1.
Marcel Duchamp
–
Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his artists as retinal art. Instead, Duchamp wanted to use art to serve the mind, Marcel Duchamp was born at Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his grandfather, filled the house, and the family liked to play chess, read books, paint. Of Eugene and Lucie Duchamps seven children, one died as an infant, Marcel Duchamp was the brother of, Jacques Villon, painter, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter. At 8 years old, Duchamp followed in his brothers footsteps when he left home and began schooling at the Lycée Pierre-Corneille, two other students in his class also became well-known artists and lasting friends, Robert Antoine Pinchon and Pierre Dumont. For the next 8 years, he was locked into a regime which focused on intellectual development. Though he was not a student, his best subject was mathematics. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize and he learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamps true artistic mentor at the time was his brother Jacques Villon, whose fluid, at 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he painted landscapes in an Impressionist style using oils. Duchamps early art works align with Post-Impressionist styles and he experimented with classical techniques and subjects. He studied art at the Académie Julian from 1904 to 1905, during this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns, visual puns, or both, such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his military service with the 39th Infantry Regiment. There he learned typography and printing processes—skills he would use in his later work, due to his eldest brother Jacques membership in the prestigious Académie royale de peinture et de sculpture Duchamps work was exhibited in the 1908 Salon dAutomne. The following year his work was featured in the Salon des Indépendants, of Duchamps pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called Duchamps very ugly nudes. The group came to be known as the Puteaux Group, or the Section dOr, uninterested in the Cubists seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy
Marcel Duchamp
–
Portrait of Marcel Duchamp, 1920-21, by
Man Ray, Yale University Art Gallery
Marcel Duchamp
Marcel Duchamp
–
Three Duchamp brothers, left to right: Marcel Duchamp,
Jacques Villon, and
Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (
Smithsonian Institution collections.)
Marcel Duchamp
2.
Alfred Stieglitz
–
Alfred Stieglitz was an American photographer and modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form. In addition to his photography, Stieglitz was known for the New York art galleries that he ran in the part of the 20th century. He was married to painter Georgia OKeeffe, Stieglitz was born in Hoboken, New Jersey, the first son of German-Jewish immigrants Edward Stieglitz and Hedwig Ann Werner. His father was a lieutenant in the Union Army and he had five siblings, Flora, twins Julius and Leopold, Agnes and Selma. Alfred Stieglitz, seeing the relationship of the twins, wished he had a soul mate of his own during his childhood. Stieglitz attended Charlier Institute, a Christian school and the best private school in New York, the following year, his family began spending the summers at Lake George in the Adirondack Mountains, a tradition that continued into Stieglitzs adulthood. So that he would qualify for admission to the City College of New York, Stieglitz was enrolled in a school for his senior year of high school. In 1881, Edward Stieglitz sold his company for US$400,000, Alfred Stieglitz enrolled in the Realgymnasium in Karlsruhe. The next year, Stieglitz studied mechanical engineering at the Technische Hochschule in Berlin and he enrolled in a chemistry class taught by Hermann Wilhelm Vogel, a scientist and researcher, who worked on the chemical processes for developing photographs. In Vogel, Stieglitz found both the challenge he needed and an outlet for his growing artistic and cultural interests. He received an allowance of $1,200 a month, German artists Adolf von Menzel and Wilhelm Hasemann were his friends. He bought his first camera and traveled through the European countryside, taking photographs of landscapes and peasants in Germany, Italy and the Netherlands. In 1884, his parents returned to America, but 20-year-old Stieglitz remained in Germany and collected books on photography and photographers in Europe, through his self-study, he saw photography as an art form. In 1887, he wrote his very first article, A Word or Two about Amateur Photography in Germany and he then wrote articles on the technical and aesthetic aspects of photography for magazines in England and Germany. He won first place for his photography, The Last Joke, Bellagio, the next year he won both first and second prizes in the same competition, and his reputation began to spread as several German and British photographic magazines published his work. In 1890, his sister Flora died while giving birth, Stieglitz considered himself an artist, but he refused to sell his photographs. His father purchased a small business for him so that he could earn a living in his chosen profession. Because he demanded high quality images and paid his employee high wages and he regularly wrote for The American Amateur Photographer magazine
Alfred Stieglitz
–
Alfred Stieglitz in 1902 by
Gertrude Käsebier
Alfred Stieglitz
–
1886 Self-portrait.
Alfred Stieglitz
–
The Terminal (1893) by Alfred Stieglitz
Alfred Stieglitz
–
Winter – Fifth Avenue (1893) by Alfred Stieglitz
3.
Little Galleries of the Photo-Secession
–
291 is the commonly known name for an internationally famous art gallery that was located in Midtown Manhattan at 291 Fifth Avenue in New York City from 1905 to 1917. Originally known as the Little Galleries of the Photo-Secession, the gallery was created and managed by photographer Alfred Stieglitz, the gallery is famous for two reasons. First, the exhibitions there helped bring art photography to the same stature in America as painting, pioneering artistic photographers such as Stieglitz, Edward Steichen, Alvin Langdon Coburn, Gertrude Käsebier and Clarence H. White all gained critical recognition through exhibitions at 291. At the beginning of the 20th century photographys place in the world of art was still very indefinite. Although there had been major exhibitions of photography in the Europe, photographers were not considered real artists, even though many photographers had won awards in international salons. Stieglitz himself had won over 150 awards throughout the world by the end of the 1890s. After more than a year of arguing with the directors of the Camera Club, many of whom did not have any passion for photography as art, Stieglitz gave up and began looking for other forums. In late 1900 he met Edward Steichen, who had trained as a painter. Steichen shared the enthusiasm and passion of Stieglitz, and soon the two were planning how to change the course of photography in America. By the following year they had conceived of an exhibition of photography, the first to be judged by photographers themselves. In March 1902, an exhibition of American Pictorial Photography, arranged by The Photo-Secession opened to critical acclaim, while the journal give him a respected forum for showcasing pictorial photography and for publishing his viewpoints, it was not a financial success. By the end of 1904 Stieglitz was in a difficult position and it was judged by a jury of eminent American painters, including William Merritt Chase and Robert Henri, which gave it considerable standing in the art world. Stieglitz and other saw it as a direct challenge to Stieglitzs reputation. Stieglitz countered this move by trying to get some of the best known photographers of Europe to join him as part of a united front. He traveled to London to meet some of the founders of the important photographic group The Linked Ring, including J. Crag Annan, Frederick H. Evans, Alvin Langdon Coburn. He was hoping to convince them to start a chapter of the Linked Ring in the United States and he also met with playwright George Bernard Shaw, who was an avid amateur photographer, about ways to promote photography as an art form. Unfortunately Stieglitz took ill before any of these led to anything. He was tired, frustrated and seeking a new way to carry out his mission of promoting photography for photographys sake – independent of any other art form
Little Galleries of the Photo-Secession
–
View of the
Gertrude Käsebier and Clarence H. White exhibition at the Little Galleries of the Photo Secession, 1906. Published in Camera Work, No 14, 1906
Little Galleries of the Photo-Secession
–
View of the
Constantin Brâncuși exhibition at "291", 1914. Published in Camera Work, No 48, 1916
Little Galleries of the Photo-Secession
–
View of the
Elie Nadelman exhibition at "291", 1915. Published in Camera Work, No 48, 1916
4.
Marsden Hartley
–
Marsden Hartley was an American Modernist painter, poet, and essayist. Hartley was born in Lewiston, Maine, where his English parents had settled and he was the youngest of nine children. His mother died when he was eight, and his father remarried four years later to Martha Marsden and his birth name was Edmund Hartley, he later assumed Marsden as his first name when he was in his early 20s. A few years after his mothers death when Hartley was 14, his family moved to Ohio, Hartley began his art training at the Cleveland Institute of Art after his family moved to Cleveland, Ohio, in 1892. He won a scholarship to the Cleveland School of Art, in 1898, at age 22, Hartley moved to New York City to study painting at the New York School of Art under William Merritt Chase, and then attended the National Academy of Design. Hartley was an admirer of Albert Pinkham Ryder and visited his studio in Greenwich Village as often as possible. His friendship with Ryder, in addition to the writings of Walt Whitman and American transcendentalists Henry David Thoreau and Ralph Waldo Emerson, Hartley moved to an abandoned farm near Lovell, Maine, in 1908. He considered the paintings he produced there his first mature works, Hartley had his first solo exhibition at Stieglitzs 291 in 1909, and exhibited his work there again in 1912. Stieglitz also provided Hartleys introduction to European modernist painters, of whom Cézanne, Picasso, Hartley first traveled to Europe in April 1912, and he became acquainted with Gertrude Steins circle of avante-garde writers and artists in Paris. Stein, along with Hart Crane and Sherwood Anderson, encouraged Hartley to write as well as paint, in 1913, Hartley moved to Berlin, where he continued to paint and befriended the painters Wassily Kandinsky and Franz Marc. He also collected Bavarian folk art and his work during this period was a combination of abstraction and German Expressionism, fueled by his personal brand of mysticism. The earliest of his Berlin paintings were shown in the landmark 1913 Armory Show in New York, in Berlin, Hartley developed a close relationship with a Prussian lieutenant, Karl von Freyburg, who was the cousin of Hartleys friend Arnold Ronnebeck. References to Freyburg were a recurring motif in Hartleys work, most notably in Portrait of a German Officer, freyburgs subsequent death during the war hit Hartley hard, and he afterward idealized their relationship. Many scholars interpreted his work regarding Freyburg as embodying his homosexual feelings for him, Hartley finally returned to the U. S. in early 1916. He lived in Europe again from 1921 to 1930, when he moved back to the U. S. for good and he painted throughout the country, in Massachusetts, New Mexico, California, and New York. He returned to Maine in 1937, after declaring that he wanted to become the painter of Maine and this aligned Hartley with the Regionalism movement, a group of artists active from the early- to-mid 20th century that attempted to represent a distinctly American art. He continued to paint in Maine, primarily scenes around Lovell and his ashes were scattered on the Androscoggin River. In addition to being considered one of the foremost American painters of the first half of the 20th century, Hartley also wrote poems, essays and his book Twenty-five Poems was published by Robert McAlmon in Paris in 1923
Marsden Hartley
–
Marsden Hartley in 1939
Marsden Hartley
–
Young American Artists of the Modern School, L. to R.
