Some Aspects of the Activities of the Gallery Berès, Paris, France

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Ivana Petrova
Keyword(s):  
Third Generation ◽  
Legal Requirements ◽  
Work Of Art ◽  
French Painting ◽  
Japanese Art ◽  
History Of

The report examines some aspects of the activities of the Gallery Berès which is one of the most important french galleries, run by a third generation of gallerists. The gallery is located at Quai Voltaire 25 in Paris. The history of both the gallery and the Berès family, who are significant collectors and gallery owners is traced. The profile of the gallery, which specializes in two different areas: Japanese art and French painting from the 19th and 20th centuries is analyzed. The report examines some of the strategies of the gallery and in particular the participations in art fairs such as Brafa Art Fair, Tefaf, Biennale des Antiquaires and others. The report also analyzes the structure of the gallery, as well as the work of the team. The study also focuses on the role and the importance of the France’s National Antique Dealers Federation, which president is Anisabelle Berès-Montanari. The issue of the necessary certificates for export and authenticity that a work of art must have, depending on its value and other legal requirements related to the gallery activity in France is also considered.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

The Mausoleum of Youth: Between Experience and Nihilism in Benjamin's Berlin Childhood

Paragraph ◽  
2009 ◽  
Vol 32 (3) ◽  
pp. 313-330 ◽  
Author(s):  
Michael W. Jennings
Keyword(s):  
Human Experience ◽  
The Moon ◽  
History Of Photography ◽  
Work Of Art ◽  
Modern Media ◽  
Siegfried Kracauer ◽  
History Of ◽  
The Relationship

Key sections of Walter Benjamin's montage-text Berlin Childhood around 1900 figure the relationship between human experience and modern media, with the sections that frame the text, ‘Loggias’ and ‘The Moon’, structured around metaphors of photography. Drawing on the work of Siegfried Kracauer, and especially his seminal essay ‘Photography’, Benjamin develops, in the course of his book, a theory of photography's relationship to experience that runs counter to the better-known theories developed in such essays as ‘Little History of Photography’ and ‘The Work of Art in the Age of its Technological Reproducibility’, theories that are part of the broad currents of technological utopianism and, as such, emphasize photography's transformative potentials. In the Berlin Childhood, Benjamin instead emphasizes photography's role in the mortification and annihilation of meaningful human experience. Photography emerges here as the mausoleum of youth and hope.

9/11 as Avant-Garde Art?

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1820-1829 ◽  
Author(s):  
Richard Schechner
Keyword(s):  
Performance Art ◽  
Small Extent ◽  
First Century ◽  
Political Systems ◽  
Work Of Art ◽  
Karlheinz Stockhausen ◽  
Social Morality ◽  
Avant Garde ◽  
Single Moment ◽  
History Of

[The attacks of 9/11 were] the greatest work of art imaginable for the whole cosmos. Minds achieving something in an act that we couldn't even dream of in music, people rehearsing like mad for 10 years, preparing fanatically for a concert, and then dying, just imagine what happened there. You have people who are that focused on a performance and then 5,000 [sic] people are dispatched to the afterlife, in a single moment. I couldn't do that. By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world. … It's a crime because those involved didn't consent. They didn't come to the “concert.” That's obvious. And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.—Karlheinz Stockhausen (“Documentation”)Stockhausen aside, how can anyone call the 9/11 attack on the Twin Towers a work of art? Of what value is such a designation? What does calling the destruction of the Twin Towers a work of art assert about (performance) art, the authenticity of “what really happened,” and social morality during and after the first decade of the twenty-first century? To even begin to address these questions, I need to refer to the history of the avant-garde—because it has been avant-garde artists who for more than a century have called for the violent destruction of existing aesthetic, social, and political systems.

scholarly journals Clinical and laboratory differences between extended-spectrum β-lactamase-positive and extended-spectrum β-lactamase-negative bacteria in febrile urinary tract infection in pediatrics

2021 ◽  
Vol 11 (1) ◽  
pp. e2-e2
Author(s):  
Manijeh Kahbazi ◽  
Parsa Yousefichaijan ◽  
Danial Habibi ◽  
Somaie Nejabat ◽  
Amirreza Najmi ◽  
...  
Keyword(s):  
Urinary Tract ◽  
Recurrence Rate ◽  
Urine Analysis ◽  
Third Generation ◽  
Extended Spectrum ◽  
First Choice ◽  
Febrile Uti ◽  
History Of ◽  
Tract Infections ◽  
Third Generation Cephalosporins

