Photo/Politics/Austria continues at Mumok (Museum Moderner Kunst Stiftung Ludwig Wien, Museumsplatz 1, Vienna) through February 3.
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Hannah Black: Small Room continues at Mumok (Museum Moderner Kunst Stiftung Ludwig Wien, Museumsplatz 1, Vienna) through June 18.
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Bruno Gironcoli: Shy at Work continues at Mumok (Museum Moderner Kunst Stiftung Ludwig Wien, Museumsplatz 1, Vienna) through June 3.
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FEMINIST AVANT-GARDE of the 1970s continues at Mumok (Museum Moderner Kunst Stiftung Ludwig Wien, Museumsplatz 1, Vienna) through September 3.
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FEMINIST AVANT-GARDE of the 1970s could be seen at the Museum Moderner Kunst Stiftung Ludwig Wien (familiarly known, in lowercase, as mumok).
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Advertise on Hyperallergic with Nectar Ads VIENNA — Photo/Politics/Austria at the Museum Moderner Kunst Stiftung Ludwig Wien (Mumok) is an exhibition that I had decided to skip.
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The retrospective, on display at Mumok (Museum Moderner Kunst Stiftung Ludwig Wien) through June 21984, is a Viennese homecoming, eight years after his death, for an artistic and social outsider.
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My first encounter with Black's work was on the second sub-level of Vienna's Mumok (Museum Moderner Kunst Stiftung Ludwig Wien), where she is presenting Small Room, an elegant installation of projected videos and latex sculptures.
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Curated by Gabriele Schor, the director of Sammlung Verbund, with Eva Badura-Triska, a curator at the Museum Moderner Kunst Stiftung Ludwig Wien ( Mumok), where the show opened on May 19723th, WOMAN is less a celebration of the varieties of Feminist art than an examination of shared ideas and motivations.
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The Austrian artist Bruno Gironcoli (1936–2010), whose sculptures and drawings were the subject of Shy at Work, a retrospective at Vienna's Mumok (Museum Moderner Kunst Stiftung Ludwig Wien), didn't live to see Trump's rise to power, but he did experience the Nazi apocalypse and its aftermath, spending his creative life wandering a mindscape of guilt, atonement, and existential dread.
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Wolfgang Mieder. 2013. Neues von Sisyphus: Sprichtwortliche Mythen der Antike in moderner Literatur, Medien und Karikaturen. Vienna: Praesens.
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Simanowski, Roberto (2006). “Transmedialität als Kennzeichen moderner Kunst.“ In: Urs Meyer, Roberto Simanowski and Christoph Zeller, eds. Transmedialität. Zur Ästhetik paraliterarischer Verfahren.
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From 1998 to 2000 he was a project assistant at the Museum Wiesbaden and at the MUMOK (Museum Moderner Kunst Stiftung Ludwig) in Vienna.
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She holds an Alexander von Humboldt Fellow at the Leibniz-Zentrum Moderner Orient in Berlin. In 2019 she gave the Malinowski Memorial Lecture at LSE.
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"Die Herausbildung moderner iranischer Literatursprachen." In: Zeitschrift für Phonetik, Sprachwissenschaft und Kommunikationsforschung, Vol. 36. Akademie der Wissenschaften der DDR. Akademie Verlag, Berlin: 1983. P. 184ff.
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Other names for it that have fallen out of use include Moderner Tanz, Absoluter Tanz, Freier Tanz, Tanzkunst and Bewegungskunst. German Expressionist dance is related to Tanztheater.
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The Apotheosis of Homer is a c. 1945 painting by Salvador Dalí. It is at the Bavarian State Paintings Collections (Bayerische Staatsgemäldesammlungen), in its Staatsgalerie Moderner Kunst, in Munich.
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V: The Interface with Morphology and Syntax. London & New York: Routledge 2001, 4-20].Joachim Mugdan, "Die Anfänge der Phonologie" (The Beginnings of Phonology) [in German]. In: Peter Schmitter (ed.), Sprachtheorien der Neuzeit II: Von der Grammaire de Port-Royal (1660) zur Konstitution moderner linguistischer Disziplinen (Geschichte der Sprachtheorie 5).
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Her work is part of the permanent collections of the Whitney Museum of American Art in New York, Museum of Contemporary Art in Los Angeles, Museum of Fine Arts, Boston; Denver Art Museum; Los Angeles County Museum of Art; Museum Moderner Kunst, Vienna; Israel Museum, Jerusalem, Palm Springs Art Museum, and the Orange County Museum of Art.