Jo Davidson,
Edward Steichen,
Arthur B. Carles,
John Marin; back: Marsden Hartley, Laurence Fellows, c. 1911,
Bates College Museum of Art
Marsden Hartley
–
The Ice Hole, 1908,
New Orleans Museum of Art
Marsden Hartley
–
Painting No. 48, 1913,
Brooklyn Museum
5.
Urinal (restroom)
–
A urinal is a sanitary plumbing fixture for urination only, predominantly used by males. It can take the form of a container or simply a wall, with drainage and automatic or manual flushing, the term may also apply to a small building or other structure containing such fixtures. While urinals are generally intended for use by males, it is possible for females to use them. While uncommon due to segregation, it is possible for females to use male urinals. Urinals may also come in different heights, to tall and short users. There are often privacy barriers between the urinals, Public urinals usually have a plastic mesh guard, which may optionally contain a deodorizing urinal deodorizer block or urinal cake. The mesh is intended to prevent solid objects from being flushed, in some restaurants, bars, and clubs, ice may be put in the urinals, serving some of the same purposes as the deodorizing block without dispensing odorous chemicals. The body posture for users of urinals is usually the position, except for urinals intended for females which may be used in more of a hovering position. Urinals for high throughput capacity are part of an efficiently designed washroom architecture, large numbers of them are usually installed along a common supply pipe and drain. There may or may not be installed for privacy. Urinals in high-capacity washrooms are usually arranged in one or more rows directly opposite the door, so that users have their backs to people entering or standing outside. Urinals in the street may be arranged in a circle, with all facing the center, with partitions high enough that they cannot wet each other. In a street urinal with a screen or wall, the users may stand back to back. Often, one or two of the urinals, typically at one end of a row, will be mounted lower than the others, they are meant for the disabled. In facilities where people of various heights are present, such as schools, urinals that extend down to floor level may be used to allow anyone of any height to use any urinal, instead of individual fixtures, trough urinals may be installed. These designs can be used by a number of people simultaneously and they are often installed where there is a high peak demand, such as in schools, music festivals, theatrical events, sports stadiums, discos, dance clubs, and convention halls. Urinals were once installed exclusively in commercial or institutional settings, but are now available for private homes. They offer the advantages of water savings in residences with many occupants
Urinal (restroom)
–
Typical arrangement of sensor-operated urinals in a row without partitions
Urinal (restroom)
–
Urinal with pink-colored
urinal cake
Urinal (restroom)
–
Urinals in
Tokyo, Japan; one at far right is fitted with handle bars for people with disabilities
Urinal (restroom)
–
Urinals in the
Czech Republic
6.
Dada
–
Dada or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire, in New York, and after 1920, in Paris. The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, Dadaist artists expressed their discontent with violence, war, and nationalism, and maintained political affinities with the radical left. Others note that it suggests the first words of a child, evoking a childishness, still others speculate that the word might have been chosen to evoke a similar meaning in any language, reflecting the movements internationalism. The roots of Dada lay in pre-war avant-garde, the term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works which challenge accepted definitions of art. Cubism and the development of collage and abstract art would inform the movements detachment from the constraints of reality, the work of French poets, Italian Futurists and the German Expressionists would influence Dadas rejection of the tight correlation between words and meaning. Works such as Ubu Roi by Alfred Jarry, and the ballet Parade by Erik Satie would also be characterized as proto-Dadaist works, the Dada movements principles were first collected in Hugo Balls Dada Manifesto in 1916. The movement influenced later styles like the avant-garde and downtown music movements, Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I, avant-garde circles outside France knew of pre-war Parisian developments. Futurism developed in response to the work of various artists, many Dadaists believed that the reason and logic of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos, for example, George Grosz later recalled that his Dadaist art was intended as a protest against this world of mutual destruction. According to Hans Richter Dada was not art, it was anti-art, Dada represented the opposite of everything which art stood for. Where art was concerned with aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend, as Hugo Ball expressed it, For us, art is not an end in itself. But it is an opportunity for the perception and criticism of the times we live in. A reviewer from the American Art News stated at the time that Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man. Art historians have described Dada as being, in large part, a systematic work of destruction and demoralization. In the end it became nothing but an act of sacrilege, to quote Dona Budds The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich, Dada rejected reason and logic, prizing nonsense, irrationality and intuition
Dada
–
Cover of the first edition of the publication Dada by
Tristan Tzara;
Zürich, 1917
Dada
–
Francis Picabia, Dame! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920
Dada
–
Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915.
Dada
–
Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90×144 cm,
Nationalgalerie, Staatliche Museen zu Berlin
7.
Anti-art
–
Anti-art is a loosely used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Somewhat paradoxically, anti-art tends to conduct this questioning and rejection from the point of art. The term is associated with the Dada movement and is accepted as attributable to Marcel Duchamp pre-World War I around 1914. It was used to describe forms of art. An expression of anti-art may or may not take traditional form or meet the criteria for being defined as a work of art according to conventional standards. Indeed, works of anti-art may express an outright rejection of having conventionally defined criteria as a means of defining what art is, anti-artworks may reject conventional artistic standards altogether, or focus criticism only on certain aspects of art, such as the art market and high art. Some anti-artworks may reject individualism in art, whereas some may reject universality as an accepted factor in art. Additionally, some forms of anti-art reject art entirely, or reject the idea that art is a separate realm or specialization, anti-artworks may also reject art based upon a consideration of art as being oppressive of a segment of the population. Anti-art artworks may articulate a disagreement with the generally supposed notion of there being a separation between art and life, indeed, anti-art artworks may voice a question as to whether art really exists or not. Anti-art itself is not an art movement, however. This would tend to be indicated by the time it spans—longer than that usually spanned by art movements, some art movements though, are labeled anti-art. Theodor W. Adorno in Aesthetic Theory stated that. even the abolition of art is respectful of art because it takes the truth claim of art seriously. Anti-art has become accepted by the artworld to be art, although some people still reject Duchamps readymades as art, for instance the Stuckist group of artists. Anti-art can take the form of art or not and it is posited that anti-art need not even take the form of art, in order to embody its function as anti-art. Some of the forms of anti-art which are art strive to reveal the limits of art by expanding its properties. Some instances of anti-art are suggestive of a reduction to what might seem to be fundamental elements or building blocks of art, examples of this sort of phenomenon might include monochrome paintings, empty frames, silence as music, chance art. Anti-art is also seen to make use of highly innovative materials and techniques. These types of anti-art can be readymades, found art, détournement, combine paintings, appropriation, happenings, performance art, anti-art can involve the renouncement of making art entirely
Anti-art
–
L.H.O.O.Q. (1919).
Marcel Duchamp.
Anti-art
–
Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz
Anti-art
–
Illustration of Le rire (1887). First shown 1883 at an "Incohérents" exhibition by Arthur Sapeck (Eugène Bataille).
8.
