2012. His estate continues to be represented by Gagosian Gallery, at Frieze Art Fair in 2011, West curated the Gagosian Gallerys booth. A portrait of West made by Rudolf Stingel sold for a price of more than $500,000, Franz West, Benedikt Ledebur, Extroversion - a Talk, Schlebrügge. Editor, Vienna 2011. ISBN 978-3-902833-00-6 Kaspar König, Franz West - Autotheater, ISBN 978-3-8321-9280-8 Kristine Bell, Franz West - Early work, October 30,2004 - January 8,2005. Zwirner & Wirth, New York 2004, Franz West, Franz West - Displacement and Condensation. ISBN 1-932598-36-7 Robert Fleck, Bice Curiger, Neal Benezra, Franz West
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Grazer Autorenversammlung
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The Grazer Autorinnen Autorenversammlung was founded under the name of Grazer Autorenversammlung in March 1973 and is one of the two major Austrian writers association. In the beginning, the GAV was located in Graz, today, the GAV is the largest writers association in Austria. Homepage of the GAV Roland Innerhofer, Die Grazer Autorenversammlung, ISBN 3-205-07289-8 Herbert Zeman, Das 20. Jahrhundert, Geschichte der Literatur in Österreich Vol.7, Akademische Druck- u. Verlagsanstalt, ISBN 3-201-01687-X Klaus Zeyringer, Österreichische Literatur seit 1945, Haymon Verlag, Innsbruck 2001
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Belvedere, Vienna
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The Belvedere is a historic building complex in Vienna, Austria, consisting of two Baroque palaces, the Orangery, and the Palace Stables. The buildings are set in a Baroque park landscape in the district of the city. The grounds are set on a gradient and include decorative tiered fountains and cascades, Baroque sculptures. The Baroque palace complex was built as a residence for Prince Eugene of Savoy. The Belvedere was built during a period of construction in Vienna. This period of prosperity followed on from the commander-in-chief Prince Eugene of Savoys successful conclusion of a series of wars against the Ottoman Empire. On 30 November 1697, one year after commencing with the construction of the Stadtpalais, Prince Eugene purchased a plot of land south of the Rennweg. Plans for the Belvedere garden complex were drawn up immediately, the prince chose Johann Lukas von Hildebrandt as the chief architect for this project rather than Johann Bernhard Fischer von Erlach, the creator of his Stadtpalais. Hildebrandt, whom the general had met whilst engaged in a campaign in Piedmont, had already built Ráckeve Palace for him in 1702 on Csepel. He later went on to numerous other edifices in his service. The architect had studied engineering in Rome under Carlo Fontana and had gone into imperial service in 1695–96 in order to learn how to build fortifications. From 1696 onwards, records show that he was employed as an architect in Vienna. To buy the plot, Prince Eugene was forced to out a large loan secured against his Stadtpalais. He bought additional neighboring areas of land in 1708,1716, records indicate that the construction of the Upper Belvedere had started by 1712, as Prince Eugene submitted the request for a building inspection on 5 July 1713. Work proceeded swiftly, and Marcantonio Chiarini from Bologna started painting the quadratura in the hall in 1715. The ambassador from the Spanish Flanders visited the Lower Belvedere, as well as the Stadtpalais, extensive work was carried out on the grounds at the same time as construction went ahead on the Lustschloss, as the Lower Belvedere was described on an early cityscape. Dominique Girard changed the plans for the garden significantly between January and May 1717, so that it could be completed by the following summer and it was on the latter’s recommendation that he entered Prince Eugene’s employ. The statuary for the balustrade is the best known work of Giovanni Stanetti, construction was so far advanced by 2 October 1719 that the prince was able to receive the Turkish ambassador Ibrahim Pasha there
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Centre Georges Pompidou
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It was designed in the style of high-tech architecture by the architectural team of Richard Rogers and Renzo Piano, along with Gianfranco Franchini. Because of its location, the Centre is known locally as Beaubourg and it is named after Georges Pompidou, the President of France from 1969 to 1974 who commissioned the building, and was officially opened on 31 January 1977 by President Valéry Giscard dEstaing. As of 2006, the Centre Pompidou has had over 180 million visitors since 1977 and more than 5,209,678 visitors in 2013, including 3,746,899 for the museum. The sculpture Horizontal by Alexander Calder, a mobile that is 7.6 m tall, was placed in front of the Centre Pompidou in 2012. Hoping to renew the idea of Paris as a city of culture and art. Paris also needed a large, free library, as one did not exist at this time. At first the debate concerned Les Halles, but as the settled, in 1968. A year later in 1969, the new president adopted