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Schletterer composed mainly songs, cantatas and choral music. He published several books about the history of music, including Die Entstehung der Oper ("The Origin of Opera"; Nördlingen 1873); Studien zur Geschichte der französischen Musik ("Studies on the History of French Music"; Berlin 1884/85) and Die Ahnen moderner Musikwerke ("The Ancestors of Modern Musical Works"; Leipzig 1882).
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Obituary: Sigmar Polke The Daily Telegraph. In 2007, the "Museum Moderner Kunst" (MUMOK) held an exhibition of Polke's work entitled "Sigmar Polke: Retrospektive". Also in 2007, Axial Age (2005–2007), a monumental cycle of paintings, was shown for the first time at the 2007 Venice Biennale, with the wish explicitly expressed by the artist that the work should remain on display in Venice.
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Her works are in various collections, including the Academy of Fine Arts‘ Museum in Warsaw, Bonarski Collection, Center for Contemporary Art Ujazdowski Castle in Warsaw, Mazovian Center of Contemporary Art „Elektrownia“, Radom, Museo Cantonale d‘Arte, Lugano, Museo Villa dei Cedri, Bellinzona, National Museum in Szczecin, Pinakothek der Moderne, Staatsgalerie Moderner Kunst, München, Zacheta National Gallery of Art, Warsaw and in many private collections.
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Mehr als eine Randerscheinung: Moderner Style, alte Inhalte , Lotta, No. 31, Summer 2008. The AN thus see themselves as 'autonomous' from established neo-Nazi programs and structures, developing their own ideological discourse, street message, action repertoire, music scenes and fashion codes.Schedler, Jan. The Devil in Disguise: Action Repertoire, Visual Performance and Collective Identity of the Autonomous Nationalists, Nations and Nationalism, V. 20, No. 2: 239-258, (2014).
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Cartoons with proverbs are so common that Wolfgang Mieder has published a collected volume of them, many of them editorial cartoons. For example, a German editorial cartoon linked a current politician to the Nazis, showing him with a bottle of swastika-labeled wine and the caption "In vino veritas".p. 389. Wolfgang Mieder. 2013. Neues von Sisyphus: Sprichwörtliche Mythen der Anike in moderner Literatur, Medien und Karikaturen.
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Akiko Motofuji (1928–2003) was born in Tokyo. From her childhood she studied ballet and modern dance. In 1947, Nobutoshi TsudaYukihiko Yoshida, "Nobutoshi Tsuda, a master of Tatsumi Hijikata and Miki Wakamatsu , moderner Tanz and his school original Japanese" dancing principal, and she established Asbestos Studio in 1950. In 1955, in the International Dancing Contest held in Vienna, she won 4th prize in the individual performance section.
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Li Portenlaenger (b, 1952 in Eichstaett, Bavaria) is a German printmaker, painter, and performance artist. Li Portenlaenger studied 3 D design (printmaking and painting) in 1974-1978 at the Bremen Art Academy (Hochschule fur Kunste Bremen). Subsequently, she has studied modern dance under Gerd Leon at the Fachschule Freier Moderner Tanz.She also studied lithographic printmaking at the RhoK Flemish Art Academy in Brussels under R. Broulim.
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Cover page of Natalie Moszkowska's book (1935). Zur Kritik Moderner Krisentheorien. In her second work, Criticism of Modern Crisis Theories (), published in 1935, Moszkowska criticised the existing theories of crisis described by German and Austrian socialist authors, such as Adolph Lowe, Emil Lederer, Henryk Grossmann, Otto Bauer and Gustav Landauer. The book covered the period of depression, a topic on people's minds at the time the book was released.
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Among his most prominent pupils were Luise Walker and the comedian Karl Valentin. In 1909, he was appointed "Kammervirtuose" [chamber virtuoso] by Marie of Bavaria. Around 1910, he founded a unique guitar quartet following the principles of the string quartet, using instruments in various sizes. Apart from his compositions and arrangements, Albert edited a number of guitar tutorials, notably the Moderner Lehrgang des künstlerischen Gitarrespiels (5 volumes, 1914–9).
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Talfer River in Bozen The Museion (from the greek μουσείον, meaning the temple of the muses) is the Museum of Modern and Contemporary Art of Bozen, in South Tyrol, Italy. It was founded in 1985.Andreas Hapkemeyer, Projekt für ein Museum moderner Kunst in Bozen, in «Der Schlern», 68, 1994, pp. 99-120. Since 2006 it has been managed by the Museion Foundation, founded by the Autonomous Province Bozen and the Museion Association.