Joseph Stella
–
Joseph Stella was an Italian-born American Futurist painter best known for his depictions of industrial America, especially his images of the Brooklyn Bridge. He is also associated with the American Precisionist movement of the 1910s–1940s, Stella was born to a middle-class family in Italy, in Muro Lucano, a village in the province of Potenza. His grandfather Antonio and his father Michele were attorneys, but he came to New York City in 1896 to study medicine, following in the foot steps of his older brother Doctor Antonio Stella. However, he abandoned his medical studies and turned instead to art, studying at the Art Students League. His first paintings were Rembrandtesque depictions of city slum life, a remarkable draftsman, he made drawings throughout the various phases of his career, beginning as an academic realist with a particular interest in immigrant and ethnic life. From 1905 to 1909, he worked as an illustrator, publishing his realist drawings in magazines. He prowled the streets, sketch pad and pencil in hand, alert to catch the pose of the moment, in 1908, he was commissioned for a series on industrial Pittsburgh, later published in The Pittsburgh Survey. Stella returned to Italy in 1909 and he was unhappy with America, writing that he longed to be back in his native land after an enforced stay among enemies, in a black funereal land over which weighed. The curse of a merciless climate and his return to Europe led to his first extensive contact with Modernism which would ultimately mold his distinctive personal style, notable for its strong color and sweeping and dynamic lines. By 1911, he had departed Italy, where the omnipresence of the Renaissance presented its own kind of obstacle for contemporary painters, and relocated to Paris. When he arrived, Fauvism, Cubism, and Futurism were in full swing, he wrote and it was the right place to be, at just the right time, for a man of Stellas curiosity, openness to new trends, and ambition. In Paris, Stella attended the salon of Gertrude Stein, where he met other painters. Found the big and boisterous painter rather like Apollinaire, they both had a fund of wit that was frequently turned on their hosts. in a high. Returning to New York in 1913, he was prepared to give the United States a second try and it was a decision he did not regret, although, as art historian Wanda Corn noted, his culture shock never abated. As a result of associations, he had almost as many opportunities as he had known in Europe to be among kindred spirits. In 1913, he painted Battle of Lights, Coney Island, the legendary Armory Show of 1913, in which he participated, provided him with greater impetus to experiment with modernist styles. Der Rosenkavalier and Spring are vigorous color abstractions, a friend noted that the painting caused a general sensation, an artistic upheaval as sudden and unexpected as it was universal. In New York during the 1920s, Stella became fascinated with the quality of the architecture of Lower Manhattan
Joseph Stella
–
Joseph Stella, ca 1940
Joseph Stella
–
Joseph Stella, Battle of Lights, Coney Island, 1913, oil on canvas, 195.6 × 215.3 cm (77 × 84.75 in),
Yale University Art Gallery, New Haven, CT
Joseph Stella
–
Man Ray, 1920, Three Heads (Joseph Stella and
Marcel Duchamp, painting bust portrait of Man Ray above Duchamp), gelatin silver print, 20.7 x 15.7 cm,
Museum of Modern Art, New York
Joseph Stella
–
Joseph Stella, 1919-20, Brooklyn Bridge, oil on canvas, 215.3 x 194.6 cm,
Yale University Art Gallery
9.
J. L. Mott Iron Works
–
The J. L. Mott Iron Works was established by Jordan L. Mott in New York City in the area now called Mott Haven in 1828, the business was continued by his son, J. L. Mott, Jr. The elder Mott specialised in the manufacture of cooking-stoves fueled with anthracite coal, Mott was interested in the patenting of inventions, but turned down President Buchanans offer to make him Commissioner of Patents. At the Centennial Exposition in Philadelphia,1876, an elaborate cast iron fountain,25 feet tall, was exhibited by the company. According to the review, Gems of the Centennial Exposition all of the modeling of architectural forms, basins. Figures were molded in clay, then cast in plaster to provide the moulds for the cast iron, the lowest pan or basin was ten feet in diameter, said at the time to have been the largest such cast-iron basin in the United States. Some examples of the fountain figure The Boy with the Leaking Boot in various American and Canadian cities were purchased from the company, the company relocated in about 1902 to Trenton, New Jersey. Plumbing fixtures, including enameled cast iron bathtubs were also a J. L. Mott specialty. In 1917, artist Marcel Duchamp selected a urinal from the J. L. Mott showroom in Manhattan and this episode marks the introduction of the readymade in the history of modern art. The Mott Iron Works company was established in 1984 in Massachusetts, United States, the J. L. Mott Iron Works. - company history and images of bathroom fittings Images with the phrase j. l. mott iron works in Name, -753 images from the companys catalogues Jordan L. Mott dies in 86th year. - Obituary of son of the founder Manhole and coal chute covers
J. L. Mott Iron Works
–
References [edit]
J. L. Mott Iron Works
10.
Elsa von Freytag-Loringhoven
–
Baroness Elsa von Freytag-Loringhoven was a German avant-garde, Dadaist artist and poet who worked for several years in Greenwich Village, New York. She has been claimed as the originator of Fountain, usually ascribed to Marcel Duchamp and her provocative poetry was published posthumously in 2011 in Body Sweats, The Uncensored Writings of Elsa von Freytag-Loringhoven. The New York Times praised the book as one of the art books of 2011. Freytag-Loringhoven was born Else Hildegard Plötz in Swinemünde, in Pomerania, Germany, to Adolf Plötz and she trained and worked as an actress and vaudeville performer and had numerous affairs with artists in Berlin, Munich and Italy. She studied art in Dachau, near Munich and she married Berlin-based architect, August Endell in a civil service on August 22,1901 in Berlin, becoming Else Endell. They had a relationship, and in 1902 she became romantically involved with a friend of Endells. After the trio travelled together to Palermo, Sicily in late January 1903, although their separation was acrimonious, she dedicated several satirical poems to Endell. In 1906, she and Greve returned to Berlin, where they were married on August 22,1907, by 1909, Greve was in deep financial trouble. With his wifes help, he staged a suicide and departed for North America in late July 1909, in July 1910, Else joined him in the United States, where they operated a small farm in Sparta, Kentucky, not far from Cincinnati. Greve suddenly deserted her in 1911 and went west to a farm near Fargo, North Dakota. There are no records of a divorce from Greve, there, she became known as the dadaist Baroness Elsa von Freytag-Loringhoven. In New York City, Freytag-Loringhoven supported herself by working in a factory and by posing as a model for artists such as Louis Bouché, George Biddle. She also appeared in works by Man Ray, George Grantham Bain and others, lithography by George Biddle, the Baroness was given a platform for her poetry in The Little Review, where, starting in 1918, her work was featured alongside chapters of James Joyces Ulysses. Jane Heap considered the Baroness “the first American dada, most of her poems remained unpublished until the publications of Body Sweats. Her personal papers were preserved after her death by her editor, literary agent, artistic collaborator, the collection contains correspondences, visual poems, and other artistic/literary works by the artist. The University of Marylands special collections has a digital archive of her manuscripts. In New York, the Baroness also worked on sculptures and paintings, creating art out of the rubbish. The Baroness was also known to construct elaborate costumes from found objects, few artworks by the Baroness exist today
Elsa von Freytag-Loringhoven
–
Elsa von Freytag-Loringhoven
Elsa von Freytag-Loringhoven
–
Morton Schamberg - "God" By Baroness Elsa von Freytag-Loringhoven and Morton Schamberg - Google Art Project
11.
Beatrice Wood
–
She had earlier studied art and theater in Paris, and was working in New York as an actress. She later worked at sculpture and pottery, Wood was characterized as the Mama of Dada. She partially inspired the character of Rose DeWitt Bukater in James Camerons 1997 film, Beatrice Wood died nine days after her 105th birthday in Ojai, California. Beatrice Wood was born in San Francisco, California, the daughter of wealthy socialites, after the San Francisco earthquake of 1906, the family moved to New York. Despite her parents opposition, Wood insisted on pursuing a career in the arts. Eventually her parents agreed to let her study painting, because she was fluent in French, they sent her to Paris, where she studied acting at the Comédie-Française and art at the prestigious Académie Julian. The onset of World War I forced Wood to return to the United States and she continued acting with a French Repertory Company in New York City, performing over sixty roles in two years. She worked for several years performing on the stage, Woods involvement in the Avant Garde began with her introduction to Marcel Duchamp. He and his friend Henri-Pierre Roché, a man fourteen years her senior, the three worked together to create The Blind Man, a magazine that was one of the earliest manifestations of the Dada art movement in the United States. The publication was intended to defend the submission of a urinal by R. Mutt to the First Exhibition of the Society of Independent Artists in April 1917, Wood wrote the oft-quoted statement that appeared in the publication as an unsigned editorial, As for plumbing, that is absurd. The only works of art America has given are her plumbing, though she was most involved with Roché, the two often spent time with Duchamp, creating a kind of love triangle. Since the late 20th century, biographies of Wood have associated Rochés 1956 novel Jules et Jim, with the relationship among Duchamp, Wood, other sources link their triangle to Rochés unfinished novel, Victor. Beatrice Wood commented on this topic in her 1985 autobiography, I Shock Myself, Roché lived in Paris with his wife Denise, and had by now written Jules et Jim. Because the story concerns two men who are close friends and a woman who loves them both, people have wondered how much was based on Roché, Marcel, and me. I cannot say what memories or episodes inspired Roché, but the characters bear only passing resemblance to those of us in real life, Jules et Jim is properly associated with the triangle among Roché, German writer Franz Hessel, and Helen Grund, who married Hessel. Wood met the art patrons, Walter and Louise Arensberg, from 1915 through 1920, they held regular gatherings at their apartment at 33 West 67th Street in Manhattan in which artists, writers, and poets were invited for intellectual discussion. Besides Duchamp, Roché, and her, the group included many other artist of the avant-garde, Edgard Varese, Charles Sheeler, Joseph Stella, Man Ray and Francis Picabia. Woods relationship with artists and others associated with the avant-garde movement of the early 20th century
Beatrice Wood
–
Untitled (Two Women) earthenware with glazes by Beatrice Wood, 1990
Beatrice Wood
–
Beatrice Wood, 1908
Beatrice Wood
–
Marcel Duchamp, Francis Picabia and Beatrice Wood, 1917
Beatrice Wood
–
Luster Chalice by Beatrice Wood, Permanent Collection, Beatrice Wood Center for the Arts & Happy Valley Foundation
12.