Introduction: The prevalence of urinary tract infections (UTIs) due to extended-spectrum beta-lactamase (ESBL)-producing bacteria is rising, which needs more potent antibiotics, such as carbapenems. Objectives: To evaluate the clinical and laboratory differences between ESBL-positive and ESBL-negative bacteria in febrile UTI in children between one month to seven years to indicate prognostic parameters for ESBL+ UTI and to suggest appropriate antibiotic treatment. Patients and Methods: This cross-sectional study investigated 282 patients diagnosed with the first febrile UTI. The participants were assigned to ESBL-positive and ESBL-negative UTI groups. The groups were compared based on their clinical and laboratory characteristics and outcomes; the infant group was assessed separately (with the onset age of <3 months). Results: The ESBL UTI was detected in 10.2% of the cases with a history of more frequent hospitalization (P=0.002), longer hospitalization (P=0.04), higher recurrence rate (P=0.003), and more red blood cell count in urine analysis findings (P=0.02). In the antimicrobial susceptibility assay, the ESBL-positive UTI group indicated resistance to third-generation cephalosporins; nevertheless, 93.1% of the cases responded clinically. The infant group showed 13% of the patients with ESBL-positive UTI that was correlated with a history of longer preonset hospital stay (P=0.001), elevated C-reactive protein (CRP) concentration (P=0.002), and elevated recurrence rate (P=0.03), compared to the older group. Conclusion: The ESBL UTI should be further considered due to the resulted recurrence rate. The antimicrobial sensitivity assay indicated resistance to third-generation cephalosporins; however, these drugs are applied as the first choice due to the high response rate. Aminoglycosides are applicable as second choice drugs prior to initiating the use of carbapenems, if third-generation cephalosporins did not indicate bactericidal impacts on ESBL UTI.

scholarly journals Tempo Digital: Quando a escola invade o smartphone

2020 ◽  
pp. 62-67
Author(s):  
Maria Luísa Luís Duarte
Keyword(s):  
Young People ◽  
Creative Process ◽  
Electronic Devices ◽  
School Context ◽  
Digital Natives ◽  
Work Of Art ◽  
History Of ◽  
Current Context ◽  
History Of Culture ◽  
Object Of Study

This article derives from the master’s research in which it seeks to understand what uses the teenagers of this generation, known as millennials (or digital natives), are giving to their smartphones in a given Portuguese school context. Bearing in mind that our young people (as well as adults) spend a large part of their time “clinging” to small electronic devices, the present investigation looks at this problem as an opportunity to produce artistic content through a didactic use. At the same time, it helps young “producer / consumer” students to recognize themselves in the production of subjectivity inherent in certain work proposals carried out within the scope of the History of Culture and Arts. Starting from the concepts inherent to the disciplines of Artistic Education and the selection and study of a work of art, and having self-representation as the object of study, the student (re) creates (the work selected by himself) through the use of the smartphone, mobilizing skills transversal (technical, aesthetic and methodological) in a process that wants to be creative. In the creative process several aspects are contemplated that can, and should, be deepened, namely the question of time. The time we live in is an unexpected time! Time of seclusion, distance, confinement! We seek to ask whether the current context of confinement can provide an opportunity to reflect on the didactic use of the smartphone to produce artistic content while maintaining the principles of equality and equity.

The Red Crag Shell Portrait: a Comment on the Report of the Committee

1914 ◽  
Vol 1 (4) ◽  
pp. 446-449
Author(s):  
Miller Christy
Keyword(s):  
British Association ◽  
Work Of Art ◽  
Long Period ◽  
Points Of Interest ◽  
History Of

I have read with much interest the Report of the Committee appointed on 12th February, 1913, to examine such evidence as exists bearing upon the question whether the shell from the Red Crag of Walton-on-the-Naze (a single valve of Pectunculus glycimeris which belonged to the late Mr Henry Stopes, and has rude human features engraved upon it) is a genuine work of art of the Crag or pre-Crag period or a modern fabrication; and I desire to offer a few remarks thereon.I may say at the outset that I have been familiar with this very puzzling shell for a long period; for I was present, on the 6th September, 1881, in the Anthropological Section of the British Association, during its Jubilee Meeting at York, when Mr. Stopes exhibited the shell and read an account of its known history. As to the Walton Cliffs and the Red Crag sections appearing therein, I knew them well years before.The Committee has not only examined minutely and discussed fully in its Report the shell itself, the amount of staining it presents, the manner of the cutting of the lines incised upon it, the amount of sand lodged in them, and other points of interest which it presents, but has also enquired exhaustively into the history of the discovery of the shell, so far as this can now be ascertained. It has done all this with an amount of care and thoroughness which deserves high praise.