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Among twentieth-century artists a comparable stance can be encountered perhaps in Jean Fautrier, but certainly in Wols. The succinct characterization of the latter’s manner of working by his friend Henry Pierry Roché applies equally well to Pfrang: ‘Wols sheds his drawings as a snail does its shell – naturally and painfully.’”Carla Schulz-Hoffmann, "Erwin Pfrang – Die Bilder" in: Erwin Pfrang: Bilder, Exhibition Catalogue: Staatsgalerie moderner Kunst, München, Verlag Fred Jahn, München, 1999, p.
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Bleyl married in 1907, and, with a concern to support his family, left the group. Otto Mueller (1874–1930) joined in 1910. Between 1907 and 1911, Brücke members stayed during the summer at the Moritzburg lakes and on the island of Fehmarn. In 1911, Kirchner moved to Berlin, where he founded a private art school, MIUM-Institut, in collaboration with Max Pechstein with the aim of promulgating "Moderner Unterricht im Malen" (modern teaching of painting).
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He received a Foundation for Contemporary Arts Grants to Artists award (2018). Between 2015 - 2016 Lewitt had institutional solo exhibitions at the Wattis Institute of Contemporary Art San Francisco; Kunsthalle Basel Switzerland; and Swiss Institute New York. Work by Lewitt is held in public collections worldwide, including Whitney Museum of American Art, New York; Museum of Contemporary Art, New York; Museum of Modern Art, San Francisco; Museum Moderner Kunst Stiftung Ludwig Wien, Vienna; Centre George Pompidou, Paris.
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Nora Lafi is a French historian of Algerian origin, born in 1965 in Istres, near Marseilles. She is currently a researcher with the Zentrum Moderner Orient (ZMO) in Berlin. She is a specialist of the history of the Ottoman Empire and specifically of Arab towns of North Africa and the Middle-East during the Ottoman period. She chairs, with Ulrike Freitag, the research field "Cities compared: cosmopolitanism in the Mediterranean and beyond", part of the EUME programme at Wissenschaftskolleg Berlin.
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Dr. Sonja Hegasy is Vice Director of the Zentrum Moderner Orient (ZMO) in Berlin. She holds degrees in Islamic Studies and Political Science. She received her Ph.D. in 1997 at Free University of Berlin on Morocco's emerging civil society since the early 1990s. From 2012 to 2014 she headed the research Group 'Transforming Memories: Cultural Production and Personal/Public Memory in Lebanon and Morocco', a project about coming to Terms with past grave human rights violations in the Arab World.
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In 1976, first publication together with Manfred Chobot, and with illustrations by Alfred Hrdlicka. Next, H. C. Artmann and Uwe Bremer: "die Heimholung des Hammers" (Bringing the hammer back home) Alfred Hrdlicka – Register of art works from prints and graphics to sculpture and writings, more exhibition catalogues and catalogues on various topics: Museum Moderner Kunst Passau, Frankfurter Kunstverein, Vienna Künstlerhaus. Karl Korab – Register of graphic works, together with Dr. Walter Koschatzky (1982) and monography with Dr. Assmann and Prof. Dr. Ronte (1999).
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She has been a former chairperson of Exiled Writers Ink! and has organized creative writing workshops for the British Council in UK, Belgium, Czech Republic and India. She was former Poet-In-Residence at Moniack Mhor Writers Centre (Scotland), Villa Hellebosch (Belgium), Hedgebrook Women Writers’ Retreat (USA) and The Booth (Shetland). As an academic researcher she has been a visiting scholar in The Centre for Multiethnic Research (Uppsala University), Zentrum Moderner Orient (Berlin) and The Department of Humanities (University of Amsterdam).
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Sam Lewitt (born 1981 in Los Angeles, California) is an American artist living and working in New York City. His work was included in the 2012 edition of the Whitney Biennial. He is represented by the Miguel Abreu Gallery in New York City and Galerie Buchholz in Cologne and Berlin. In 2013, Richard Birkett curated And Materials and Money in Crisis at MUMOK (museum moderner kunst stiftung ludwig wien) Vienna, Austria in dialogue with Lewitt and he was one eleven artists whose work was displayed therein.
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1993/94 he worked as guest curator at the Museum Moderner Kunst – Stiftung Ludwig, Vienna, and 1994 as co-curator of the retrospective exhibition Wolfgang Paalen in the Museo de Arte Carrillo Gil, Mexico City; Neufert became a regular guest- curator at the MACG, Mexiko (1994–98) and realized f.e. exhibitions like Recuerdo del Paraiso eternal, André Breton. He has extensively researched the life of Wolfgang Paalen, the surrealist artist and thinker. 2015 he published the 700 pages biography on Paalen Auf Liebe und Tod (Parthas Berlin).
