JAROSLAV VÁVRA
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Jaroslav Vávra
Vávra Jaroslav
Vávra Jaroslav
Jaroslav Vávra
Vávra Jaroslav
Jaroslav Vávra
Jaroslav Vávra
Vávra Jaroslav
Vávra Jaroslav
Karel Teige . Collage n. 26. 1941
Karel Teige
Karel Teige
Collage nr.324 .1947
Karel Teige
Collage n.135. 1940
Karel Teige
Collage,n. 155,1941
Karel Teige . Collage n.157.1941
Karel Teige . Collage 166.1942
Born in Prague in December 1900, Karel Teige was an editor and graphic designer as well as the major figure of the Czech avant-garde movement “Devětsil”. Founded in 1920 the Devětsil had a loose focus on the corresponding surrealist and cubist styles that were popular in western Europe at the time, but they also embraced the Russian “Proletkult” (Пролеткульт)- radically modifying existing artistic forms with a new, revolutionary working class aesthetic which drew its inspiration from the construction of the modern industrial society in Russia.The Proletkult was born in the Bolshevik Revolutions of February and
October 1917. Most artists in the movement were influenced to a great
extent by the iconoclasm, technological orientation and revolutionary
enthusiasm bound up in the thematic movements of the day: futurism and
constuctivism. Despite a recognition of the classical arts, strong
encouragement was given to the use of new techniques and forms in
so-called “proletarian art,” particularly the use of photography and
collage.
But among those critical of the Proletkult
and its ultimate vision of a new proletarian culture was the Soviet
party leader Vladimir Ulyanov (Lenin). At a public speech in May 1919
Lenin declared any notions of so-called “proletarian culture” to be
“fantasies” which he opposed with “ruthless hostility.”
More
specifically, Lenin viewed it as “…an organization where futurists,
idealists, and other undesirable bourgeois artists and intellectuals
addled the minds of workers who needed basic education and culture.”
(Lenin
also may have had political misgivings about the organization as a
potential power base for his rivals, ultra-radical “Left Communists” or
the “Workers’ Opposition” dissidents.)Teige became the spokesman for Devětsil in 1921, developing a principle that “every new, fresh art is necessarily a reaction against the previous one”. This new orientation was enhanced by his visits to Paris in 1922 and his interactions with the artists there, including Constantin Brancusi, Pierres Albert-Birot and Man Ray. He read voraciously and broadened his travels through the early 1920’s to gain a first hand knowledge of
the ongoing cubism, surrealism and Russian
constructivism movements, visiting all the major Russian and
European cities to foster personal
relationships with the artists at their forefront.
Teige was published in the German expressionist journal Die Aktion,
collaborated with Le Corbusier and Walter Gropius and gave lectures at the
Bauhaus; while his influence in his own country was considerable, Teige was truly a part of the international modernist movement.By 1924 Teige had embraced Russian constructivism, and that same year the “picture poem” was developed with Jaroslav Seifert. This quickly became a popular form among the
Devětsil artists, and optical poetry developed into a new lexical
standard. Picture poems involved the typographic arrangement of poems combined
with collage and photomontage, and were easily mass produced and distributed: a combined set of properties which were regarded by the Devětsil as a new system based upon the visual and tactile
rather than verbal character. Teige and Seifert held
that this new nonverbal sign system would reawaken the senses so that in
the future socialist society one could fully enjoy all sensory effects.
Their envisioned society would abolish the division of labor and end art as a
specific sphere of activity; art would comprise all human activities,
even sports, gardening, or cooking.Teige explained this transformation of language into visual
art by relating it to the rise of photography, film and new developments
in book printing and he incorporated all of these elements into his
works. He soon asserted the loss of the autonomy of painting, replacing it with the poster and the picture poem,
and as the medium evolved it became more complex: Teige began writing
film scripts and using the dissolve technique as a way of poetically
morphing objects into other objects. The spring of 1927 saw a rise of a fairly forceful critical wave in the Czech press disclaiming Teige and the movement as obsolete and exhausted, but that autumn a new Devětsil forum appeared: the monthly magazine “ReD”, whose name was coined as an abbreviated form of Revue Devětsil. This immediately marked the journal as a Marxist view of their new “cultural epoch”: although he never became a member of the Communist Party Teige was a
committed Marxist all his life. Published from 1927 to 1931, the content of the magazine was chiefly determined by Teige, and he edited and designed all three volumes. The introductory declaration of ReD emphasized both its continuity with the Devětsil program -shaped by Teige’s concept of the tension between constructivism and poetism- and the prevailing interest in an universal modern creativity which could encompass all spheres of contemporary life.
