#arte exhibition catalogue

[alessandro55]

Avori preziosi

Un aspetto sconosciuto dell'arte russa

Dalle raccolte del Museo Storico Statale di Mosca

A cura di Mariolina Marzotto, Doria de Zuliani

Fotografie di Massimo Listri

Electa, Milano 1998, 148 pagine, 24x28cm, ISBN 978-8843566822

euro 22,00

email if you want to buy booksinprogressmilano@yahoo.it

Mostra Milano Spazio Marzotto 1 -25 Ottobre 1998 - Valdagno Centro G.Marzotto 31 ottobre-22 novembre 1998

Immagini sacre, ritratti, mobili in miniatura, cofanetti e cofani, scatole e scatoline, oggetti utili, oggetti futili, oggetti diversi

27/08/24

[fashionbooksmilano]

Claudio Massini Trieste

testi di Giulio Ciavoliello, Massimiliano Forza, Paolo Magris, Francesca Tavarado, Pietro Valle e Roberto Vidali

Juliet ed., Trieste 2009, 295 pagine, 21x26cm, ISBN 978-88-90 302-8-9

euro 50,00

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Mostra Fili Fatali, Trieste 2009

“Fili fatali” si compone di un insieme di tele volutamente dedicate agli ambienti e alle memorie dell’ infanzia di Massini, napoletano d’origine ma trasferitosi presto a Trieste dove vive sino all’età di diciotto anni studiando decorazione pittorica all’Istituto Statale d’Arte “Enrico ed Umberto Nordio” sotto il magistero di Riccardo Bastianutto, Ugo Carà e Dino Predonzani. E’ grazie a questo percorso di studi tradizionali che il pittore acquisisce conoscenze che ritornano in un percorso espressivo interamente votato al culto della bellezza e della preziosità della superficie cromatica, entrambe coniugate secondo un sentire contemporaneo.

Ed è alla realtà triestina che le tele dipinte a tecnica mista con rilievi e incisioni si rivolgono, grazie all’allusione di alcuni titoli e di alcuni soggetti facilmente riconoscibili: stelle, fiori, calici, architetture, chicchi di caffè. In questi dipinti troviamo fissata una realtà carezzevole e istigatrice al sentimento del lusso e della voluttà, grazie alla preziosità del pigmento che è ricollegabile all’antica pittura di tradizione medioevale e presente ancora nella delicata preziosità coloristica ed espressiva dei rilievi quattrocenteschi di Carlo Crivelli. Una luce uniforme, falsificatrice, investe le cose raffigurate, quasi immobilizzandole e stendendole sul lettino dello psicanalista per poi espandersi e abbracciare orizzonti lontani: disegna l’oscillazione di un mondo orientale che si ricongiunge con quello occidentale e si trasforma in una luce moderna che incontra, nella gustosità tattile dei materiali, quella antica.

03/06/24

[garadinervi]

From: Onchi. A Poet of Colors and Forms, Yomiuri Shimbun, Tokyo, 1994 [BOOKS at, Amsterdam]

Exhibition: Yokohama Museum of Art, Yokohama, October 8 – November 6, 1994

[germanpostwarmodern]

From its foundation in 1919 onwards the Bauhaus was a preferred and frequent target for nationalist and National Socialists due to its international orientation, alleged communist activities and overall avant-garde position. At the same time its students were regarded as immune to totalitarianism and National Socialism in particular. Five years after the Bauhaus centenary the Klassik Stiftung Weimar reviews the relationship between Bauhaus and the Nazi regime and does away with a number of long-held beliefs. Until 15 September the tripartite exhibition at Museum Neues Weimar, Bauhaus Museum and Schiller-Museum for the first time sheds light on an uncomfortable part of the school’s history.

Alongside the exhibition Hirmer published the present and very insightful catalogue, edited by Anke Blümm, Elizabeth Otto and Patrick Rössler, that discusses the manifold hostilities brought forward by conservatives and nationalists but also examines the dealings of former Bauhaus students and teachers with the Nazi regime. The first third of the catalogue is thus devoted to a chronological history of the Bauhaus’ and its opposition and how the school’s situation gradually worsened. A harbinger of what was looming was the Weimar iconoclasm of 1930: the newly elected government of the federal state of Thuringia included the NSDAP and Wilhelm Fricke became minister of the interior and public education. In this capacity he released a decree against progressive art and culture with which he e.g. forced the Weimar art collections to remove their strategically built collection of Bauhaus artworks.

