A proposito di „Reconstructing the Universe“: Guggenheim Museum, New York

Author(s):  
Monica Cioli
Traditio ◽  
2012 ◽  
Vol 67 ◽  
pp. 235-276
Author(s):  
Barbara Obrist

TheLiber de orbe, attributed to Māshā'allāh (fl. 762–ca. 815) in the list of Gerard of Cremona's translations, stands out as one of the few identifiable sources for the indirect knowledge of Peripatetic physics and cosmology at the very time Aristotle's works on natural philosophy themselves were translated into Latin, from the 1130s onward. This physics is expounded in an opening series of chapters on the bodily constitution of the universe, while the central section of the treatise covers astronomical subjects, and the remaining parts deal with meteorology and the vegetal realm. Assuming that Gerard of Cremona's translation of theLiber de orbecorresponds to the twenty-seven chapter version that circulated especially during the thirteenth and fourteenth centuries, it was, however, not this version, but a forty-chapter expansion thereof that became influential as early as the 1140s. It may have originated in Spain, as indicated, among others, by a reference to the difference of visibility of a lunar eclipse between Spain and Mecca. Unlike the twenty-seven chapterLiber de orbe, this expanded and also partly modified text remains in manuscript, and none of the three copies known so far gives a title or mentions Māshā'allāh as an author. Instead, the thirteenth-century witness that is now in New York attributes the work to an Alcantarus:Explicit liber Alcantari Caldeorum philosophi. While no Arabic original of the twenty-seven chapterLiber de orbehas come to light yet, Taro Mimura of the University of Manchester recently identified a manuscript that partly corresponds to the forty-chapter Latin text, as well as a shorter version thereof.


Author(s):  
Patrick Frank

In chapter 4, Frank traces the changing styles of Noé and Macció. These two won travel awards from the Di Tella Foundation that took them to New York and Paris. Perhaps because of their absence from the disorder of Buenos Aires, the paintings of both artists evolved toward consideration of formal issues, such as the potential of flat color planes and the integrity of the surface of the work. Jorge de la Vega created the important Anamorphic Conflict series, influenced by Italian artist Enrico Baj and a response to conflicts between Argentine military factions. Frank rebuts critic Clement Greenberg’s comments about the provincialism of the Argentinian art world in 1964. (Greenberg had made a trip to Buenos Aires to judge an art competition.) Frank also discusses solo shows by Noé, de la Vega, Macció, and Deira and their participation in important exhibitions in the United States at the Guggenheim Museum and the Walker Art Center.


Author(s):  
Juan A. Suárez

Marie Menken was a New York-based experimental filmmaker who produced her main work during the 1950s and 1960s. Born in Brooklyn to an immigrant Lithuanian family, she attended the New York School of Fine and Industrial Arts and the Art Students’ League, where she was trained as a painter, her original vocation. After finishing her studies, she worked as a secretary to Hilla Rebay, first director and chief curator of the Museum for Non-Objective Painting (later renamed Salomon R. Guggenheim Museum). In 1936 she was granted a summer residency at the Yaddo artist colony in upstate New York, where she met Willard Maas (1907–1970), another resident, then a rising poet and editor. They married the following year and stayed together for the rest of their lives in a complex, at times embattled, relationship that led to fruitful artistic collaboration. By Maas’s own account, their interest in film was spurred by their friend Norman McLaren, the Scottish animator who lived in New York during the war years before moving to Canada to direct the Animation Division of the National Film Board.


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