Still, Devětsil gradually went into decline and the movement officially discontinued its activities in 1930 although ReD continued publication for a few more months. Political conflict had forced Teige to take more of a back seat in public
life, but he maintained his work in the collages and picture poems.In 1939 Czechoslovakia was invaded by Nazi Germany, and
Hitler’s stated goal was to eradicate Czech nationality through
assimilation, deportation, and extermination of the Czech
intelligentsia. Teige was forced into an internal exile, but he
continued his work which by now had begun to develop an erotic edge in
combination with his socialist political ideals. In “L’Enfant Terrible of the Czech Modernist Avant-Garde”
(Eric Dluhosch / Rostislav Švácha: MIT Press 1999), Vojtěch Lahoda
writes “…It may be said that Teige tried to realize in his collages
the utopian idea of the metamorphosis of the new man – that is, a social
and ideally conceived communist transformation of such a man – going
hand in hand with an erotically conceived metamorphosis of landscape and
architecture.”At the end of the war in 1948 Teige joined his countrymen in welcoming the Soviet army as liberators. Although he was first
hailed as a progressive, the new Communist government soon proved that they were equally adept at silencing dissent and the connections between Devětsil and the now disavowed Proletkult were not forgotten. He had also loudly criticized Joseph Stalin’s leadership of the USSR (CCCP) and he was soon denounced for not toeing the party
line. Forbidden to publish or organize “artistic activities”, he was labeled a ‘Trotskyite
degenerate,’ his papers were destroyed by the secret police, and his
published work was suppressed for decades. In 1951 he died of a heart attack, said to be a
result of a ferocious Soviet press campaign against him.Since
the the “velvet revolution” of 1989 the
legacy of Karel Teige has been revived not only in Prague, but also in Western Europe
and the United States: he was among those powerful figures of modernism who believed that their beliefs could change the world, subverting moral and artistic values in the cause of what he hoped would be a better society and finally being crushed by those who – at first sight – also appeared to be working for a better society.
Nina Leen
Nina Leen
Nina Leen
Nina Leen
Nina Leen
Nina Leen
Nina Leen
Nina Leen
ED VAN DER ELSKEN
ED VAN DER ELSKEN
ED VAN DER ELSKEN
ED VAN DER ELSKEN
ED VAN DER ELSKEN
ED VAN DER ELSKEN
ED VAN DER ELSKEN
ED VAN DER ELSKEN
ED VAN DER ELSKEN
ED VAN DER ELSKEN
ED VAN DER ELSKEN
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
Ed van der Elsken
(1925, Amsterdam -1990, Edam NL), ‘enfant terrible’ of Dutch photography, was a photographer and filmmaker who expressed his meetings with people in photos, photo books and films for more than 40 years. He started to photograph at the end of the 1940s. In the 1950s he left Holland for Paris. There he encountered the bohemian society of Saint-Germain-de-Prés. Marked by the bitter post-war atmosphere these young people spent their days in bars, living on alcohol and drugs. At the suggestion of Edward Steichen, whom van der Elsken met in Paris, he turned his photographs into a photographic novel. ‘Love on the Left Bank’ instantly made him world famous.
Ed van der Elsken’s work is highly subjective, portraying striking individuals he encountered on his travels, documenting his own life and that of his surrounding. His approach was confrontational, embracing the bright as well as the darker sides of human life. The unconventional technique and the gritty snapshot-like quality of his work have been of great importance in the development of contemporary photography.
Ed van der Elsken’s work remains to be widely shown at contemporary art museums throughout the world. Recent solo- and group shows were held at the Taka Ishii Gallery, Tokyo (2015), Museum Boerhaave, Leiden (2014), Stadsarchief Amsterdam (2014), Nederlands Fotomuseum, Rotterdam (2010), Foam, Amsterdam (2005), The Metropolitan Museum, Tokyo (2003), The Palazzina di Giardini, Modena (2002) and many others.