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Schattensprecher, 2009, Kunstmuseum Bonn, detail (self-portrait of the artist with ventriloquist's dummy) Arbeiten im Reichtum 3 und 7, Hamburger Kunsthalle, 1983 Ich liebe Dich, 1983, Städtische Galerie im Lenbachhaus München (Munich) shining, 2004, MUMOK (Museum Moderner Kunst Stiftung Ludwig) Vienna, installation view (model of the artist`s childhood house) 8,5 Zi.Wohnung f.Künstler, 49 J., 2002, Städtische Galerie im Lenbachhaus München (Munich), detail Gran Paradiso, 1997, Neue Messe München (Munich Fare Trade Centre) Das Große Leuchten, 2006 (Künstlerhaus Hanover) Stephan Huber (born 1952 in Lindenberg im Allgäu) is a German sculptor and object artist.
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Albert Gleizes, 1912, Les ponts de Paris (Passy), The Bridges of Paris (Passy), oil on canvas, , Museum Moderner Kunst (mumok), Vienna. Published in Du "Cubisme", 1912 He also worked on his scientific projects at a laboratory he shared with others, which had been installed by Louis XV in the Château de la Muette. When Franklin returned to America, the new American Ambassador to France, Thomas Jefferson, wrote: "When he left Passy, it seemed as if the village had lost its patriarch." To this day, a street in Passy bears the name Rue Benjamin Franklin.
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In 1905, he published his book Theozoölogie oder die Kunde von den Sodoms-Äfflingen und dem Götter- ElektronLANZ-LIEBENFELS, J. (1905). Theozoologie, oder Die Kunde von den Sodomsäfflingen und dem Götter-Elektron eine Einführung in die älteste und neueste Weltanschauung und eine Rechtfertigung des Fürstentums und des Adels. Wien, Moderner Verlag. (Theozoology, or the Science of the Sodomite-Apelings and the Divine Electron) in which he advocated sterilization of the sick and the "lower races" as well as forced labour for "castrated chandals", and glorified the "Aryan race" as "Gottmenschen" ("god-men").
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An early publication in this field of study was the article Baubotanik: Mit lebenden Pflanzen konstruieren (translating to “Baubotanik: Designing with Living Plants) by Ferdinand Ludwig in 2005 in the magazine Baumeister.Ludwig, Ferdinand & Storz, Oliver. (2005). Baubotanik – Mit lebenden Pflanzen konstruieren. Baumeister. 72 - 75 The term “Baubotanik” was defined in 2007 at the Institute of Theory of Architecture and Design (Institut für Grundlagen moderner Architektur und Entwerfen) at the University of Stuttgart, where its concept was scientifically further developed.“Baubotanik.” Baubotanik - Green Technologies in Landscape Architecture, Technical University of Munich, www.ar.tum.
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Hiller's works are included in both international public and private collections including the Centre Pompidou, Paris; Tate Gallery, London.; Colby College Museum of Art, Colby, Maine; Ella Fontanals Cisneros Foundation, Miami; Frac Bourgogne, Dijon; Henie –Onstad Kunstsenter, Oslo; Henry Moore Sculpture Collection, Leeds; Inhotim, Brumadhino, Brazil; Israel Museum, Jerusalem; Ludwig Museum, Cologne; Moderner Museet, Stockholm; National Gallery of Art South Australia, Adelaide; Rhode Island School of Design Museum, Providence, Rhode Island; Smith College Museum of Art, Northampton, Massachusetts; Tokyo Metropolitan Museum of Photography; Victoria and Albert Museum, London.
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Engberg served as Walker coordinating curator for Claes Oldenburg: The Sixties, organized in 2013 by MUMOK (Museum Moderner Kunst Stiftung Ludwig Wien) in Vienna. The show traveled first to Museum Ludwig in Cologne; the Guggenheim Museum Bilbao in Spain; and the Museum of Modern Art in New York, before showing at the Walker. Hopper Drawing: A Painter's Process (2013–2014) was organized by the Whitney Museum of American Art where it showed first, and then it travelled to the Dallas Museum of Art and to the Walker, where Engberg served as coordinating curator.
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She has also received attention for her work that considers the popular American movies starring Jessica Chastain, Zero Dark Thirty and Interstellar. Brewer's work has shown at The Bakery in Brooklyn, NY and Temporary Agency, in Ridgewood, Queens, and in several spaces in Los Angeles, including Human Resources, LA Municipal Art Gallery, and at University of California Irvine and the Contemporary Arts Center Gallery in Irvine. She has shown internationally at the Museum Moderner Kunst Stiftung Ludwig Wien in Vienna and the Folk Art Museum at the Xiangshan Campus of China Academy of Art in Hangzhou, China.