Jean Crotti
–
Jean Crotti was a French painter. Crotti was born in Bulle, Fribourg, Switzerland and he first studied in Munich, Germany at the School of Decorative Arts, then at age 23 moved to Paris to study art at the Académie Julian. Initially he was influenced by Impressionism, then by Fauvism and Art Nouveau, around 1910 he began to experiment with Orphism, an offshoot of Cubism, and a style that would be enhanced by his association in New York City with Marcel Duchamp and Francis Picabia. A refugee from World War I, he looked to America as a place where he could live, in New York, he shared a studio with Marcel Duchamp and met his sister, Suzanne Duchamp. She was part of the Dada movement in which Crotti would become involved, in the fall of 1916, Crotti separated from his wife, Yvonne Chastel, and returned to Paris. He had begun a relationship with Suzanne Duchamp that would culminate in his divorce in 1919, an artist in her own right, she would greatly influence Jean Crotti’s painting. In 1920, he produced one of his best known works and he would be part of the 1925 Exposition International in Paris, and the International Exhibition of Modern Art at the Brooklyn Museum in 1926 -1927. Over the ensuing years, he would create numerous paintings and be the subject for several exhibitions at major galleries in England, France, Germany. Jean Crottis heirs donated his papers to the Archives of American Art, Smithsonian Institution. In Spring 2011, Francis M. Website of Jean Crotti
Jean Crotti
–
Jean Crotti, 1916, L'harmonie nait du chaos, gouache on cardboard, 58.3 x 47 cm
13.
Indiana University Bloomington
–
Indiana University Bloomington is a public research university located in Bloomington, Indiana, United States. With over 48,000 students, IU Bloomington is the institution of the Indiana University system. As of Fall 2015,48,514 students attend Indiana University, while 55. 2% of the student body was from Indiana, students from 49 of the 50 states, Washington D. C. and 165 foreign nations were also enrolled. The university is home to a student life program, with more than 750 student organizations on campus. Indiana athletic teams compete in Division I of the NCAA and are known as the Indiana Hoosiers, the university is a member of the Big Ten Conference. Among IU Bloomington’s many graduate-level programs are the Kelley School of Business, School of Education, School of Public and Environmental Affairs, indiana’s law school has a program with a first-year team-based approach, a diversion from the typical legal education. In terms of academics and other criteria, IU Bloomington ranks in top 100 national universities in the United States and the top 50 public universities in the country. The schools sports teams are notorious competitors in the NCAA Division I Big Ten Conference, there are more than 650 student organizations on campus, and more than 5,000 students go Greek in the school’s large community of fraternities and sororities. Indianas state government in Corydon established Indiana University on January 20,1820, construction began in 1822 at what is now called Seminary Square Park near the intersection of Second Street and College Avenue. The first professor was Baynard Rush Hall, a Presbyterian minister who taught all of the classes in 1825–27, in the first year, he taught twelve students and was paid $250. Hall was a classicist who focused on Greek and Latin and believed that the study of classical philosophy, the first class graduated in 1830. From 1820 to 1889 a legal-political battle was fought between IU and Vincennes University as to which was the state university. In 1829, Andrew Wylie became the first president, serving until his death in 1851, the schools name was changed to Indiana College in 1829, and to Indiana University in 1839. Wylie and David Maxwell, president of the board of trustees, were devout Presbyterians and they spoke of the nonsectarian status of the school but generally hired fellow Presbyterians. Presidents and professors were expected to set an example for their charges. After six ministers in a row, the first non-clergyman to become president was the young biology professor David Starr Jordan, Jordan followed Baptist theologian Lemuel Moss, who resigned after a scandal broke regarding his involvement with a female professor. Jordan improved the finances and public image, doubled its enrollment. Jordan became president of Stanford University in June 1891, growth of the college was slow
Indiana University Bloomington
–
The Sample Gates, the main entrance to the Indiana University Bloomington Campus
Indiana University Bloomington
–
Indiana University Bloomington
Indiana University Bloomington
–
Morrison Hall in June, 1942
Indiana University Bloomington
–
Maxwell Hall
14.
San Francisco Museum of Modern Art
–
The San Francisco Museum of Modern Art is a modern art museum located in San Francisco, California. A nonprofit organization, SFMOMA holds an internationally recognized collection of modern and contemporary art, the museum’s current collection includes over 33,000 works of painting, sculpture, photography, architecture, design, and media arts. They are displayed in 170,000 square feet of space, making the museum one of the largest in the United States overall. SFMOMA reopened on May 14,2016, following a major expansion project. SFMOMA was founded in 1935 under director Grace L. McCann Morley as the San Francisco Museum of Art, for its first sixty years, the museum occupied the fourth floor of the War Memorial Veterans Building on Van Ness Avenue in the Civic Center. A gift of 36 artworks from Albert M. Bender, including The Flower Carrier by Diego Rivera, Bender donated more than 1,100 objects to SFMOMA during his lifetime and endowed the museums first purchase fund. The museum began its second year with an exhibition of works by Henri Matisse, in this same year the museum established its photography collection, becoming one of the first museums to recognize photography as a fine art. SFMOMA held its first architecture exhibition, entitled Telesis, Space for Living, SFMOMA was obliged to move to a temporary facility on Post Street in March 1945 to make way for the United Nations Conference on International Organization. The museum returned to its original Van Ness location in July, later that year SFMOMA hosted Jackson Pollocks first solo museum exhibition. Founding director Grace Morley held film screenings at the beginning in 1937. In 1946 Morley brought in filmmaker Frank Stauffacher to found SFMOMA’s influential Art in Cinema film series, SFMOMA continued its expansion into new media with the 1951 launch of a biweekly television program entitled Art in Your Life. The series, later renamed Discovery, ran for three years, Morley ended her 23-year tenure as museum director in 1958 and was succeeded by George D. Culler and Gerald Nordland. The museum rose to prominence under director Henry T. Hopkins. Since 1967, SFMOMA has honored San Francisco Bay Area artists with its biennial SECA Art Award, the positions of director of education and director of photography were elevated to full curatorial roles. At this time SFMOMA took on a special exhibitions program. Including major presentations of the work of Jeff Koons, Sigmar Polke, in January 1995 the museum opened its current location at 151 Third Street, adjacent to Yerba Buena Gardens in the SOMA district. Mario Botta, a Swiss architect from Canton Ticino, designed the new US$60 million facility, Art patron Phyllis Wattis helped the museum acquire key works by Magritte, Mondrian, Andy Warhol, Eva Hesse and Wayne Thiebaud. SFMOMA made a number of important acquisitions under the direction of David A and those and acquisitions of works by Jasper Johns, Mark Rothko, Francis Bacon, Alexander Calder, Chuck Close and Frank Stella put the institution in the top ranks of American museums of modern art
San Francisco Museum of Modern Art
San Francisco Museum of Modern Art
–
The atrium of The San Francisco Museum of Modern Art
San Francisco Museum of Modern Art
–
Henri Matisse.
Femme au Chapeau (Woman with a Hat), 1905
San Francisco Museum of Modern Art
–
Franz Marc. Gebirge (Mountains), 1911-1912
15.