He is highly acclaimed for his characteristic publications, the most memorable being ‘Love on the Left Bank’ (1956), ‘Bagara’ (1957), ‘Jazz’ (1959), ‘Sweet Life’ (1966), ‘Eye Love You’ (1977), ‘Amsterdam!’ (1979) and ‘Once Upon a Time’ (1981)
Mathieu K. Abonnenc
Secteur IX B, 2015
HD video, colour, sound
41 min 58
ed 5 + 1
Production red shoes / Coproduction Centre Pompidou Metz, CAC Brétigny, Marcelle Alix
Mathieu K. Abonnenc
Forever Weak and Ungrateful (11), 2015
heliogravure, wooden frame, glass
47,4 x 30,7 cm
50 x 33,3 cm
ed 5 + 2
Mathieu K. Abonnenc
Counani (je maintiendrai par la raison ou par la force), 2009
silver-plated ring
variable diameter
unique
photo: Aurélien Mole
Mathieu K. Abonnenc
Inventaire des objets africains de la collection Émile Abonnenc, 1931-1933, Moyen Ogoué, Gabon , 2013
black and white print mounted on aluminum
print: 35 x 53 cm (85 x 67 cm framed)
ed 3 + 1
Mathieu K. Abonnenc
Names and Surnames, 2012-2013
black and white photographic print, framed
29 x 44 cm (print) / 62 x 77 cm (framed)
ed 3 + 1
Mathieu K. Abonnenc
An Italian Film (Africa Addio). Première partie: cuivre, 2012
HD film, colour, sound
26 min
ed 5 + 1
production Pavilion, Leeds and Ecole des Beaux-Arts de Nantes
collection MAC/VAL, Vitry-sur-Seine, F
Mathieu Kleyebe Abonnenc, Sector IX B, Sleeping Sickness Prophylaxis 2015 production still, courtesy of red shoes I SOME SHOES & Marcelle Alix, Paris
Mathieu Kleyebe Abonnenc, Sector IX B, Sleeping Sickness Prophylaxis 2015 production still, courtesy of red shoes I SOME SHOES & Marcelle Alix, Paris
Mathieu Kleyebe Abonnenc, Sector IX B, Sleeping Sickness Prophylaxis 2015 production still, courtesy of red shoes I SOME SHOES & Marcelle Alix, Paris
Mathieu Kleyebe Abonnenc, Sector IX B, Sleeping Sickness Prophylaxis 2015 production still, courtesy of red shoes I SOME SHOES & Marcelle Alix, Paris
Born 1977, Paris (French Guyana)
Lives in Metz, France
Mathieu Kleyebe Abonnenc devotes his focus to the cultural hegemonies upon which the evolution of contemporary societies is based. Through video, photography, installations, drawing, or exhibition projects, he explores the principles behind the dominant presence of pre-existing elements and events – notably those linked to imperial history and the colonies of so-called ‘developed’ countries. Many objects constitute a collective memory in which the universal principle has been tested for more than a century ago. Each of these elements needs to be constantly renegotiated in order to discover contemporary conflicts, vis-à-vis the construction of an identity, a community, a nation, and allow for the time to reinvent artistic and political action.
Orologio multistenopeico, Italy
Novantasei Fori Forati, Stampa a contatto, Italy
La Mia Finestra, Immagine stenopeica, Italy
La Giostra stenopeica, Italy
La Giostra stenopeica, Italy
La Giostra stenopeica, Italy
La Giostra stenopeica, Italy
La Giostra stenopeica, Italy
La Luna, stenopeica, Italy
Ponte Sisto, stenopeica multipla diretta, Roma, Italy
Mano di Bronzo, stenopeica, Italy
Mia Moglie stenopeica, Coperchio scattola di borotalco, Italy .1981
Autoritratto e Albero stenopeico, Italy
Autoritratto stenopeica, Coperchio scattola di borotalco, Italy
“Snap” camera, Italy
Autoritratto Panestenopeico, composizione carta a contacto, Italy
“Snap” camera photograph, Italy
“Snap” camera photograph, Italy
Ovale Daguerrotipico, Italy
Noce stenopeica camera, Italy
Veduta di Trastevere, piú mela, Roma, Italy
Paolo Gioli “Snap” camera, Italy
Autoritratto, Polaroid SX70, Crackerstenopeica, Italy
Cibachrome stenopeiche, Nature morte, Italy
Cibachrome stenopeiche, Nature morte, Italy
Cibachrome stenopeiche, Nature morte, Italy
Camera stenopeica, Italy
Camera stenopeica, Italy
Camera Esagono stenopeica, Coperchio scattola di borotalco, Italy
Camera Crackerstenopeica, Italy
Camera Conostenopeica, Italy
Anello stenopeico camera, Italy
Shell camera portrait from La Conchiglia Diossoluta
Stereo stenopeico, Italy
“Tondi di Pupille Riaperte”, microstenopeica, stampate su cibachrome, Italy
“Tondi di Pupille Riaperte”, microstenopeica, stampate su cibachrome, Italy
Paolo Gioli, veneto, nasce a Sarzano (Rovigo) il 12 Ott 1942. Nel 1960 frequenta la scuola libera del nudo presso l’Accademia di Belle Arti a Venezia dove per qualche anno si stabilisce e lavora.