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Steve Clay, " Something Else Press: Exploring the Ways and Means of Communication", Fluxus Heidelberg Center BLOG 25 June 2009 In 1966 he attended the Destruction in Art Symposium in London organized by Gustav Metzger,"Gustav Metzger: Auto-Destructive Art" where he met and befriended many of the Viennese Action Artists. In October 1966 Otto Muhl organized an event called "Action Concert for Al Hansen" in Vienna.mumok, "Museum Moderner Kunst Stiftung Ludwig Wien" He was an art professor at Rutgers College in Newark, New Jersey, into the 1970s. In 1977 Hansen managed Los Angeles punk bands the Controllers and the Screamers in Hollywood.
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This project was featured in solo exhibitions at Art Basel Miami Beach and at MUMOK, the Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria (2006) as well as at Trinity Square Video in Toronto, Canada (2008). The Toxic Titties' work received critical attention from significant scholars such as Amelia Jones, Jennifer Doyle, Christine Ross, and José Esteban Muñoz. Many of these scholars first encountered the work of the Toxic Titties when Cassils and Leary were hired to perform in Vanessa Beecroft's VB46 at the Gagosian Gallery in Beverly Hills. Having infiltrated the behind the scenes process of Beecroft's practice, they launched a parasitical performance, Beecroft Intervention (2001).
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1962) and George Condo (b. 1957), for example, where the focus is upon portraiture and stereotypes, much like Thrift Store Paintings, but provides a more directed mix of technical virtuosity with vulgarity, caricature with idealism, stylisation with realism. Such work is sometimes associatedBadura-Triska, Eva, et al, Bad Painting – good art , exhibition catalogue, Museum Moderner Kunst, Vienna, 2008, with "bad" painting, for degrading or conflating traditional iconography, but the difference lies in a narrowed scope for these later artists. Fewer "bad" elements are managed within a more obvious structure, are "bad" perhaps in anatomy or drawing, but "good" in volume or tone, colour or composition.
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Ernst Haider was the son of bavarian landscape artist and art professor Karl Haider and his second wife Ernestine Schwarz. He enrolled at the Academy of Fine Arts Munich and studied drawing in Angelo Jank's class together with Walther Kerschensteiner.Document of Immatriculation, 1913 1947 he was elected for the board of the Kunstverein München.Annette Doms: Neue Wege Über die Situation und Rezeption moderner Malerei in der Münchner Nachkriegszeit, Dissertation an der Ludwig- Maximilians-Universität München, 2004 His oevre has been on display in various locations amongst others in the elementary school Gräfelfing in a group display of the literary association Gräfelfin in April 1953.
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"Die diokletianische Tetrarchie als Epoche einer historischen Wende in antiker und moderner Sicht". International Journal of the Classical Tradition. 9 (2): 177–178. doi:10.1007/BF02898434 JSTOR 30224306 It may begin with the commencement of the reign of Diocletian in AD 284, following the Third Century Crisis of AD 235–284, and to end in the west with the collapse of the Western Empire in AD 476, while in the east its end is disputed, as either occurring at the close of the reign of Justinian I (AD 565)Lee, A. D., From Rome to Byzantium AD 363 to 565: The Transformation of Ancient Rome (2013) p.
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In 1906, he met Doris Große, who was his favoured model until 1911. Between 1907 and 1911, he stayed during the summer at the Moritzburg lakes and on the island of Fehmarn (which he revisited until 1914) with other Brücke members; his work featured the female nude in natural settings. In 1911, he moved to Berlin, where he founded a private art school, MIUM-Institut, in collaboration with Max Pechstein with the aim of promulgating "Moderner Unterricht im Malen" (modern teaching of painting). This was not a success and closed the following year, when he also began a relationship with Erna Schilling that lasted the rest of his life.
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Denny makes sculptures and installations that take his research into the practices and aesthetics of technology companies and products as their starting point. His subject matter has included the redesign of the New Zealand passport, German technology conferences, and internet entrepreneur Kim Dotcom. Denny has produced three exhibitions under the title The Personal Effects of Kim Dotcom, in which the artist presented replicas and stand-ins for the items seized from Kim Dotcom's home in a raid carried out by New Zealand Police. The exhibition was first presented at Museum moderner Kunst Stiftung Ludwig Wien (mumok) in Vienna in 2013, then recreated at Firstsite in Colchester and the Adam Art Gallery in Wellington in 2014.