National Gallery of Canada
–
The National Gallery of Canada, located in the capital city of Ottawa, Ontario, is one of Canadas premier art galleries. The Gallery is now housed in a glass and granite building on Sussex Drive with a view of the Canadian Parliament buildings on Parliament Hill. The building was designed by Moshe Safdie and opened in 1988, the Gallerys former director Jean Sutherland Boggs was chosen especially by Prime Minister Pierre Trudeau to oversee construction of the national gallery and museums. Marc Mayer was named the director, succeeding Pierre Théberge. In 1911, the Gallery moved to the Victoria Memorial Museum, in 1913, the first National Gallery Act was passed outlining the Gallerys mandate and resources. In 1962, the Gallery moved to the Lorne Building site, adjacent to the British High Commission, the building has since been demolished for a 17 storey office building that is to house the Federal Finance Department. The museum moved into its current building on Sussex Drive in 1988, in 1985, the newly created Canadian Museum of Contemporary Photography, formerly the Stills Photography Division of the National Film Board of Canada, was affiliated to the National Gallery. The CMCPs mandate, collection and staff moved to its new location in 1992, at 1 Rideau Canal, in 1998, the CMCPs administration was amalgamated to that of the National Gallerys. In 2000, the Royal Architectural Institute of Canada chose the National Gallery as one of the top 500 buildings produced in Canada during the last millennium, although its focus is on Canadian art, it holds works by many noted American and European artists. It has a contemporary art collection with some of Andy Warhols most famous works. In 1990 the Gallery bought Barnett Newmans Voice of Fire for $1.8 million, since that time its value has appreciated sharply. In 2005, the Gallery acquired a painting by Italian Renaissance painter Francesco Salviati for $4.5 million and its most famous painting is likely The Death of General Wolfe by Anglo-American artist Benjamin West. In 2005, a sculpture of a giant spider, Louise Bourgeoiss Maman, was installed in the plaza in front of the Gallery. The Canadian collection, the most comprehensive in Canada, holds works by Louis-Philippe Hébert, Tom Thomson, the Gallery organizes its own exhibits which travel across Canada and beyond, and hosts shows from around the world, often co-sponsored with other national art galleries and museums. The Gallerys collection has been built up through purchase and donations, much of the collection was donated, notably the British paintings donated by former Governor General Vincent Massey and that of the Southam family. The museum features Canadian, Native and Inuit art, American and European painting, sculpture, prints and drawings, modern and contemporary art and photographs. After the convent was demolished in 1972, the chapel was dismantled, stored and reconstructed within the gallery as a work of art in 1988. Francis Bacon, Study for Portrait No.1 Hans Baldung, Eve, the Serpent and Death Pompeo Batoni, Vulcan at his forge
National Gallery of Canada
–
National Gallery of Canada
National Gallery of Canada
–
View of the National Gallery of Canada from Parliament Hill
National Gallery of Canada
–
The interior of National Gallery of Canada
National Gallery of Canada
–
Louise Bourgeois '
Maman (1999) stands outside the National Gallery of Canada's main entrance
16.
Centre Georges Pompidou
–
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
Centre Georges Pompidou
–
Centre Georges Pompidou
Centre Georges Pompidou
–
Building technology
Centre Georges Pompidou
–
Pablo Picasso 's works in the Centre
Centre Georges Pompidou
–
The
Centre Pompidou-Metz.
17.
Tate Modern
–
Tate Modern is a modern art gallery located in London. It is Britains national gallery of modern art and forms part of the Tate group. It is based in the former Bankside Power Station, in the Bankside area of the London Borough of Southwark, Tate holds the national collection of British art from 1900 to the present day and international modern and contemporary art. Tate Modern is one of the largest museums of modern and contemporary art in the world and it is directly across the river from St Pauls Cathedral. The power station closed in 1981, prior to redevelopment, the power station was a 200 m long, steel framed, brick clad building with a substantial central chimney standing 99 m. The structure was divided into three main areas each running east-west - the huge main turbine hall in the centre, with the boiler house to the north. For many years after closure Bankside Power station was at risk of being demolished by developers, many people campaigned for the building to be saved and put forward suggestions for possible new uses. An application to list the building was refused, in April 1994 the Tate Gallery announced that Bankside would be the home for the new Tate Modern. In July of the year, an international competition was launched to select an architect for the new gallery. Jacques Herzog and Pierre de Meuron of Herzog & de Meuron were announced as the architects in January 1995. The £134 million conversion to the Tate Modern started in June 1995, the most obvious external change was the two-story glass extension on one half of the roof. Much of the internal structure remained, including the cavernous main turbine hall. The history of the site as well as information about the conversion was the basis for a 2008 documentary Architects Herzog and de Meuron and this challenging conversion work was carried by Carillion. Tate Modern was opened by the Queen on 11 May 2000, Tate Modern received 5.25 million visitors in its first year. The previous year the three existing Tate galleries galleries had received 2.5 million visitors combined, Tate Modern had attracted more visitors than originally expected and plans to expand it had been in preparation since 2004. These plans focused on the south west of the building with the intention of providing 5, 000m2 of new display space, the southern third of the building was retained by the French power company EDF Energy as an electrical substation. In 2006, the released the western half of this holding and plans were made to replace the structure with a tower extension to the museum. The tower was to be built over the old oil storage tanks, structural, geotechnical, civil, and façade engineering and environmental consultancy was undertaken by Ramboll between 2008 and 2016
Tate Modern
–
Tate Modern
Tate Modern
–
The Turbine Hall
Tate Modern
–
Stairs and windows
Tate Modern
–
Chimney of Tate Modern. The Swiss Light at its top was designed by
Michael Craig-Martin and the architects
Herzog & de Meuron and was sponsored by the Swiss government. It was dismantled in May 2008.
18.
Readymades of Marcel Duchamp
–
The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called retinal art. By simply choosing the object and repositioning or joining, titling and signing it, Duchamp was not interested in what he called retinal art — art that was only visual — and sought other methods of expression. As an antidote to retinal art he began creating readymades at a time when the term was used in the United States to describe manufactured items to distinguish them from handmade goods. While published under the name of Marcel Duchamp, André Gervais nevertheless asserts that Breton wrote this particular dictionary entry, Duchamp only made a total of 13 readymades over a period of time of 30 years. He felt that he could avoid the trap of his own taste by limiting output, though he was aware of the contradiction of avoiding taste. Taste, he felt, whether good or bad, was the enemy of art and his conception of the readymade changed and developed over time. My intention was to get away myself, he said. Call it a game between I and me. Duchamp was unable to define or explain his opinion of readymades, much later in life Duchamp said, Im not at all sure that the concept of the readymade isnt the most important single idea to come out of my work. Robert Fulford described Duchamps ready-mades as expressing an angry nihilism, by submitting some of them as art to art juries, the public, and his patrons, Duchamp challenged conventional notions of what is, and what is not, art. Some were rejected by art juries and others went unnoticed at art shows, most of his early readymades have been lost or discarded, but years later he commissioned reproductions of many of them. Readymades - un-altered objects Assisted readymades Rectified readymades Corrected readymades Reciprocal readymades Bottle Rack,1914, two years later, through correspondence from New York with his sister, Suzanne Duchamp, in France he intended to make it a readymade by asking her to paint on it Marcel Duchamp. However, Suzanne, who was looking after his Paris studio, had already disposed of it, prelude to a Broken Arm,1915. External link Snow shovel on which he painted its title. The first piece the artist called a readymade, New to America, Duchamp had never seen a snow shovel not manufactured in France. With fellow Frenchman Jean Crotti he purchased it from a stack of them, took it to their studio, painted the title and from Marcel Duchamp 1915 on it. Many years later, a replica of the piece is said to have mistaken for an ordinary snow shovel. External link An unpainted chimney ventilator that turns in the wind, the title is a literal translation of the French phrase, tiré à quatre épingles, roughly equivalent to the English phrase dressed to the nines
Readymades of Marcel Duchamp
–
1964 artist-authorized replica of
Fountain (1917) made by the artist's dealer,
Arturo Schwarz, based on a photograph by
Alfred Stieglitz. Porcelain, 360 x 480 x 610 mm.
Tate Modern, London.
Readymades of Marcel Duchamp
–
Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz
Readymades of Marcel Duchamp
–
Belle Haleine, Eau de Voilette
Readymades of Marcel Duchamp
–
Why Not Sneeze, Rose Sélavy?
19.
Stephen Hicks
–
Stephen Ronald Craig Hicks is a Canadian-American philosopher who teaches at Rockford University, where he also directs the Center for Ethics and Entrepreneurship. Hicks earned his B. A. and M. A. degrees from the University of Guelph, Canada and his doctoral thesis was a defense of foundationalism. Hicks is the author of two books and a documentary and this was released in 2006 as a video documentary and then in 2010 as a book. Hicks is also the co-editor, with David Kelley, of a critical thinking textbook, The Art of Reasoning, Readings for Logical Analysis
Stephen Hicks
–
Photo of Stephen Hicks lecturing in 2013.
20.