In the following and larger part the catalogue collects a total of 58 biographies of former students and teachers and how they fared under the totalitarian regime: included are of course the well-known stories of figureheads like Gropius, Albers and Mies van der Rohe but also those of e.g. Fritz Ertl who drew the plans for the Auschwitz extermination camp and Friedl Dicker who was killed in the very same camp. At the same time others like photographer Otto Umbehr (Umbo) fared well as regime-linked contractors.

The collected biographies again demonstrate that history isn’t a black or white business but spiked with shades of grey as proves the fact that a Bauhaus education can’t immunize individuals from adapting to an inhuman regime. A pivotal book and exhibition!

[fashionsfromhistory]

If you're in the Chicago area, highly recommend seeing Gio Swaby: Fresh Up at the Art Institute. Some truly beautiful textile work.

My work operates in the context of understanding love as liberation—a healing and restorative force. These pieces celebrate personal style, vulnerability, strength, beauty, individuality, and imperfections.

—Gio Swaby

[science70]

New Spaces: The Holographer's Vision catalogue, curated by Karen Spitulnik Peiffer (Franklin Institute Press, 1979).

Cover art: Rudie Berkhout

[bookloversofbath]

Africa: The Art of a Continent Published on the Occasion of the Exhibition Held at Royal Academy of Arts, London, 4th October 1995 – 21st January 1996 :: Tom Phillips

[alessandro55]

Galileo Chini e Oriente

Venezia Bangkok Salsomaggiore

a cura di Maurizia Bonatti Bacchini, prefazione di Rossana Bossaglia

P.P.S Editrice, Parma 1995, 200 pagine,130 ill.colori, 24x34cm, ISBN 2021010180603

euro 45,00

email if you want to buy booksinprogressmilano@yahoo.it

Mostra Salsomaggiore 20 maggio-20 giugno 1995

Albero Nodolini direttore artistico

Nato a Firenze nel 1873 e dieci anni dopo già orfano di madre e di padre - un sarto abilissimo suonatore di flicorno - Galileo Chini fu adottato dallo zio Dario, che lo introdusse nella propria bottega d’arte dove imparò a lavorare nella ceramica, grafica, pittura e scenografia. Nel centenario dell'inaugurazione delle Terme Berzieri da lui decorate - che oggi la società QC, con il sostegno di Cassa Depositi e Prestiti intende rilanciare all’interno di un progetto urbano firmato da Emilio Faroldi del Politecnico di Milano -, Salsomaggiore gli sta dedicando una mostra a cura di Maurizia Bonatti Bacchini e Valerio Terraroli, già allievo di Rossana Bossaglia, maggiore esperta del Liberty. Vasi, piatti, decorazioni di ceramiche, gres, disegni, pitture, manifatture…120 pezzi di ciò che un tempo si chiamava artigianato artistico fanno bella mostra a Palazzo Tommasini e Palazzo dei Congressi di Salsomaggiore, testimonianze parlanti della vita e dell’opera - stravagante - di Chini. 

04/10/24

[fashionbooksmilano]

Adele Prosdocimi - Se vuoi incedere nell'infinito cammina nel finito da ogni parte

Colpo di fulmine edizioni, Verona 2007, 64 pagine, 15x21cm

fotografie di Mici Toniolo,Giovanni Ricci, Annalisa Guidetti, Nicolò Lombardi, Giovanbattista Sannazzaro

euro 20,00

email if you want to buy booksinprogressmilano@yahoo.it

mostra di Adele Prosdocimi ad ASSAB ONE, Milano 2007

Il progetto di questo libro è di Antonella Commellato e Adele Prosdocimi

Adele Prosdocimi è nata a Milano nel 1954, dove vive e lavora.

Da anni si dedica esclusivamente alla pittura e alla scultura.

Diplomata in Architettura al Politecnico di Milano, ha lavorato a San Francisco e a New York come grafica presso il Rolling Stone’s Magazine e successivamente come designer per l’azienda di ceramiche Country Floor. Rientrata in Italia, ha lavorato a Roma da Roberto Capucci, occupandosi del disegno tessile per le sue licenze in Giappone.

Oggetto dei suoi dipinti sono particolari di pizzi o ricami. Le forme in essi contenuti paiono rosoni gotici o particolari di tarsie orientali. Disegni fatti di luce, intrisi di una dimensione mnemonica.