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Reproduced in Les Peintres Cubistes Guillaume Apollinaire, 1913. Reproduced in Du "Cubisme" Albert Gleizes, 1911, Portrait de Jacques Nayral, oil on canvas, 161.9 x 114 cm, Tate Modern, London. This painting was reproduced in Fantasio: published October 15, 1911, for the occasion of the Salon d'Automne where it was exhibited the same year. Study for Portrait of Jacques Nayral reproduced in Du "Cubisme" Albert Gleizes, 1912, Les ponts de Paris (Passy), The Bridges of Paris (Passy), oil on canvas, 60.5 x 73.2 cm, Museum Moderner Kunst (mumok), Vienna. Published in Du "Cubisme", 1912 Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Musée d'Art Moderne de la Ville de Paris.
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In 2012, just days before he died, West signed paperwork authorising the formation of the Franz West Private Foundation which also operated the Franz West Werknutzungs GmbH; after a five-year battle over the artist's estate, however, the Regional Court for Civil Law of Vienna concluded in 2017 that the foundation was created without a proper contract.Rachel Corbett (June 27, 2017), Austrian court rules in favour of Franz West’s family in legal battle over estate The Art Newspaper. The archive had previously sued the private foundation, as well as Gagosian Gallery and Galerie Eva Presenhuber, for selling the artist's furniture and photographs, claiming it owns the sole license for those works. In 2016, the archive sought to merge with the Museum Moderner Kunst Stiftung Ludwig Wien (mumok).
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Among the 126 pictures offered were Franz Marc's Three Red Horses, Paul Gauguin's Landscape of Tahiti with Three Female Tigers, Pablo Picasso's The Harlequins and a self-portrait by Paul Modersohn. In addition, there were four more paintings by Marc, fifteen by Lovis Corinth, nine by Carl Hofer, nine by Oskar Kokoschka, seven by Emil Nolde, five by Ernst Barlach, two by Paul Klee, and three each by Max Beckmann, Erich Heckel, Ernst Kirchner, Max Pechstein and Karl Schmidt-Rottluff. Despite the contempt of the Nazis for the "degenerate art" on offer, the auction was described by the Fischer gallery in more flattering terms as a sale of Gemälde und Plastiken Moderner Meister aus Deutschen Museen,"Research Resources: 'Entartete Kunst' Inventory at the V&A; Goes Online 31 January 2014" lootedart.com. Retrieved 16 January 2015.
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Young artist prize CEE (offered by Museum Moderner Kunst Stiftung Ludwig Wien – mumok and Kulturkontakt Austria), Startpoint Prize Romania (offered by Arbor vitae Foundation, with support from the Ministry of Culture (Czech Republic) and the Grand Prize of the Bucharest National University of Arts. He exhibited or presented at the Museum of Moscow, Centre for Fine Arts, Brussels (BOZAR), Louvre Museum, Austrian Museum of Folk Life and Folk Art, Arsenale di Venezia, Museum of Contemporary Art, Belgrade, Bank Austria Kunstforum Wien, Oxo Tower, Mori Art Museum, Asia Culture Center and Asia Culture Institute, Historical Museum of Bosnia and Herzegovina, Skulpturenmuseum Glaskasten, Museum of Contemporary Art in Kraków (MOCAK), Bucharest Museum of Contemporary Art and the Essl Museum from Klosterneuburg (Vienna). His video artworks have been screened in numerous video art and film festivals.
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Which aspects of cultural practices are (deliberately) kept in the shadows of official historiography and why? Ault's and Beck's projects have been exhibited internationally, including the show Installation at Secession (Vienna, 2006), Social Landscape at the Weatherspoon Art Museum (Greensboro, NC, 2004) and Outdoor Systems, indoor distribution at the Neue Gesellschaft für Bildende Kunst, Berlin, 2000. Together they also have produced numerous exhibition designs, including over two dozen shows for the International Center of Photography in New York between 2001 and 2004; X-Screen: Film Installations and Actions of the 1960s and 1970s (2003) and Changing Channels: Art and Television 1963–1987 (2010) for Mumok – Museum Moderner Kunst Stiftung Ludwig, Vienna; Projekt Migration (2005) at Kölnischer Kunstverein, Cologne; and Jim Hodges: Give More Than You Take (2014) at the Hammer Museum, Los Angeles.