Poverty
–
Poverty is general scarcity or the state of one who lacks a certain amount of material possessions or money. It is a concept, which includes social, economic. Absolute poverty or destitution refers to the lack of necessary to meet basic needs such as food, clothing. Absolute poverty is meant to be about the independent of location. After the industrial revolution, mass production in factories made producing goods increasingly less expensive, of more importance is the modernization of agriculture, such as fertilizers, to provide enough yield to feed the population. Strategies of increasing income to make basic needs more affordable typically include welfare, economic freedoms, Poverty reduction is a major goal and issue for many international organizations such as the United Nations and the World Bank. The World Bank forecasts that 702.1 million people, down from 1.75 billion in 1990, of these, about 347.1 million people lived in Sub-Saharan Africa and 231.3 million lived in South Asia. According to the World Bank, between 1990 and 2015, the percentage of the population living in extreme poverty fell from 37. 1% to 9. 6%. Nevertheless, given the current economic model, built on GDP, extreme poverty is a global challenge, it is observed in all parts of the world, including developed economies. UNICEF estimates half the children live in poverty. It has been argued by some academics that the policies promoted by global financial institutions such as the IMF. Another estimate places the true scale of poverty much higher than the World Bank, with an estimated 4.3 billion people living with less than $5 a day and unable to meet basic needs adequately. In 2012 it is estimated that, given a poverty line of $1.25 a day 1.2 billion people lived in poverty, the word poverty comes from old French poverté, from Latin paupertās from pauper. The English word poverty via Anglo-Norman povert, there are several definitions of poverty depending on the context of the situation it is placed in, and the views of the person giving the definition. Income Poverty, a familys income fails to meet a federally established threshold that differs across countries, United Nations, Fundamentally, poverty is the inability of having choices and opportunities, a violation of human dignity. It means lack of capacity to participate effectively in society. It means insecurity, powerlessness and exclusion of individuals, households and it means susceptibility to violence, and it often implies living in marginal or fragile environments, without access to clean water or sanitation. World Bank, Poverty is pronounced deprivation in well-being, and comprises many dimensions and it includes low incomes and the inability to acquire the basic goods and services necessary for survival with dignity
Poverty
–
An example of urban poverty in this
slum in
Jakarta,
Indonesia
Poverty
–
Children of the
Depression -era migrant workers, Arizona, 1937
Poverty
–
An early morning outside the Opera Tavern in Stockholm, with a gang of beggars waiting for delivery of the scraps from the previous day.
Sweden, 1868.
Poverty
–
A
Somali boy receiving treatment for malnourishment at a health facility.
21.
Mutt and Jeff
–
Mutt and Jeff is a long-running and widely popular American newspaper comic strip created by cartoonist Bud Fisher in 1907 about two mismatched tinhorns. The Mutt and Jeff comic strip remained in syndication until 1983, employing the talents of several cartoonists, the series eventually became a comic book, initially published by All-American Publications and later published by DC Comics, Dell Comics and Harvey Comics. Later it was published as cartoons, films, pop culture merchandise. Harry Conway Bud Fisher was a sports cartoonist for the San Francisco Chronicle in the early 1900s and his innovation was to tell a cartoon gag in a sequence, or strip, of panels, creating the first American comic strip to successfully pioneer that since-common format. As comics historian Don Markstein explained, Fishers comic strip was similar to A. Piker Clerk. Had done in the same daily format for The Chicago American in 1903. But tho Fisher was born in Chicago, its unknown whether or not he ever saw the Briggs strip, so give him the benefit of the doubt. Despite the Briggs primacy, A. Mutt is considered the first daily strip because its the one that sparked a trend in that direction, which continues to this day. A. Mutt, the strip that would be better known by its later title, Mutt and Jeff. The featured character had appeared in sports cartoons by Fisher. Fisher had approached his editor, John P. Young, about doing a strip as early as 1905. According to Fisher, Young told him, It would take up too much room, and readers are used to reading down the page and this strip focused on a single main character, until the other half of the duo appeared on March 27,1908. It appeared only in the Chronicle, so Fisher did not have the lead time that syndicated strips require. Episodes were drawn the day before publication, and frequently referred to events that were currently making headlines. A1908 sequence about Mutts trial featured a parade of thinly-disguised caricatures of specific San Francisco political figures, Hearst responded by launching a lawsuit which ultimately failed. By 1916, Fisher was earning in excess of $150,000 a year, by the 1920s, merchandising and growing circulation had increased his income to an estimated $250,000. In 1918, Mutt and Jeff added a Sunday strip, and as success continued, Fisher hired Billy Liverpool and Ed Mack, artists Hearst had at one point groomed to take over the strip, who would do most of the artwork. Other assistants on the strip included Ken Kling, George Herriman, Fisher appeared to lose all interest in the strip during the 1930s, and after Mack died in 1932, the job of creating the strip fell to Al Smith
Mutt and Jeff
–
Overland Monthly ad (January 1916)
Mutt and Jeff
–
Mutt and Jeff as reprinted in All-American Comics #51 (1943).
Mutt and Jeff
–
A Mutt and Jeff strip from 1913
Mutt and Jeff
–
Bud Fisher's Cicero's Cat (August 7, 1942)
22.
Money bag
–
A money bag is a bag of money used to hold and transport coins and banknotes from/to a mint, bank, ATM, vending machine, business, or other institution. Money bags are transported in an armored car or a money train and, in the past. Crumillospongia is a genus of middle Cambrian sponge named after its similarity to a small leathery money purse, according to the account given in the Bibles Gospel of John, Judas Iscariot carried the disciples money bag. During the Roman era, the Legio IV Scythica was camped in Zeugma, excavations carried out in the city revealed 65,000 seal imprints found in a place which is believed to serve as the archives for the customs of ancient Zeugma. Charons obol, a custom originating in ancient Greece whereby a coin is placed with a corpse, in the 3rd-4th century AD in Western Europe, were often found in pouches. From the Middle Ages to around 1900, Rottweiler dogs were used by travelling butchers at markets to guard money pouches tied around their necks. Beginning in the 14th century, purses of money were awarded to scholars during the Revathi Pattathanam, in 16th century feudal Japan, samurai wore uchi-bukuro around the waist or neck. In 1620, pediatric tracheotomy was unheard of until a boy tried to hide a bag of gold by swallowing it and it became lodged in his esophagus and blocked his trachea. The tracheotomy allowed the surgeon to manipulate the bag and it to pass through his system, in September 1864, Rose ONeal Greenhow, a Confederate agent, drowned with a bag of gold around her neck after leaving the Condor in a boat. A wealthy person can have the nickname moneybag, marcus Licinius Crassus, a leading Roman politician in his day, was known in Rome as Dives, meaning The Rich or Moneybags. Ivan I of Moscow was a Russian Grand Prince of Moscow from 1328-1341 who was famous for being generous with his wealth. American Cardinal Francis Spellman was sometimes called Cardinal Moneybags in his later life, miss Moneybags is a fictional character in the 1915 Charlie Chaplin silent comedy film The Count. James Edward Baron of Edgerton Hansons billion-dollar empire earned him the nickname Lord Moneybags, another fictional character, Victor Newman of The Young and the Restless soap opera, has also been called Moneybags. Money bags have been represented in art and culture throughout history, including paintings, literature, film, television, games. A leno, a theatre of ancient Rome stock character, is depicted carrying a money bag. Lugus, another god worshipped by Celtic people and identified with Mercury, around 1130, Hugh of St. Victors Chronicas preface refers to a money bag, with its compartments, as a memory training analogy. In the 16th century, The Conjurer, a painting by Hieronymus Bosch, around 1791, James Gillray published a cartoon about reaction to the Boydell Shakespeare Gallery labelled Boydell sacrificing the Works of Shakespeare to the Devil of Money-Bags. The Apotheosis of Washington, a fresco in the dome in the rotunda of the United States Capitol Building that contains a scene with the Roman god Mercury holding a bag of gold
Money bag
–
Saint Homobonus ' (died 1197) attributes include a bag of money
Money bag
–
A conductor's bag with a
money changer
Money bag
–
Money in a bag from the
Nordic foreign exchange company
Forex Bank
Money bag
–
Postcard (postmarked 1907) depicting
John Bull and
Uncle Sam under sign "To Canada" bringing in sacks of money "
for investment in Canada "
23.
Feces
–
Feces or faeces are the solid or semisolid metabolic waste from an animals digestive tract, discharged through the anus or cloaca during a process called defecation. Urine and feces together are called excreta, collected feces has various uses, namely as fertilizer or soil conditioner in agriculture, as a fuel source, or for medicinal purposes. After an animal has digested eaten material, the remains of material are discharged from its body as waste. Although it is lower in energy than the food from which it is derived, feces may retain a large amount of energy and this means that of all food eaten, a significant amount of energy remains for the decomposers of ecosystems. Many organisms feed on feces, from bacteria to fungi to insects such as dung beetles, some may specialize in feces, while others may eat other foods as well. Feces serve not only as a food, but also as a supplement to the usual diet of some animals. Feces and urine, which reflect light, are important to raptors such as kestrels. Seeds also may be found in feces, animals who eat fruit are known as frugivores. An advantage for a plant in having fruit is that animals will eat the fruit and this mode of seed dispersal is highly successful, as seeds dispersed around the base of a plant are unlikely to succeed and often are subject to heavy predation. Provided the seed can withstand the pathway through the system, it is not only likely to be far away from the parent plant. This cycling of matter is known as the biogeochemical cycle, the distinctive odor of feces is due to bacterial action. Gut flora produce compounds such as indole, skatole, and thiols and these are the same compounds that are responsible for the odor of flatulence. Consumption of foods prepared with spices may result in the spices being undigested, the perceived bad odor of feces has been hypothesized to be a deterrent for humans, as consuming or touching it may result in sickness or infection. Human perception of the odor may be contrasted by an animals perception of it, for example. In humans and depending on the individual and the circumstances, defecation may occur daily, extensive hardening of the feces may cause prolonged interruption in the routine and is called constipation. Human fecal matter varies significantly in appearance, depending on diet, normally it is semisolid, with a mucus coating. The brown coloration comes from a combination of bile and bilirubin, in newborn babies, initially fecal matter is yellow-green after the meconium. This coloration comes from the presence of bile alone, throughout the life of an ordinary human, one may experience many types of feces
Feces
–
A comparison of
elephant (left) and
human feces (right)
Feces
Feces
–
The
cassowary disperses plant seeds via its feces
Feces
–
Earthworm feces aid in provision of minerals and plant nutrients in an accessible form
24.