Nel 1967 parte per New York, dove resterà a lavorare per un anno ottenendo anche una borsa di studio della John Cabot Fund, conosce il New American Cinema e -in pittura- la Scuola di New York ed entra in contatto con i galleristi Leo Castelli e Martha Jackson.
Costretto ad interrompere l’esperienza americana e a rientrare in Italia per problemi collegati al visto di soggiorno (siamo ai giorni della uccisione di Martin Luther King e Bob Kennedy che vide l’applicazione di norme più severe da parte dell’Immigration Office americano) Gioli, nel 1970, si stabilisce a Roma dove entra in rapporto con la Cooperativa Cinema Indipendente che orbita intorno al Filmstudio e cui fanno capo un po’ tutti gli autori di cinema sperimentale italiano. E’ tra Rovigo e Roma che produce i primi film che sviluppa da se stesso usando la cinecamera come un laboratorio sulla scia dei Lumière.
A Roma approfondisce anche il suo interesse per la fotografia di cui indaga specialmente le origini. Nel 76 si trasferisce a Milano dove, oltre al cinema, si dedica con continuità alla fotografia. Troverà nel polaroid -che egli chiama umido incunabolo della storia moderna- un sorprendente mezzo per allargare ulteriormente la sua ricerca sulla fotografia istantanea, travasandone la materia su supporti diversi dalla pellicola come la carta e la tela e apparentandola così alle arti belle. Agli inizi degli anni ’80 torna nella sua terra in Polesine. Oggi vive e lavora a Lendinara.
Le sue opere sono state esposte in sedi pubbliche e private in Italia, Europa, America. Tra le principali mostre personali ricordiamo quella all’Istituto Nazionale della Grafica-Calcografia di Roma nel 1981, al Musée Nicéphore Nièpce di Châlon s/Saône e al Centro Pompidou di Parigi nel 1983, alla George Eastman House, Rochester nel 1986, più volte ai R.I.P. di Arles tra il 1982 e il 1998, al P.zzo Fortuny di Venezia e al Museo Alinari di Firenze nel 1991, al al P.zzo Esposizioni di Roma nel 1996, al Museo di Fotografia Contemporanea a Cinisello nel 2008. Le sue opere sono presenti nelle collezioni dei più importanti musei europei e statunitensi, in particolare ricordiamo il Centro Pompidou, l’Art Instritute of Chicago e il MoMA di New York.
Nel 2006 l’italiana Minerva-RaroVideo ha pubblicato un doppio dvd con una selezione di quattordici suoi film e una intervista a cura di Bruno Di Marino. Nello stesso anno i film di Gioli vengono presentati per la prima volta a Views From the Avant-Garde, una sezione speciale del NYFF a cui, da quella volta, è stato invitato ogni anno. L’anno seguente, Gioli è invitato al HKIFF come artist on focus. Nel 2008, una selezione di suoi film é presentata all’ Ontario Cinematheque di Toronto e alla Cinémathèque Française a Parigi che gli ha dedicato una retrospettiva completa a Giugno/Luglio di quest’anno. A Giugno del 2009 il Festival di Pesaro gli ha tributato un omaggio con una rassegna completa di suoi film. Nei Quaderni del CSC è da poco uscito un volume monografico sul suo cinema edito dalla Fondazione Centro Sperimentale di Cinematografia a cura di Sergio Toffetti e Annamaria Licciardello. Nel 2010 è stato invitato per la prima volta a Wavelenght, la sezione di cinema d’avanguardia del Toronto Film Festival (TIFF).