the Beaubourg project, in the process of developing the project, the IRCAM was also housed in the complex. By the mid-1980s, the Centre Pompidou was becoming the victim of its huge and unexpected popularity, its activities. By 1992, the Centre de Création Industrielle was incorporated into the Centre Pompidou, since re-opening in 2000 after a three-year renovation, the Centre Pompidou has improved accessibility for visitors. Now they can access the escalators if they pay to enter the museum. The Centre was designed by Italian architect Renzo Piano, British architect Richard Rogers, the project was awarded to this team in an architectural design competition, the results of which were announced in 1971. It was the first time in France that international architects were allowed to participate, world-renowned architects Oscar Niemeyer, Jean Prouvé and Philip Johnson made up the jury which would select one design out of the 681 entries. National Geographic described the reaction to the design as love at second sight, an article in Le Figaro declared Paris has its own monster, just like the one in Loch Ness. The Pritzker jury said the Pompidou revolutionised museums, transforming what had once been elite monuments into popular places of social and cultural exchange, the Centre was built by GTM and completed in 1977. The building cost 993 million 1972 French francs, renovation work conducted from October 1996 to January 2000 was completed on a budget of 576 million 1999 francs. The black-painted mechanical sculptures are by Tinguely, the works by de Saint-Phalle. Video footage of the fountain appeared frequently throughout the French language telecourse, the Place Georges Pompidou in front of the museum is noted for the presence of street performers, such as mimes and jugglers
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Albertina
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The Albertina is a museum in the Innere Stadt of Vienna, Austria. The museum also houses temporary exhibitions, the Albertina was erected on one of the last remaining sections of the fortifications of Vienna, the Augustinian Bastion. Originally, the Hofbauamt, which had built in the second half of the 17th century. In 1744 it was refurbished by the director of the Hofbauamt, Emanuel Teles Count Silva-Tarouca, to become his palace, the building was later taken over by Duke Albert of Saxen-Teschen who used it as his residence. He later brought his graphics collection there from Brussels, where he had acted as the governor of the Habsburg Netherlands and he had the building extended by Louis Montoyer. Since then, the palace has immediately bordered the Hofburg, the collection was expanded by Alberts successors. The collection was created by Duke Albert with the Genoese count Giacomo Durazzo, in 1776 the count presented nearly 1,000 pieces of art to the duke and his wife Maria Christina. In the 1820s Archduke Charles, Duke Albert and Maria Christinas foster son, initiated further modifications to the building by Joseph Kornhäusel, after Archduke Charles, his son Archduke Albrecht then Albrechts nephew Archduke Friedrich, Duke of Teschen lived in the building. In early 1919, ownership of both the building and the collection passed from the Habsburgs to the newly founded Republic of Austria, in 1920 the collection of prints and drawings was united with the collection of the former imperial court library. The name Albertina was established in 1921, in March 1945, the Albertina was heavily damaged by Allied bomb attacks. The building was rebuilt in the years after the war and was refurbished and modernized from 1998 to 2003. Modifications of the exterior entrance sequence, including a roof by Hans Hollein were completed 2008. Media related to Albertina, Vienna at Wikimedia Commons Official website Some pictures of the repository Audioguide of the introduction
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Van Abbemuseum
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Van Abbemuseum is a museum of modern and contemporary art located in central Eindhoven, Netherlands, on the east bank of the Dommel river. Established in 1936, the Abbe Museum is named after its founder, Van Abbe was a lover of modern art and wanted to enjoy it there from Eindhoven. As of 2010, the collection of the houses more than 2700 works of art, of which about 1000 are on paper, are 700 paintings. With an area of 9,825 m2, monument number 507030 and it also has works by Pablo Picasso and Wassily Kandinsky. The museums original collection was bought by Eindhoven city council in 1934 in an agreement with Henri van Abbe, in return for buying some of his collection, the Van Abbe factory paid for and donated the museum building to house the collection which opened in 1936. The city had architect Alexander Kropholler design a building which is a suite of galleries in traditionalist style. The museum name was given on publications as Stedelijk Van Abbemuseum up until about 1990 and as Van Abbemuseum after that time. As the building had far too small for modern demands. The original collection contained