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Jens Albert (born 27 September 1973 in Lüdinghausen), better known as Der Wolf, is a German rapper. He was most successful with his charting debut album Das Album in 1996 and singles "Gibt's doch gar nicht" and "Oh Shit - Frau Schmidt". Klaus Depta Rock- und Popmusik als Chance: Impulse für die praktische Theologie 3658121890 2015 Weitere größere HipHop-Szenen entstehen in Braunschweig, Heidelberg, Kiel, Köln und West-Berlin, in der ... Ähnlich verhält sich dies bei Jens Albert a.k.a. Der Wolf, dessen Sprechgesang-Songs Oh Shit – Frau Schmidt und Gibt's doch gar .Anne Honer, Ronald Kurt Diesseitsreligion: zur Deutung der Bedeutung moderner Kultur- 1999 Aus Jens „der Wolf" Albert kann beispielsweise Jens „der W^-Moderator" Albert werden; je nach dem, was gerade auf dem ... Mit Hilfe dieser Instant-Religionen versuchen moderne Individuen wie Jens Albert ihr Heil im Diesseits zu erlangen ... Eckhart Höfig.
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Farish Ahmad Noor (born 15 May 1967 in Georgetown, Penang) is a political scientist and historian and is Associate Professor at the Rajaratnam School of International Studies as well as the School of Humanities' (SoH) Department of History at the Nanyang Technological University, Singapore. He was formerly attached to Zentrum Moderner Orient (Centre for Modern Oriental Studies) in Berlin, Germany, Sciences-Po Paris, the Institute for the Study of Muslim Society (IISMM, Ecole des haute études en sciences sociale, EHESS), Paris and the International Institute for the Study of the Muslim World (ISIM), Leiden, Netherlands. He received his BA in Philosophy & Literature from the University of Sussex in 1989, before studying for an MA in Philosophy at the same University in 1990, an MA in South-East Asian Studies at the School of Oriental and African Studies in London, before completing his PhD at the University of Essex in 1997 in the field of governance and politics. His main area of research has been Southeast Asia in the 19th century.
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Analogue was first exhibited in 2007 at the Wexner Center for the Arts in Columbus, Ohio, and at Documenta XII in Kassel, Germany, followed by presentations at Villa Arson in Nice, and Dia at the Hispanic Society and the Museum of Modern Art in New York and was included in a touring retrospective of Leonard's work which originated in 2007 at the Fotomuseum Winterthur, and later traveled to the Museo Nacional Centro de Arte Reina Sofia, Madrid; MuMOK — Museum Moderner Kunst Stifting Ludwig, Vienna; and Pinakothek der Moderne, Munich. Analogue is in the collection of The Museum of Modern Art, New York and the Reina Sofia, Madrid. More recent exhibitions have included Serialities at Hauser & Wirth, You See I Am Here After All at Dia: Beacon (2009), Observation Point, Camden Arts Centre, London (2012), an installation at the Chinati Foundation, Marfa, Texas (2013-2014) and the 2014 Whitney Biennial, for which Leonard won the Bucksbaum Award with her work "945 Madison Avenue". In 2018, the Whitney Museum of American Art mounted Leonard's first career retrospective in the United States, an exhibition organized by the Museum of Contemporary Art, Los Angeles, where the show traveled in late 2018.
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Bevan was born in Bradford, Yorkshire. He studied at Bradford School of Art from 1968 to 1971, followed by Goldsmiths' College, London from 1971 to 1974, and the Slade School of Fine Art from 1974 to 1976. He was elected to the Royal Academy of Arts in London as an Academician in 2007. Bevan came to prominence as an artist in the 1980s, taking part in the ICA show Before it hits the floor in 1982,Sandy Nairne, Before it hits the floor (London: Institute of Contemporary Arts, 1982) Problems of Picturing, curated by Sarah Kent and held at the Serpentine Gallery in London in 1982-83,Sarah Kent, Problems of Picturing (London: Serpentine Gallery, 1982) and The British Art Show, a touring exhibition of contemporary art, in 1984.Thomson et al, The British Art Show: Old Allegiances and New Directions, 1979-1984 (London: Arts Council of Great Britain, 1984) This was followed by exhibitions mainly in the USA and Germany, including the LA Louver Gallery, California, in 1989, 1992 and 1995, and Kunsthalle, Kiel, in 1988, Staatsgalerie Moderner Kunst Haus der Kunst, Munich, in 1989, and Galerie Wittenbrink, in Munich, during the 1990s.
