Christian Brandstätter,Wiener Werkstätte: Design in Vienna, 1903-1932. New York: Harry N. Abrams, 2003. 400 pp., 450 color ills, 100 b/w ills., bibliog., index. $40.Manu von Miller,Sonja Knips und die Wiener Moderne: Gustav Klimt, Josef Hoffmann und die Wiener Werkstätte gestalten eine Lebenswelt. Vienna: Christian Brandstätter, 2004. 112 pp., 60 color pls., 57 b/w ills., bibliog. EUR 36.Herta Neiß,Wiener Werkstätte: Zwischen Mythos und wirtschaftlicher Realität. Vienna: Böhlau, 2004. 311 pp., 60 b/w ills., bibliog., index. EUR 39.Waltraud Neuwirth, ed.,Wiener Werkstätte Katalog 1928. Vienna: Selbstverlag Dr. Waltraud Neuwirth, 2004. 106 pp., 9 color ills., 282 b/w ills. EUR 30.Peter Noever, ed.,Yearning for Beauty: The Wiener Werkstätte and the Stoclet House, exh. cat. Ostfildern-Ruit, Germany: Hatje Cantz for Museum für angewandte Kunst, Vienna, and Centre for Fine Arts, Brussels, distr. in U.S. by Distributed Art Publishers, New York, 2006. 452 pp., 418 color ills., 267 b/w illus., 1 appendix, bibliog., index. $95, EUR 60.Renate Ulmer,Emanuel Josef Margold: Wiener Moderne, Künstlerkolonie Darmstadt, Corporate Design für Bahlsen, Neues Bauen in Berlin, exh. cat. Stuttgart: Arnoldsche, for Museum Künstlerkolonie Darmstadt, distr. in U.S. by Antique Collectors' Club, Easthampton, Mass., 2004. 192 pp., 172 color pls., 132 b/w ills., bibliog., index. $75, £45, EUR 49.80.Die Wiener Werkstätte 1903-1928: Modernes Kunstgewerbe und sein Weg, epilogue by Graham Dry in German and English, facsimile repr. of Krystall-Verlag ed., Vienna, 1929. Munich: Ketterer Kunst, 1994. 155 pp. (n.p.), 9 color pls., 167 b/w ills. EUR 60.

2007 ◽  
Vol 14 (2) ◽  
pp. 166-170
Author(s):  
Christopher Long
Keyword(s):  
New York ◽  
Fine Arts ◽  
Gustav Klimt

scholarly journals Driving on the Left: Sorkin’s View of the Street, the City and architecture

2013 ◽  
Author(s):  
Michael Sorkin ◽  
Graham Cairns
Keyword(s):  
New York ◽  
Political Action ◽  
Graduate Program ◽  
Fine Arts ◽  
Contemporary Culture ◽  
Environmental Threats ◽  
City College ◽  
The Media ◽  
Village Voice ◽  
The City

Sardonic, cutting, insightful, provocative: Michael Sorkin is one of today’s most radical architectural commentators with a staunch leaning to the political left and a literary bent for framing painful truths in ironic, and sometimes hilarious, verse. However, he should not be dismissed as a radical, isolated, or lone and unhindered voice however. He is a Distinguished Professor of Architecture and Director of the Graduate Program in Urban Design at the City College of New York, and he has been Professor of Urbanism and Director of the Institute of Urbanism at the Academy of Fine Arts, Vienna. In addition, he has taught at architecture schools across the world, including the Architectural Association, Columbia, Yale, Harvard and Cornell. Sorkin runs his own design studio and research institute and has been a contributing editor of the Architectural Record . He was the architecture critic of the Village Voice for ten years and has published innumerable articles and essays. A list of some of his books includes: Twenty Minutes in Manhattan , Variations on a Theme Park , Exquisite Corpse , The Next Jerusalem , Indefensible Space , and a long list of other etcs . and alsos ….In this interview-article, he offers his opinion on a range of issues, including the environmental threats to contemporary America, architectural symbolism and paranoia, the importance of political action on the streets of the modern city, and the role of the architecture critic in the complex tapestry of contemporary culture. With regard the position of the modern critic, he begins by responding to a question regarding the relevance of Noam Chomsky’s description of the media as a form of propaganda and the contemporary journalist as functioning through the structure of what Chomsky defines as “filters,” or constraints and biases that dictate what gets written and published in the press.

scholarly journals “Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism

2020 ◽  
pp. 44-50
Author(s):  
Marina Aleksandrovna Neglinskaya
Keyword(s):  
New York ◽  
Fine Arts ◽  
The United States ◽  
Oil Painting ◽  
Chinese Tradition ◽  
State Museum ◽  
International Audience ◽  
The Subject ◽  
Traditional Paradigm ◽  
Artistic Tradition