works by Jan Sluijters, Carel Willink and Isaac Israëls amongst others, mostly Dutch, the museum also bought other artworks from founder Henri van Abbe before his death in 1940. The collection developed most under the directorships of Edy de Wilde, while De Wilde bought the classical modernist works by Picasso etc. Fuchs bought works from artists of his own generation, in particular conceptual work from the USA, more recent acquisitions include pieces by Pablo Picasso, Wassily Kandinsky and Piet Mondrian. The museum is internationally renowned for having one of the largest collections of works by El Lissitzky. The Van Abbemuseum also houses the collection of posters made by the Situationist Jacqueline de Jong in Paris during May 1968, charles Esche is the director of the Van Abbemuseum. The museum had 96,750 visitors in 2011 and 98,100 visitors in 2012
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J. Paul Getty Museum
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The J. Paul Getty Museum, commonly referred to as the Getty, is an art museum in California housed on two campuses, the Getty Center and Getty Villa. The Getty Center is in the Brentwood neighborhood of Los Angeles and is the location of the museum. The collection features Western art from the Middle Ages to the present and its estimated 1.3 million visitors annually make it one of the most visited museums in the United States. The museums second location, the Getty Villa, is in the Pacific Palisades neighborhood and displays art from ancient Greece, Rome, and Etruria. In 1974, J. Paul Getty opened a museum in a re-creation of the Villa of the Papyri at Herculaneum on his property in Pacific Palisades, in 1982, the museum became the richest in the world when it inherited US$1.2 billion. In 1997, the moved to its current location in the Brentwood neighborhood of Los Angeles. Detailed information about the J. Paul Getty Museum’s collections is provided on GettyGuide, at the GettyGuide stations in the Museum, visitors can get information about exhibitions, interact with a timeline, watch videos on art-making techniques, and more. Also available at the Museum, the GettyGuide multimedia player features commentary from curators and conservators on many works of art, with GettyGuide on the Web, one may browse the Museum’s collection and bookmark works of art to create a customized tour and printable map. In 1984, Frel was demoted, and in 1986, he resigned, the Getty is involved in a controversy regarding proper title to some of the artwork in its collection. The museums previous curator of antiquities, Marion True, was indicted in Italy in 2005 on criminal charges relating to trafficking in stolen antiquities, similar charges have been addressed by the Greek authorities. The primary evidence in the case came from the 1995 raid of a Geneva, Switzerland, in 2005 True was forced to tender her resignation by the Board of Trustees, which announced her early retirement. Italy allowed the statute of limitations of the charges filed against her to expire in October 2010, True is currently under investigation by Greek authorities over the acquisition of a 2, 500-year-old funerary wreath. The wreath, along with a 6th-century BC statue of a woman, have returned to Greece and are exhibited at the Archaeological Museum of Thessaloniki. The Getty Museum resisted the requests of the Italian government for two decades, only to admit later that there might be problems attached to the acquisition. In 2006, Italian senior cultural official Giuseppe Proietti said, The negotiations havent made a step forward. Only after he suggested the Italian government to take cultural sanctions against the Getty, suspending all cultural cooperation, in another unrelated case in 1999, the Getty Museum had to hand over three antiquities to Italy after determining they were stolen. A Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum was published in 2001, indeed, some discrete works are provided with annotations, e. g. In 2016, the head of the Greek god Hades was returned to Sicily
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Art Basel
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Art Basel is an international art fair with three shows staged annually in Basel, Switzerland, Miami Beach, Florida, and Hong Kong. Each show is organized into sectors which showcase contemporary artworks by established, in addition to the artworks shown by participating galleries, the shows offer parallel programming produced in collaboration with the host city’s local institutions. Galleries who apply to Art Basel shows undergo a review by a committee of international gallerists serving multi-year terms. During the week-long process, each application is considered for participation in the following standards established by Art Basel. Art Basel started in 1970 by Basel gallerists Ernst Beyeler, Trudi Bruckner, in its inaugural year, the Basel show attracted more than 16,000 visitors who viewed work presented by 90 galleries representing 10 countries. By 1975, five years after its founding, the Basel show reached