Golden calf
–
According to the Bible, the golden calf was an idol made by the Israelites during Moses absence, when he went up to Mount Sinai. In Hebrew, the incident is known as ḥēṭ’ ha‘ēggel or The Sin of the Calf and it is first mentioned in Exodus 32,4. Bull worship was common in many cultures, among the Egyptians and Hebrews neighbors in the ancient Near East and in the Aegean, the Aurochs, the wild bull, was widely worshipped, often as the Lunar Bull and as the creature of El. When Moses went up into Biblical Mount Sinai to receive the Ten Commandments, he left the Israelites for forty days, the Israelites feared that he would not return and demanded that Aaron make them gods to go before them. Aaron gathered up the Israelites golden earrings and ornaments, constructed a molten calf and they declared, These thy gods, O Israel, Aaron built an altar before the calf and proclaimed the next day to be a feast to the LORD. So they rose up early the day and offered burnt-offerings, and brought peace-offerings, and the people sat down to eat and to drink. Moses besought and pleaded that they should be spared, and God repented of the evil which He said He would do unto His people. Moses went down from the mountain, but upon seeing the calf, he became angry, Moses burnt the golden calf in a fire, ground it to powder, scattered it on water, and forced the Israelites to drink it. When Moses asked him, Aaron admitted collecting the gold, and throwing it into the fire, the Bible records that the tribe of Levi did not worship the golden calf. When Moses stood in the gate of the camp, and said, Whosoever is on the LORDs side, and all the sons of Levi gathered themselves together unto him. And the sons of Levi did according to the word of Moses, the golden calf is mentioned in Nehemiah 9, 16–21. But they, our ancestors, became arrogant and stiff-necked, and they refused to listen and failed to remember the miracles you performed among them. They became stiff-necked and in their rebellion appointed a leader in order to return to their slavery, but you are a forgiving God, gracious and compassionate, slow to anger and abounding in love. Therefore you did not desert them, even when they cast for themselves an image of a calf and said, This is your god, because of your great compassion you did not abandon them in the wilderness. By day the pillar of cloud did not fail to guide them on their path and you gave your good Spirit to instruct them. You did not withhold your manna from their mouths, and you gave them water for their thirst, for forty years you sustained them in the wilderness, they lacked nothing, their clothes did not wear out nor did their feet become swollen. The language suggests that there are inconsistencies in the other accounts of the Israelites. As the version in Exodus and 1 Kings are written by Deuteronomistic historians based in the kingdom of Judah
Golden calf
–
The Adoration of the Golden Calf - Picture from the
Hortus deliciarum of
Herrad of Landsberg (12th century)
Golden calf
–
The Adoration of the Golden Calf by
Nicolas Poussin
Golden calf
–
The Worship of the Golden Calf by
Filippino Lippi (1457–1504)
Golden calf
–
Worshiping the Golden Calf
25.
The Independent
–
The Independent is a British online newspaper. The printed edition of the paper ceased in March 2016, nicknamed the Indy, it began as a broadsheet newspaper, but changed to tabloid format in 2003. Until September 2011, the paper described itself on the banner at the top of every newspaper as free from party political bias and it tends to take a pro-market stance on economic issues. The daily edition was named National Newspaper of the Year at the 2004 British Press Awards. In June 2015, it had a daily circulation of just below 58,000,85 per cent down from its 1990 peak. On 12 February 2016, it was announced that The Independent, the last print edition of The Independent on Sunday was published on 20 March 2016, with the main paper ceasing print publication the following Saturday. Launched in 1986, the first issue of The Independent was published on 7 October in broadsheet format and it was produced by Newspaper Publishing plc and created by Andreas Whittam Smith, Stephen Glover and Matthew Symonds. All three partners were former journalists at The Daily Telegraph who had left the paper towards the end of Lord Hartwells ownership, marcus Sieff was the first chairman of Newspaper Publishing, and Whittam Smith took control of the paper. The paper was created at a time of a change in British newspaper publishing. Rupert Murdoch was challenging long-accepted practices of the print unions and ultimately defeated them in the Wapping dispute, consequently, production costs could be reduced which, it was said at the time, created openings for more competition. As a result of controversy around Murdochs move to Wapping, the plant was effectively having to function under siege from sacked print workers picketing outside, the Independent attracted some of the staff from the two Murdoch broadsheets who had chosen not to move to his companys new headquarters. Launched with the advertising slogan It is, and challenging both The Guardian for centre-left readers and The Times as the newspaper of record, The Independent reached a circulation of over 400,000 by 1989. Competing in a market, The Independent sparked a general freshening of newspaper design as well as, within a few years. Some aspects of production merged with the paper, although the Sunday paper retained a largely distinct editorial staff. It featured spoofs of the other papers mastheads with the words The Rupert Murdoch or The Conrad Black, a number of other media companies were interested in the paper. Tony OReillys media group and Mirror Group Newspapers had bought a stake of about a third each by mid-1994, in March 1995, Newspaper Publishing was restructured with a rights issue, splitting the shareholding into OReillys Independent News & Media, MGN, and Prisa. In April 1996, there was another refinancing, and in March 1998, OReilly bought the other 54% of the company for £30 million, brendan Hopkins headed Independent News, Andrew Marr was appointed editor of The Independent, and Rosie Boycott became editor of The Independent on Sunday. Marr introduced a dramatic if short-lived redesign which won critical favour but was a commercial failure, Marr admitted his changes had been a mistake in his book, My Trade
The Independent
–
The Independent front page, 15 February 2014
26.
Conceptual art
–
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
Conceptual art
–
Joseph Kosuth,
One and Three Chairs (1965)
Conceptual art
–
Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz
Conceptual art
–
Lawrence Weiner. Bits & Pieces Put Together to Present a Semblance of a Whole, The Walker Art Center, Minneapolis, 2005.
Conceptual art
–
Stuckist artists leave a coffin, marked "The death of conceptual art", outside the
White Cube gallery in
Shoreditch, July 25, 2002.
27.
Jerry Saltz
–
Jerry Saltz is an American art critic. Since 2006, he has been senior art critic and columnist for New York magazine, formerly the senior art critic for The Village Voice, he has been nominated for the Pulitzer Prize in Criticism three times. He lives in New York City with his wife Roberta Smith, Saltz was born in Chicago and attended art school for a few years before dropping out. Before moving to New York at 26, he founded a gallery in Chicago. In an article in Artnet magazine, Saltz codified his outlook, All great contemporary artists, I dont look for skill in art. Skill has nothing to do with technical proficiency. Im interested in people who rethink skill, who redefine or reimagine it, an engineer, say, who builds rockets from rocks. In a 2008 Saltz explained, Im looking for what the artist is trying to say and what he or she is saying, what the work reveals about society. Saltz has cited Manny Farbers termite art and Joan Didions Babylon as well as wide ranging systemic metaphors for the art world. Although hes defended the art market, hes called out faddy market behavior. On a College Art Association panel in February 2007, Saltz commented, twenty years ago, there were only four to five encyclopedias—and I tried to get into them. Now, all writing is in the Wikipedia, some entries are bogus, some are the best. We live in an art world. His humor, irreverence, self-deprecation and volubility have earned him the designation as the Rodney Dangerfield of the art world and he has expressed doubt about the influence of art critics as purveyors of taste, saying they have little influence in the success of an artists career. Nonetheless, ArtReview called him the 73rd most powerful person in the art world in their 2009 Power 100 list, in 2007, he received the Frank Jewett Mather Award for art criticism from the College Art Association. Saltz uses social networking website Facebook more actively than many other art critics and he uses the site to post daily questions and diatribes to his audience of friends, which hovered at 4,970 friends in February 2010. He has stated that he wants to demystify the art critic to artists and his posts are less polished and restrained than his writing for New York Magazine and vulture. com and he has even shared personal matters including family tragedies, career bumps and his diet. He told the New York Observer, Its exciting to be in this room with 5,000 people and its like the Cedar Bar for me, or Maxs Kansas City. He has used his page to defend the use of irony in art, arguing against adherents of the New Seriousness, some Facebook-related Jerry Saltz activity In 2010, artist Jennifer Dalton exhibited an artwork called What Are We Not Shutting Up About
Jerry Saltz
–
Photo from the
Art and Culture Center of Hollywood.
Jerry Saltz
–
Saltz was a long distance truck driver before becoming an art critic.
Jerry Saltz
–
Saltz and
Bill Clinton pose at an art gallery exhibit opening—side view of the scene long used as the user-avatar on Saltz's official Facebook page
Jerry Saltz
–
At the public opening reception of an art exhibit at a gallery in New York City, Saltz (center) is flanked by wife
Roberta Smith and artist and Facebook friend Terry Ward.
