Suchergebnisse

Frech, Hanspeter: Postkarten 1933-1945 aus oder zu NS-Lagern aller Art im damaligen Rahmen der allgemeinen Postversorgung, herausgegeben im Selbstverlag, 2020, A4-Format, Hardcover, 468 S. mit zahlreichen farbigen Abbildungen von Belegen, die kommentiert sind. Nach einer Einführung in die grundlegenden postalischen und politischen Gegebenheiten werden die einzelnen Lagertypen im Reich und im Ausland vorgestellt. Leseprobe im Internet vorhanden.

[EN] Throughout the history of art, space and time have been approached as separate categories. In effect, the modern conception defined time as the domain where things happen and the space where things are. In this scheme, time is progressive, measurable in terms of events that occur with a homogeneous pattern. The project of modernity, in its relentless search for certainties, has needed this split and others as form-content separation order to erase all uncertainty and instability. In this way some categories of analysis have been left out of the modern gaze, even to this day. The body, the monstrous, the mystery, the time stopped, the intensity, the experience, the complex, the multiple, the suspended, the nonlinear and the suggested are just some of the dimensions with which contemporaneity weaves the plot of its works. Contemporary art reconfigures temporality. Time and space are united with the work, they are the work. It allows new modes of perception and offers us another way of seeing the world cognitive operations. Through the critical analysis of a group of Latin American artists, this text tries to generate a network of links and tensions between their visual productions, their poetics and the contemporary modes of time, materiality and context. Selected artists Ana Mendieta (Cuba), Graciela Sacco (Argentina), Lucy Argueta (Honduras), Jorge Macchi (Argentina), Alfredo Jaar (Chile) and Regina Galindo (Guatemala) have worked in a good part of their production with the body. Present the absent. Single or multiple. As a theme, support, form and content. As a cultural, social and political position. As a temporal becoming, memory and territory in permanent dispute. ; [ES] A lo largo de la historia del arte, el espacio y el tiempo se han abordado como categorías separadas. En efecto, la concepción moderna definió al tiempo como el ámbito donde las cosas suceden y al espacio donde las cosas están. En este esquema, el tiempo es progresivo, posible de medir en términos de sucesos que se presentan con un ...

This thesis is a critical examination of the acquisition of British and Foreign oil paintings by the Art Gallery of New South Wales from 1874 to 1935.In 1874, the NSW Parliament voted £500 towards the formation of a gallery of art. The Minister asked the NSW Academy of Art for advice and, after internal discussions, the Academy advised the Minister that the funds should be spent on watercolours. The Academy believed that £500 was insufficient to purchase oils. The Minister appointed five Trustees to administer the vote. All were members of the Academy's Council. They quickly appointed the first London selectors. This was the beginning of what is now the Art Gallery of New South Wales (AGNSW).When Directors were appointed they were subservient to the Trustees in the selection of works for the collection and all policy decisions remained with the Trustees. The overseas selectors and the Trustees initially agreed on purchases but over the years there were a number of disputes about the works acquired for the AGNSW leading to selectors being replaced by Advisors and travel by Trustees and staff.Another influence was the Government. The major factor was the amount of money voted for purchases but a number of Members felt that they had to right to override the choices of the AGNSW Trustees.This thesis approaches the growth of this collection from a museological and historical perspective not from an art theoretical aspect although those critics and writers who influenced the AGNSW Trustees and staff are considered along with prevailing historical, financial and administrative pressures.The research question: to what extent was the AGNSW British and Foreign oil painting collection a result of a collections policy or the tastes and choices of its Trustees, staff and advisors from 1874 to 1935 is answered by this thesis. There was no formal collections policy in the period examined and while taste played a part, the main criteria for acquisitions this period was validation by the two main art organisations: the Royal Academy in London and the Salon in Paris.