almost 300 exhibitors, the participating galleries came from 21 countries, attracting 37,000 visitors. In 2013, Art Basel launched its inaugural show in Hong Kong, half of the participating galleries came from Asia and the Asia-Pacific region. In 2014, Art Basel partnered with Kickstarter to create an initiative aimed at funding non-profit visual arts organizations worldwide. Together with JRP Ringier, Art Basel publishes Art Basel | Year 44 the first book covered all three shows. In 2015, the BMW Art Journey award was established by BMW and Art Basel to reward promising artists from the Discoveries sector in Hong Kong and the Positions sector in Miami Beach. Also, the executive-education program Collecting Contemporary Art in Hong Kong was launched by Art Basel, HKU SPACE Centre for Degree Programmes and Central Saint Martins College of Arts and Design. Under the stewardship of Art Basel’s Global Director, Marc Spiegler and it presented 284 galleries from 33 countries, exhibiting the work of over 4,000 artists. A total of 14 galleries showed in Basel for the very first time, alongside private collectors from Europe, America, and Asia, representatives and groups from over 80 museums and institutions from across the world were in attendance. Spearheaded by Noah Horowitz, Art Basel’s Director Americas, the 2015 show in Miami Beach, Florida, over five days, the show attracted 77,000 visitors including private collectors and directors, curators, trustees and patrons of nearly 200 museum and institution groups. The show hosted first-time collectors from Cambodia, Ethiopia, Nicaragua, Romania, Togo, on display were 239 galleries from 35 countries and territories. Art Basel’s initiatives concentrate on the art world. Art Basel has three main initiatives, Art Basel Cities, BMW Art Journey, and Crowdfunding, Art Basel Cities is a project between Art Basel and cities worldwide to create cultural events and programming throughout the year. Art Basel, the local art stakeholders and the city’s officials will sit together and develop a program in line with the city’s mid-
17.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
18.
Jonathan Harker
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Jonathan Harker is a fictional character and one of the protagonists of Bram Stokers 1897 Gothic horror novel Dracula. His journey to Transylvania and encounter with the vampire Count Dracula and his Brides at Castle Dracula constitutes the opening scenes in the novel. Harker discovers in Carfax Abbey, near Purfleet, Essex, a dwelling which suits the clients requirements and travels to Transylvania by train in order to consult with him about it. At Bistritz Harker takes a coach to the Borgo Pass where at midnight another coach drawn by four black horses, at the castle Harker is greeted by the mysterious and ominous Count Dracula and finalises the property transaction. Soon, however Harker realises he has made a prisoner by his host who is revealed as a vampire. Harker also has an encounter with the three seductive Brides of Dracula, whose designs on him are only thwarted by the intervention of the Count. Later, he manages to escape, finding refuge at a convent and he suffers a mental breakdown after his experiences with the vampires, his fiancée, Mina Murray, comes to nurse him back to health with the nuns help and marries him there. He returns home to England and later sees Dracula in London, after learning Dracula killed Lucy, he joins Van Helsing, Seward, Holmwood, and Morris. His clerical skills prove very useful for collecting information and for tracking down Draculas London lairs by means of paperwork and he vows to destroy Dracula and, if he could, to send his soul forever and ever to burning to hell. Even if it be at the cost of own soul, when confronted with Minas curse, however, he is unsure how to react, Mina asks the others in the group to kill her if the need comes. While Harker says he would, in the privacy of his journal says that if it is necessary, however, Harker manages to avoid that because along with Van Helsing and the others he manages to hunt down and destroy Dracula. In a note following the end of the novel, it is revealed that seven years have passed, Jonathan and Mina have a son whom they have named after all four members of the part, but call Quincey, after Quincey Morris. Noting Quincey Harkers birthday is the day Quincey Morris died fighting Dracula, Jonathan Harker eventually visits Draculas castle along with his wife and son and their surviving friends to reminisce. He returns home with his wife and son and is told by Van Helsing that one day his son learn the whole story. In most adaptations, Harkers role is reduced from that of the novels hero, while Harker and Mina are the central romance of the novel and Mina shares no other mans affections, she is often portrayed as Draculas love interest and not as Harkers. In the Frank Wildhorn musical, Dracula, the Musical, Jonathan was played by Darren Ritchie, in the St. Gallen Switzerland and Graz Austria productions, Jonathan was played by the Swedish musical theater actor, Jesper Tydén
19.