28.
The Village Voice
–
The Village Voice is an American news and culture paper, known for being the countrys first alternative newsweekly. Founded in 1955 by Dan Wolf, Ed Fancher and Norman Mailer, since its founding, The Village Voice has received three Pulitzer Prizes, the National Press Foundation Award and the George Polk Award. Among news sources, The Village Voice is known for its combination of news reporting and arts & culture coverage. The Village Voice has hosted a variety of writers and artists, including writer Ezra Pound, cartoonist Lynda Barry. In addition to daily coverage through its website and a print edition that circulates in New York City. In the 1960s the offices were located at Sheridan Square, then, from the 70s through 1980, at 11th Street and University Place, in 1991 they moved to Cooper Square in the East Village, and in 2013, to the Financial District. John Wilcock wrote a column every week for the papers first ten years, another regular from that period was the cartoonist Kin Platt, who did weekly theatrical caricatures. Other prominent regulars have included Peter Schjeldahl, Ellen Willis, Tom Carson, Wayne Barrett, the Voice has published investigations of New York City politics, as well as reporting on national politics, with arts, culture, music, dance, film, and theater reviews. Writers for the Voice have received three Pulitzer Prizes, in 1981,1986 and 2000, almost since its inception the paper has recognized alternative theater in New York through its Obie Awards. The papers Pazz & Jop music poll, started by Robert Christgau in the early 1970s, is released annually, in 1999, film critic J. Hoberman and film section editor Dennis Lim began a similar Village Voice Film Poll for the year in film. In 2001 the paper sponsored its first music festival, Siren Festival, in 2011, the event moved to the lower tip of Manhattan and re-christened the 4knots Music Festival, a reference to the speed of the East Rivers current. Today, the Voice is known for its support for the civil rights of gays. However, early in its history, the newspaper had a reputation as having an anti-homosexuality slant, while reporting on the Stonewall riots of 1969, the newspaper referred to the riots as The Great Faggot Rebellion. Two reporters, Smith and Truscott, both used the words faggot and dyke in their articles about the riots, the newspaper changed their policy after the GLF petitioned the newspaper to do so. Over time, the Voice has changed its stance, and in 1982, as a testament to the Voices popularity in New York City, the paper is mentioned in the musical Rent during the song La Vie Boheme. The line states To riding your bike midday past the three suits, to fruits, to no absolutes, to Absolut, to choice, to The Village Voice. Seventeen alternative weeklies around the United States are owned by the Voices parent company Village Voice Media, in 2005, the Phoenix alternative weekly chain New Times Media purchased the company and took the Village Voice Media name. After The Village Voice was acquired by New Times Media in 2005, the Voice was then managed by two journalists from Phoenix, Arizona
The Village Voice
–
The Village Voice
The Village Voice
–
The Cooper Square former head office of the paper
The Village Voice
–
Village Voice columnist
Nat Hentoff; photo by Tom Pich
The Village Voice
–
October 1955 cover
29.
Scottish National Gallery of Modern Art
–
The Scottish National Gallery of Modern Art is part of the National Galleries of Scotland, which are based in Edinburgh. The Gallery of Modern Art houses the collection of modern. It comprises two buildings face each other, Modern One and Modern Two on Belford Road, to the west of the city centre. The Gallery has a collection of more than 6000 paintings, sculptures, installations, video work, prints and drawings, the first Scottish National Gallery of Modern Art opened in the August 1960 in Inverleith House, a Georgian building set in the middle of Edinburgh’s Royal Botanic Garden. In 1984 the Gallery moved to the premises of the John Watsons Institution. Works from the collection are presented here as well as a programme of changing exhibitions, special highlights include paintings by Henri Matisse and Pablo Picasso and the Scottish Colourists Samuel John Peploe, John Duncan Fergusson, Francis Cadell and Leslie Hunter. The Gallery has a collection of international post-war work and an outstanding collection of modern Scottish art. The growing collection includes works by international artists including Andy Warhol, Louise Bourgeois, Robert Mapplethorpe. The displays change on a regular basis, across the road, the Dean Orphan Hospital designed by Thomas Hamilton was constructed in 1833. It was converted to a gallery in 1999 by Terry Farrell, Modern Two is home to a changing programme of world-class exhibitions and displays drawn from the permanent collection. On permanent display is a recreation of the sculptor Eduardo Paolozzi’s studio, as well as his 7.3 metre-tall sculpture, Vulcan, Modern Two is also home to the Gallery’s world-famous collection of Surrealism, including works by Salvador Dalí, René Magritte and Alberto Giacometti. The building houses a library, archive and special books collection, the library’s great strengths are Dada and Surrealism, early twentieth century artists and contemporary Scottish art. The archive contains over 120 holdings relating to twentieth and twenty-first century artists, collectors and art organisations, the archive holds one of the world’s best collections of Dada and Surrealist material, largely made up by the collections of Roland Penrose and Gabrielle Keiller. This material is available to the public in the reading room, there are regular changing displays in the Gabrielle Keiller library to showcase items from these collections. The lawn to the front of Modern One was re-landscaped in 2002 to a design by Charles Jencks and this dramatic work, or Landform, comprises a stepped, serpentine mound reflected in three crescent-shaped pools of water. The façade of Modern One is home to Martin Creed’s Work No,975, EVERYTHING IS GOING TO BE ALRIGHT. Modern One backs on to the Water of Leith river and walkway, open daily, 10am-5pm, both galleries close only on the 25 and 26 December and open on 1 January at 12 noon. Admission is free although a charge may be made for special exhibitions, both galleries have shops and renowned cafés
Scottish National Gallery of Modern Art
–
Scottish National Gallery of Modern Art
Scottish National Gallery of Modern Art
–
Scottish National Gallery of Modern Art One, exterior
Scottish National Gallery of Modern Art
–
Scottish National Gallery of Modern Art Two, exterior
Scottish National Gallery of Modern Art
–
Scottish National Gallery of Modern Art Two, Keiller Library
30.
Kendell Geers
–
Kendell Geers is a South African conceptual artist. Kendell Geers was born in Johannesburg as Jacobus Hermanus Pieters Geers into a white working-class Afrikaans family during the time of apartheid, becoming aware of the political struggles in his country, he ran away from home at the age of 15 to get involved in the anti-apartheid movement. Kendell finished his schooling at the end of 1984, at the beginning of 1985, to avoid conscription, he enrolled at the University of the Witwatersrand in Johannesburg for a Fine Arts degree. In 1988, Kendell Geers was one of 143 young men who refused to serve in the South African Defence Force. In 1989 he left South Africa and lived for a period in exile in the United Kingdom. It was only after Nelson Mandela and other political prisoners release from prison, in 1990, he returned to Johannesburg where he worked as an artist, and art critic, curator and performance artist. The first work of art he created back on South African soil was Bloody Hell, rejecting everything his family and his community stood for, in 1993 he changed his name to Kendell Geers and his date of birth to May 1968 as a political act, reclaiming his identity. He moved to Brussels in 2000, Geers has worked with different media ranging from objects to large scale installation, neon works, performances and video. Geers also uses words as a means to explore the coding and reinterpretation of language and its meaning and his work had heavily political elements from 1988 to 2000, during which time Geers, explored the moral and ethical contradictions of the apartheid system through his practice. He developed a visual vocabulary characterized by provocation as well as humor by using objects such as barbed wire or glass shards. By appropriating historical events and ideas, he focused on questions of relationship between individual and society, in this way, he expressed his doubts about the fetishization of party politics. He participated in the Venice Biennale in 1993, the first time since the anti-Apartheid boycotts that South African artists had been invited, from 1999 until 2004, Geers worked as the curator and art consult for Gencor which was later bought out by BHP Billiton. The collection focused on artists and works of art that were central to the Anti-Apartheid Movement spirit, in 1997 Geers edited and published Contemporary South African Art, with essays by Okwui Enwezor, Olu Oguibe, and others. Initiated by his move to Brussels in 2000, his later European period is characterized by a more poetic aesthetic, here, Geers transferred his incendiary practice into a post-colonial and increasingly global context, suggesting more universal themes like terrorism, spirituality, and mortality. In January 2013 a Geers retrospective called 1988-2012 opened at the Haus der Kunst in Munich, the exhibition divided his life and work into two decade-long periods, the first political phase until 2000, and the later more poetic phase. Together with musician Patrick Codenys Kendell Geers formed the Belgium Audio-Visual group thefucKINGFUCKS in 2007, the project grew out of the now defunct Red Snyper collaboration between Geers and Codenys. Heaven, Purgatory and Hell Revisited by Contemporary African Artists -Museum für Moderne Kunst, dijon, les Presses du réel, Paris, Réunion des musées nationaux,2002. Kendell Geers, The Forest of Suicides, published by MACRO, Museo DArte Contemporanea, Roma,2004
Kendell Geers
–
Kendell Geers at Haus der Kunst, 2013.
.JPG)