I suoi film sono distribuiti dal Centro Sperimentale di Cinematografia di Roma e da LightCone a Parigi.
Novembre 2010
Robert Rauschenberg
Tracks, from the Stoned Moon Series .1970
Robert Rauschenberg was born Milton Rauschenberg on October 22, 1925, in Port Arthur, Texas. He began to study pharmacology at the University of Texas, Austin, before being drafted into the U.S. Navy, where he served as a neuropsychiatric technician in the U.S. Navy Hospital Corps in San Diego. In 1947, he enrolled at the Kansas City Art Institute and traveled to Paris to study at the Académie Julian the following year.
In fall 1948, Rauschenberg returned to the United States to study under Josef Albers at Black Mountain College near Asheville, North Carolina. During intermittent study there through 1952, he met avant-garde creative partners John Cage and Merce Cunningham, with whom he would later collaborate. While taking classes at the Art Students League, New York, from 1949 to 1951, Rauschenberg was offered his first solo exhibition at the Betty Parsons Gallery. Some works from this period include blueprints, monochromatic white paintings, and black paintings. From fall 1952 to spring 1953, he traveled to Europe and North Africa with Cy Twombly, whom he had met at the Art Students League. During his travels, Rauschenberg worked on a series of small collages, hanging assemblages, and small boxes filled with found elements, which he exhibited in Rome and Florence.
On his return to New York in 1953, Rauschenberg completed his series of black paintings, using newspaper as the ground, and began work on sculptures created from wood, stones, and other materials found on the street; paintings made with tissue paper, dirt, or gold leaf; and more conceptually oriented works such as Automobile Tire Print (1953) and Erased de Kooning Drawing (1953). By the end of 1953, he had begun his Red Painting series (1953–54) on canvases that incorporated newspapers, fabric, and found objects and evolved in 1954 into the Combines, a term Rauschenberg coined for his well-known works that integrated aspects of painting and sculpture and would often include such objects as a stuffed eagle or goat, street signs, or a quilt and pillow. In late 1953, he met Jasper Johns; together, Johns and Rauschenberg are now considered the most influential artists who reacted against Abstract Expressionism. They had neighboring studios, regularly exchanging ideas and discussing their work, until 1961. From 1954 to 1964, and again in 1977, Rauschenberg also worked with Cage and Cunningham, contributing scenic, costume, and lighting design to the latter’s dance company.
Rauschenberg began to silkscreen paintings in 1962. He had his first retrospective, organized by the Jewish Museum, New York, in 1963 and was awarded the Grand Prize for painting at the 1964 Venice Biennale. He spent much of the remainder of the 1960s dedicated to more collaborative projects, including printmaking, performance, choreography, set design, and art-and-technology works. In 1966, he cofounded Experiments in Art and Technology, an organization that sought to promote collaborations between artists and engineers.
Over the following decades his work continued to encompass a variety of fields. In the summer of 1970, joining a protest movement in the arts against the Vietnam War, Rauschenberg withdrew from the U.S. Pavilion at the Venice Biennale. In September that same year, he founded Change, a nonprofit organization to assist artists-in-need with emergency expenses.
By the end of 1970, Rauschenberg had established a permanent residence and studio in Captiva Island, Florida. He eventually acquired 20 acres of the island to use a workspace and serve as a nature preserve. His first project on Captiva was a 16.5-meter-long silkscreen print called Currents (1970), made with newspapers from the first two months of the year, followed by Cardboards (1970–71) and Early Egyptians (1973–74), the latter of which is a series of wall reliefs and sculptures constructed from used boxes. He also printed on textiles using his solvent-transfer technique to make the Hoarfrosts (1974–76) and Spreads (1975–82), and for the Jammers (1975–76), he created a series of colorful silk wall and floor works.
A retrospective organized by the National Collection of Fine Arts (now the Smithsonian American Art Museum), Washington, D.C., traveled throughout the United States in 1976 and 1978. In 1977 Rauschenberg, Cunningham, and Cage reconnected as collaborators for the first time in 13 years, when the Merce Cunningham Dance Company, New York, performed Travelogue (1977), for which Rauschenberg contributed the costume and set designs.
