Birgit Dalbajewa et al (Hrsg.): The Internationale Kunstausstellung Dresden 1926 in Historic Photographs by Alexander Paul Walther
The 1926 Dresden International Art Exhibition was one of the most prominent of its kind during the Weimar Republic. Its achievements also formed the basis for the first documenta in Kassel in 1955. Historical photographs by the architectural photographer Alexander Paul Walther are used here to trace the appearance, intentions and impact of this major event.
These important photographic documents are held in the archives of the Staatliche Kunstsammlungen Dresden and have never before been published together and in full. This annotated edition has been produced by the Dresden Albertinum under the BMBF joint research project “From Object to Exhibit” as an inspiring basis for further research.
Sabine Lang, Andrea Nicklisch: Den Sammlern auf der Spur. Provenienzforschung zu kolonialen Kontexten am Roemer- und Pelizaeus- Museum Hildesheim 2017/18
Veröffentlichungen des Netzwerks Provenienzforschung in Niedersachsen, Band 2, hrsg. von Claudia Andratschke
„On the Trail of the Collectors” presents the results of a provenance research project conducted at the Roemer- und Pelizaeus-Museum Hildesheim in 2017/18. The focus of the project was on the provenance of ethnographic objects that came to Hildesheim from the comprehensive holdings of the Royal Museum of Ethnology in Berlin at the turn of the 19th/20th century, and on the circumstances under which these objects were acquired. Most of these artefacts from almost every continent were collected in colonial contexts. The volume provides biographical information on the collectors, and a discussion of the very heterogeneous ways in which they acquired ethnographic objects.
The book focuses on two central figures of the historical avant-garde: Kazimir Malevič and El ’Lisickij. The year 1928 marked a turning point for both of them. Lisickij terminates his practice of abstract painting in order to concentrate on the production of monumental, politically motivated installations deploying advanced media technology. Lisickij's former colleague Kazimir Malevič, on the other hand, is not only returning to the handicraft of painting: All of a sudden, in his paintings the human figure reappears, yet in the midst of a dystopian, empty world. Both artistic strategies can be read as reactions to the excesses of modernity that outline our present situation at the end of the 1920s.
Antoinette Maget Dominicé et. al.(Hrsg.): Lehr- und Schausammlungen im Wandel. Archive, Displays, Objekte
How can public and university collections be preserved and exhibited in the future? Currently, the presentation of such collections is often determined by changes in those institutions. The history of disciplines and institutions involved is as important as the focus of science on individual objects when it comes to issues of provenance and exhibiting those things.
The authors address the challenges and future of university collections. In addition to reflecting on the integration of objects in research and teaching, questions of the presentation of heterogeneous collections and uncertainties regarding the future of the institution are addressed.
M. Chatzidakis, et al. (Hrsg.): Con bella maniera. Festgabe für Peter Seiler zum 65. Geburtstag
Con bella maniera... under this motto the authors of the present volume pay tribute to the art historian Peter Seiler. Their contributions not only reflect the scholar's cross-genre and cross-epoch research interests and interdisciplinary approach, but also bear witness to friendships that have survived from all phases of his academic vita - from his student days in Heidelberg to his formative time as a fellow at the Bibliotheca Hertziana in Rome and his career at the art history institutes of Freie Universität and Humboldt-Universität zu Berlin as research assistant, associate professor, head of the Census and adjunct professor. His bella maniera transcends the art historical terminus technicus and combines the „time-honoured learnable practices“ of art history with innovative research approaches and the delicate nature of human interaction.
Ute Christiane Hoefert: Rollenflexibilität und Demokratisierung in der Kunst. Der Konzeptkünstler, Mail Artist und Networker H. R. Fricker
Art & Photography, Volume 1
The Swiss artist Hans Ruedi Fricker, born in 1947, has been practicing mail art since 1981. This form of art takes place in an open network where participants exchange objects and self-designed stamps, postcards, and envelopes by mail. Furthermore, they exhibit, collect and preserve mail art. Even before his mail art activity, Fricker intended to de-hierarchize, decentralize and finally democratize the art market, which he perceived as elitist. He belongs to a new type of artist who reacts to current events in a fresh manner and is with his art committed to personal and social processes.
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