Epilogue

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Sound Recording ◽  
Work Of Art ◽  
History Of Art ◽  
History Of ◽  
Changing Role

The span of this book is roughly that of directors who had started out in silent pictures reaching the end of their careers, including their transitions to color. The introduction of sound recording and color both transformed filmmaking, not least its cost. Misgivings were voiced early on about the moral effect of the new art, even as censorship was deplored. Mannerism as an art-historical concept was being developed to supplement that of Renaissance naturalism even as filmmakers were trying to reconcile the realism to which photography might seem suited with the artificiality it also enabled. Although studying the history of film inevitably dredges up evidence of racism, sexism, and other prejudices, the history of film, like the history of art, is too complex and has long been too deeply engrained in our cultural lives for historians to choose to be ignorant of once admired works we may now in part or thoroughly deplore, as well as minor yet elucidating works that may likewise be problematic, at least in part. The supposition that respect is the default response to any work of art underestimates the changing role of laughter and other forms of active disregard, particularly during the last century.

Liat Steir-Livny, Remaking Holocaust Memory: Documentary Cinema by Third-Generation Survivors in Israel. Syracuse: Syracuse University Press, 2019. 376 pp.

2021 ◽  
pp. 273-275
Keyword(s):  
English Language ◽  
Documentary Films ◽  
Third Generation ◽  
Holocaust Memory ◽  
Historical Film ◽  
History Of ◽  
New Ideas ◽  
The One ◽  
Changing Attitudes

This chapter assesses Liat Steir-Livny's Remaking Holocaust Memory (2019). This book is the first comprehensive English-language study of the Israeli Third-Generation engagement with the history of the Shoah in documentary films. In analyzing “how Third-Generation documentaries provide new ideas and concepts to commemorate and preserve the memory for future generations,” Steir-Livny contrasts Third-Generation documentary films with the works of second-generation directors and explores an extensive number of films in five key areas. These key areas include the role of gender; the changing attitudes toward Germany; the use and exploration of historical film footage in Third-Generation documentary films; the function of testimonies that feature in Third-Generation documentaries “in more complex ways”; and the representation of perpetrators and bystanders in Third-Generation films. Throughout her study, Steir-Livny discusses the documentaries against the background of documentary film theories, on the one hand, and Israeli/Zionist Holocaust memory, on the other.

Conclusion

2020 ◽  
pp. 248-268
Author(s):  
Craig Allen
Keyword(s):  
Digital Media ◽  
Public Awareness ◽  
50Th Anniversary ◽  
Formative Period ◽  
Spanish Language ◽  
Third Generation ◽  
Traditional Media ◽  
History Of ◽  
The Moment ◽  
The U.S

Univision celebrates the 50th anniversary of Spanish-language television in 2012. The moment is occasioned by the first widespread public awareness of Spanish-language television and the large U.S. population is reaches and impacts. The first extensive criticism ensues. Conservative politicians attack the endeavor for dividing traditional U.S. society and for an alleged liberal bias. Believing it impedes Latinos’ success in the U.S., Governor Arnold Schwarzenegger urges them to turn off the Spanish TV set. Closer observers complain that banal and distant foreign programming fails to address the interests and needs of U.S. Latinos. They scorn Univision and Telemundo for reconfiguring U.S. Latinos of diverse nationalities into a “Pan Latinidad.” Many of the criticisms are not supported by the endeavor’s history. Yet at the time of the anniversary, more pertinent than the criticisms are unresolved questions. Latinos’ increasing preference for interactive digital media is fragmenting the audiences that Univision and Telemundo as traditional media once had amassed. Slowly foreseen is potentially the largest challenge, that the preponderance of younger “third generation” Latinos increasingly are inclined to speak English. Regardless of the future, the history of Spanish-language television will remain important as a light on a “television age” that is essential to understanding a U.S. that changed during a highly formative period in the nation’s history.

Boulez, Pierre (1925-2016)

2018 ◽  
Author(s):  
Jonathan Goldman
Keyword(s):  
Twentieth Century ◽  
Personal Development ◽  
Work Of Art ◽  
Going Public ◽  
Concert Music ◽  
Avant Garde ◽  
Central Concern ◽  
Pierre Boulez ◽  
History Of ◽  
Listening Habits

French composer Pierre Boulez was one of the most influential composers of the second half of the twentieth century. His personal development mirrored the history of Western concert music. An essential figure in the history of artistic modernism, he was perceived as a leader of the musical avant-garde since 1945. In addition, through his international career as a conductor, he sought to change the listening habits of the concert-going public by initiating them, through concerts and recordings, into the classics of modernism from the first half of the twentieth century (Stravinsky, Schoenberg, Webern, Bartók, Berg, etc.). From serialism, open forms, the interface between instrument and machine, the concern with perceptibility, Boulez’s catalog forms a rich and varied corpus. Although Boulez dispensed with total serialism after a brief but decisive period, his concern with the formal unity of a work of art remained a central concern throughout his career.

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