The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.

scholarly journals The Round Table 03 圆桌: A Conversation with Xu Bing

2015 ◽  
Vol 4 ◽  
pp. 201-207
Author(s):  
Madeline Eschenburg ◽  
Ellen Larson
Keyword(s):  
New York ◽  
Fine Arts ◽  
Round Table ◽  
Early Career ◽  
Xu Bing ◽  
New Generation ◽  
Contemporary Chinese

The following is an excerpt from a conversation between contemporary Chinese artist Xu Bing, Madeline Eschenburg, and Ellen Larson. Xu Bing curated an exhibition at the Central Academy of Fine Arts titled The Second CAFAM Future Exhibition, Observer-Creator: The Reality Representation of Chinese Young Art, on exhibition through March 2015. Our conversation centered around his thoughts on a new generation of young Chinese artists as well as reflection on his own early career and time in New York. The conversation was conducted in Chinese and has been translated into English.

Bishop, Isabel (1902–1988)

2018 ◽  
Author(s):  
Regina Palm
Keyword(s):  
New York ◽  
Fine Arts ◽  
Working Women ◽  
Young Female ◽  
Urban Life ◽  
New York School ◽  
Art Students ◽  
Applied Design ◽  
Union Square ◽  
The City

Born in Cincinnati, Isabel Bishop spent her childhood in Detroit, where she attended life-drawing classes at the John P. Wicker School of Fine Arts. In 1918, Bishop enrolled in the New York School of Applied Design for Women to study illustration, but transferred to the Art Students League in 1920. Bishop is associated with the realist painters of the Fourteenth Street School. She is best known for her depictions of young female office workers of the 1930s and 1940s, whom she observed as they navigated their way through Union Square (the location of Bishop’s first studio). Bishop, like other Fourteenth Street artists, sought to capture contemporary urban life. Her depictions of working women are notable for their time, as she did not glamorize them or transform them into sexualized stereotypes, but rather strove to portray these young, modern women as they traversed the city in daily life. Bishop was granted her first one-woman show in 1933 at the Midtown Galleries and in 1941 was elected to the National Academy of Design.

Carrington, Leonora (1917–2011)

2018 ◽  
Author(s):  
Deborah Caplow
Keyword(s):  
New York ◽  
World War Ii ◽  
British Empire ◽  
Mexico City ◽  
Fairy Tales ◽  
Fine Arts ◽  
World War

Leonora Carrington was a painter, sculptor, poet and novelist who drew on mythology, fantasy and the occult to create images of a dreamlike world. She grew up in a wealthy family in England, educated by governesses, and was deeply influenced by the fairy tales her Irish nanny told her. Her parents sent her to convent schools, and although they expected her to become a socialite, they allowed her to attend Mrs. Penrose’s Academy of Art in Florence, Italy. Once back in London in 1936, Carrington enrolled in Amédée Ozenfant’s Academy of Fine Arts. She attended the 1936 International Surrealist Exhibition in London, and was impressed by the work of Max Ernst, whom she met the following year. Carrington moved to France in 1937 to be with Ernst and joined the Surrealist circle in Paris; however, the two of them were separated at the beginning of World War II, and Carrington made her way to Mexico City, where she joined a group of exiled Surrealists. She based her Self Portrait of 1938 on Celtic myths, and after moving to Mexico, she included Pre-Columbian imagery in many of her works. In later years she divided her time between New York and Mexico City. She received the Order of the British Empire in 2000.

scholarly journals Bernard V. Bothmer: a man of honour

2013 ◽  
Vol 38 (4) ◽  
pp. 50-56
Author(s):  
Diane Bergman
Keyword(s):  
United States ◽  
New York ◽  
Fine Arts ◽  
The United States ◽  
New York University ◽  
The World ◽  
Museum Of Fine Arts ◽  
Brooklyn Museum ◽  
Library Collections

Bernard V. Bothmer left his mark on the world of Egyptology in three of the United States’ great art institutions: the Museum of Fine Arts in Boston, the Brooklyn Museum and the Institute of Fine Arts, New York University. He created gallery displays, developed library collections and founded image collections that continue to influence scholars worldwide. One can wonder how the course of American Egyptology would have developed if circumstances had not driven him out of his native Germany. Despite hardship, fear and a career interrupted, he trained and profoundly influenced at least four generations of historians of Egyptian art. BVB, as he was affectionately known to those close to him, inspired all who worked with him to the highest level of achievement, a standard which came to be known as “Brooklyn Quality”.

Sign in / Sign up

Export Citation Format

Share Document