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He has had solo exhibitions at the Brooklyn Museum, New York; Glassel School of Art, Museum of Fine Arts, Houston; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museum of Contemporary Art, Denver; Camden Arts Centre, London; Charles H. Scott Gallery, Vancouver; Dallas Museum of Art, Dallas; Des Moines Arts Center, Des Moines; Dundee Contemporary Arts, Dundee; FRAC Bourgogne, Dijon; Henry Art Gallery, Seattle; Fundacion Telefónica, Madrid; Hamburger Bahnhof, National Gallery, Berlin; Lunds Konsthall, Lund; Midway Contemporary Art, Minneapolis; Moderna Museet, Stockholm; Museum Moderner Kunst, Vienna; P.S.1 Contemporary Art Center, New York; St. Louis Museum of Art, St. Louis; Statens Museum for Kunst, Copenhagen; The Kitchen, New York; Westfälischer Kunstverein, Münster; . He participated in the 2006 Liverpool Biennial and the Third Guangzhou Triennial in 2008. In fall 2019, Buckingham was included in the group exhibition "Ancient History of the Distant Future" at the Pennsylvania Academy of the Fine Arts (PAFA). Buckingham exhibited a work entitled, “The Six Grandfathers, Paha Sapa, in the Year 502,002 C.E.,” a digital print showing an eroded Mount Rushmore and a timeline of the mountain back to 66,000,000 B.C.E.
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In 1977 he was appointed professor of art history at the Saarland University, Saarbrücken, where he remained until his retirement in 1996. His extensive work includes major exhibition catalogs and monographs, for instance, German Expressionism: The Colors of Desire (1981), Farbgestaltung und Farbtheorie in der abendländischen Malerei (1987), Kategorien und Methoden der deutschen Kunstgeschichte 1900-1930 (1998), Die Wiederkehr der antiken Götter im Bilde: Versuch einer neuen Deutung (2001), Die Kunst Cezannes: Farbe, Rhythmus, Symbolik (2005), Matisse begegnet Bergson: Reflexionen zu Kunst und Philosophie (2008), Farbgestaltung in der europäischen Malerei - ein Handbuch (2010) and Weltbilder moderner Kunst: Werke von Kandinsky, Klee, Beckmann, Mondrian, Kokoschka im Licht phänomenologischer Philosophien (2013). Dittmann has accompanied the development of the Saarland Museum and is a founding member of the museum's advisory board, taking over various tasks in the Saarland Cultural Heritage Foundation. According to Christof Trepesch, Lorenz Dittmann was one of the few art historians who are able to draw the bow from the Middle Ages to contemporary art and who can talk about all genres and styles of art in art history with a secure view of essential facts.
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4, Chapter 3: National Gallery of Scotland, Edinburgh # Hans Memling: St. John's Altarpiece (before 1494)100 Meisterwerke, Vol. 4, Chapter 4: Kunsthistorisches Museum, Vienna # Adolph von Menzel: The Flute Concert (1850–1852) # Jean Metzinger: The Racing Cyclist (1914) # John Everett Millais: Ophelia (1851–1852)100 Meisterwerke, Vol. 3, Chapter 10: Tate Gallery, London # Joan Miró: Dutch Interior I (1928) # László Moholy-Nagy: LIS (1922) # Claude Monet: Woman in a Garden (1867) # Piet Mondrian: Apple Tree in Bloom (1912) # Edvard Munch: Ashes (1894–95) # Edvard Munch: Four Girls on the Bridge (1905) # Gabriele Münter: Village Street in Winter (1911) # Bartolomé Esteban Murillo: Rest on the Flight into Egypt (c.1665) # Louis or Antoine Le Nain: Peasant Family in an Interior (1640–1645) # Paul Nash: Dream Landscape (1936–1938) # Ernst Wilhelm Nay: Grauzug (1960)100 Meisterwerke, Vol. 4, Chapter 5: Museum Moderner Kunst, Vienna # Mikhail Nesterov: The Great Consecration (1897–98) # Emil Nolde: St. Mary of Egypt (1912) # Georgia O'Keeffe: White Calico Flower (1931) # Richard Oelze: Daily Stress (1934)100 Meisterwerke, Vol. 3, Chapter 4: Kunstsammlung Nordrhein-Westfalen, Dusseldorf # Victor Pasmore: Inland Coastal Landscape (1950) # Joachim Patinir: The Baptism of Christ (c. 1515) # Constant Permeke: The Engaged Couple # Francis Picabia: Very Rare Picture of Earth (1915)100 Meisterwerke, Vol. 4, Chapter 6: Peggy Guggenheim Collection, Venice # Pablo Picasso: Guernica (1937) # Pablo Picasso: La Vie (1903–1904)100 Meisterwerke, Vol.
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