30/04/24

[garadinervi]

Richard McGuire: 'Then and There, Here and Now', Cartoonmuseum Basel – Zentrum für narrative Kunst, Christoph Merian Verlag, Basel, 2024 [Art: © Richard McGuire]

Conception: Richard McGuire, Vincent Tuset-Anrès (Fotokino) Texts (English and German): Richard McGuire, Vincent Tuset-Anrès, Anette Gehrig Graphic design, Lithography: Vincent Tuset-Anrès Printing: Cci, Marseille

Exhibition: curated by Anette Gehrig, Cartoonmuseum Basel – Zentrum für narrative Kunst, Basel, June 6 – November 3, 2024

[corys-clutter]

@jascurka in response to your tags, just in case you're still looking for anything like that, a couple of things sprung to mind about artists who use medical imagery in their art:

Jane Dixon's Evidence of Doubt - http://www.janedixon.net/evidence.html

Dixon made up imaginary organic parts and presented them as scientific images

Susan Aldworth's Transience and Passing Thoughts - https://www.google.com/search?q=transience+and+passing+thoughts+susan+aldworth&tbm=isch

Transience was etchings made from a real human brain with Parkinson's

Passing Thoughts was photographic prints from the same brain

Realisation

the collections from these artists were exhibited at the Fitzwilliam in an exhibition called Realisation, there's an interesting essay about it available on Aldworth's website (which appears to be down, so here's a link to an archived version) - https://web.archive.org/web/20230322033646/https://susanaldworth.com/essays-and-radio/realisation/

there's also this interview with Aldworth which is really interesting - https://web.archive.org/web/20230322023431/https://susanaldworth.com/essays-and-radio/transience-and-passing-thoughts/

I feel like the only person not tempted to use ChatGPT like it doesn’t even occur to me as an option

[germanpostwarmodern]

Shortly after the Second World War had ended the German Ruhr region became a hotbed of modern art: spearheaded by the group „junger westen“ abstract art was the universal language of artists shaking off the doctrinaire art policies of the defeated dictatorship. Among his peers of the „junger westen“ Gustav Deppe (1913-99) stood out as the one oscillating between abstraction and figuration as well as the one who most directly channelled the surrounding industrial landscape. Power lines, shaft towers as well as organic, amorphic forms take turns in Deppe’s extensive oeuvre. But although he limited himself to the depiction of certain distinctive forms present in the Ruhr region, Deppe over time changed his rendition of these objects, very prominently in the series of shaft towers that he translated into almost fully abstract forms. In his late work of the 1980s and 1990s Deppe then turned to collages and further reduced his pictorial language to basic geometric forms as a means to depict the now often defunct industrial scenery around him.

In 2002 the Kunstverein Witten organized the traveling retrospective „Gustav Deppe - Industrie Technik Landschaft“ that was accompanied by the present catalogue. It contains a large number of works from all work phases, beginning in the late 1940s and concluding with the early 1990s. In addition eight brief but informative essays by companions and experts address the gradual changes in Deppe’s art and also shed light on his long-term teaching at Werkkunstschule and Fachhochschule Dortmund.

Although Gustav Deppe to this day is the least prominent of the „junger westen“ members, his oeuvre in its rigorous adherence to the depiction of the Ruhr region’s industrial landscape is a significant contribution to the region’s art history. Well worth discovering!

[exhibit-of-the-century]

John Singer Sargent, Sargent and Fashion Exhibition, Tate Britain, London Part 2

Masterlist

BUY ME A COFFEE

[jan-dyntera]

Catalogue is ready! Folk is Daddy!!

Kunstfabrik.cz

16. 11. 2024 - 15:00

Červený Kostelec 461, Bohemia

#

[scienceviz]

"Kαιρός - The Irretrievable Moment" was chosen as a finalist at 2023 London International Creative Competition (LICC Award)

Delighted that my work “Kαιρός – The Irretrievable Moment” was chosen as one of 20 finalists at 2023 London International Creative Competition (LICC Award) in the category Professional / CREATE (Art) CREATOR: gd-jpeg v1.0 (using IJG JPEG v80), quality = 100 CREATOR: gd-jpeg v1.0 (using IJG JPEG v80), quality = 100 CREATOR: gd-jpeg v1.0 (using IJG JPEG v80), quality = 100 CREATOR: gd-jpeg v1.0…

[janlesak]

New book – Model (2011-2021) @richardbakes

“The forthcoming publication should therefore not be a mere catalogue mapping a decade of one institution’s operation, but at the same time a kind of probe into the recent artistic events taking place at the intersection of its diverse positions.”

(Viktor Čech, 2021)