The New York Times
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The New York Times is an American daily newspaper, founded and continuously published in New York City since September 18,1851, by The New York Times Company. The New York Times has won 119 Pulitzer Prizes, more than any other newspaper, the papers print version in 2013 had the second-largest circulation, behind The Wall Street Journal, and the largest circulation among the metropolitan newspapers in the US. The New York Times is ranked 18th in the world by circulation, following industry trends, its weekday circulation had fallen in 2009 to fewer than one million. Nicknamed The Gray Lady, The New York Times has long been regarded within the industry as a newspaper of record. The New York Times international version, formerly the International Herald Tribune, is now called the New York Times International Edition, the papers motto, All the News Thats Fit to Print, appears in the upper left-hand corner of the front page. On Sunday, The New York Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T, some other early investors of the company were Edwin B. Morgan and Edward B. We do not believe that everything in Society is either right or exactly wrong, —what is good we desire to preserve and improve, —what is evil, to exterminate. In 1852, the started a western division, The Times of California that arrived whenever a mail boat got to California. However, when local California newspapers came into prominence, the effort failed, the newspaper shortened its name to The New-York Times in 1857. It dropped the hyphen in the city name in the 1890s, One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials it published alone. At Newspaper Row, across from City Hall, Henry Raymond, owner and editor of The New York Times, averted the rioters with Gatling guns, in 1869, Raymond died, and George Jones took over as publisher. Tweed offered The New York Times five million dollars to not publish the story, in the 1880s, The New York Times transitioned gradually from editorially supporting Republican Party candidates to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign, while this move cost The New York Times readership among its more progressive and Republican readers, the paper eventually regained most of its lost ground within a few years. However, the newspaper was financially crippled by the Panic of 1893, the paper slowly acquired a reputation for even-handedness and accurate modern reporting, especially by the 1890s under the guidance of Ochs. Under Ochs guidance, continuing and expanding upon the Henry Raymond tradition, The New York Times achieved international scope, circulation, in 1910, the first air delivery of The New York Times to Philadelphia began. The New York Times first trans-Atlantic delivery by air to London occurred in 1919 by dirigible, airplane Edition was sent by plane to Chicago so it could be in the hands of Republican convention delegates by evening. In the 1940s, the extended its breadth and reach. The crossword began appearing regularly in 1942, and the section in 1946
20.
German National Library
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The German National Library is the central archival library and national bibliographic centre for the Federal Republic of Germany. The German National Library maintains co-operative external relations on a national and international level, for example, it is the leading partner in developing and maintaining bibliographic rules and standards in Germany and plays a significant role in the development of international library standards. The cooperation with publishers is regulated by law since 1935 for the Deutsche Bücherei Leipzig, duties are shared between the facilities in Leipzig and Frankfurt am Main, with each center focusing its work in specific specialty areas. A third facility has been the Deutsches Musikarchiv Berlin, which deals with all music-related archiving, since 2010 the Deutsches Musikarchiv is also located in Leipzig as an integral part of the facility there. During the German revolutions of 1848 various booksellers and publishers offered their works to the Frankfurt Parliament for a parliamentary library, the library, led by Johann Heinrich Plath, was termed the Reichsbibliothek. After the failure of the revolution the library was abandoned and the stock of books already in existence was stored at the Germanisches Nationalmuseum in Nuremberg. In 1912, the town of Leipzig, seat of the annual Leipzig Book Fair, the Kingdom of Saxony, starting January 1,1913, all publications in German were systematically collected. In the same year, Dr. Gustav Wahl was elected as the first director, the Federal state representatives of the book trade in the American zone agreed to the proposal. The city of Frankfurt agreed to support the planned archive library with personnel, the US military government gave its approval. The Library began its work in the room of the former Rothschild library. As a result, there were two libraries in Germany, which assumed the duties and function of a library for the later GDR. Two national bibliographic catalogues almost identical in content were published annually, with the reunification of Germany on 3 October 1990, the Deutsche Bücherei Leipzig and the Deutsche Bibliothek Frankfurt am Main were merged into a new institution, The German Library. The Law regarding the German National Library came into force on 29 June 2006, the expansion of the collection brief to include online publications set the course for collecting, cataloguing and storing such publications as part of Germanys cultural heritage. The Librarys highest management body, the Administrative Council, was expanded to include two MPs from the Bundestag, the law also changed the name of the library and its buildings in Leipzig, Frankfurt am Main and Berlin to Deutsche Nationalbibliothek. In July 2000, the DMA also assumed the role as repository for GEMA, Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte, since then, music publishers only have to submit copies to DMA, which covers both national archiving and copyright registration. The 210,000 works of printed music previously held by GEMA were transferred to DMA, additionally included in the project were 30 German-language emigrant publications German-language exile journals 1933–1945, consisting of around 100,000 pages. These collections were put online in 2004 and were some of the most frequently visited sites of the German National Library, in June 2012 the German National Library discontinued access to both collections on its website for legal reasons. The digitised versions are then available for use in the reading rooms of the German National Library in Leipzig and Frankfurt am Main only
21.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
22.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