In 1980, after he settled a copyright lawsuit brought against him for an earlier appropriation of an advertisement, Rauschenberg shifted to exclusively using his own photographs as material for works that involved photography. His return to that medium led to exhibitions in Florida and Paris over the next two years, which, for the first time, featured his black-and-white photographs from the 1950s, as well as his more current photographs taken in various cities around the United States. In 1981 he began work on The 1/4 Mile or Two Furlong Piece (1981–2008), conceived by the artist to be the longest artwork in the world, eventually extending beyond the length designated in the title. It encompassed a wide range of Rauschenberg’s techniques and a chronology of his imagery.
Rauschenberg traveled extensively throughout his life. In the mid-1980s his collaborations with artisans and workshops abroad culminated in the establishment of the Rauschenberg Overseas Culture Interchange (ROCI). Announced to the United Nations in December 1984, ROCI involved the artist making and presenting work while traveling with a team of assistants through 11 politically sensitive countries, including China, Tibet, the U.S.S.R., and East Germany, as a way to initiate cross-cultural dialogue. Some works remained in their original sites as gifts and others traveled with the ROCI team to be shared with future participants. Rauschenberg personally funded the project, which concluded in 1991 with an exhibition of over 125 works at the National Gallery of Art, Washington, D.C.
Based on his introduction to painting and screenprinting on copper during ROCI Chile in 1985, Rauschenberg created multiple series, such as Urban Bourbons (1988–95), that focused on different methods of transferring images onto a variety of reflective metals, such as steel and aluminum. In addition, throughout the 1990s, Rauschenberg continued to use new materials while still working with more rudimentary techniques, such as wet fresco, as in the series Arcadian Retreat (1996), and the transfer of images by hand, as in the Anagrams (1995–2000). As part of his engagement with the latest technology, he began making digital Iris prints and using biodegradable vegetable dyes in his transfer processes, underscoring his commitment to caring for the environment. During this time, he also designed costumes and sets for several major productions by the Trisha Brown Dance Company, New York. Despite a stroke in 2002 that paralyzed his right side, he continued to make work in his Captiva Island studio.
Robert Rauschenberg
The Guggenheim Museum has exhibited the largest retrospective of Rauschenberg’s work to date (1997), which traveled to the Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, all in Houston (1998); and then traveled to Europe (1998–99) with exhibitions at Museum Ludwig, Cologne (1998); and Guggenheim Museum Bilbao (1998–99). Also in 1998, the Vatican commissioned (and later refused) a work by Rauschenberg based on the Apocalypse for Renzo Piano’s pilgrimage church in Foggia, Italy. The Museum of Contemporary Art, Los Angeles, and the Metropolitan Museum of Art, New York, hosted a survey of the artist’s Combines (1999), and the Guggenheim Foundation organized the memorial exhibition Robert Rauschenberg: Gluts for the Peggy Guggenheim Collection, Venice (2009), which traveled to the Museum Tinguely, Basel (2009–10); Guggenheim Museum Bilbao (2010); and Villa e Collezione Panza, Varese, Italy (2010–11). Rauschenberg’s last stage set was for Cunningham’s Xover (crossover) (2007), based on his own painting Plank (2003). Rauschenberg died in Captiva Island, Florida, on May 12, 2008.
Karin Szekessy was born in Germany in 1939 where she continues to live and work.
Szekessy stages scenes that feature nudes or still life compositions, which evoke the era of the Flemish schools of painting and the Old French Masters but utilize contemporary resources and viewpoints. She then photographs these tableaux creating arresting visual works.
She gained international renown first through her pictures of dolls. Following that for her unique style of nude photography that featured only daylight in dark interiors, long exposure times and extremely wide-angle lenses. Originally working only in black and white, she later revived the old heliographic printing process.
Szekessy worked as a press photographer for Kristall magazine from 1960-1966. Afterwards, she spent three years teaching fashion photography at the Hamburg Academy of Art. In the early 1980s she shot approximately 300 book coves for the Ullstein Detective Stories. Her work has been exhibited in Germany and the United States.
Her husband, the late artist Paul Wunderlich, frequently used Szekessy’s photographs to spark his fantastic and erotic paintings, and in turn also inspired her work – a creative exchange which culminated in their collaborative book Correspondences / Transpositions. 
Born in Osaka City in 1905. In 1928 Shiihara Osamu entered the Tokyo School of Fine Arts（now Tokyo National University Of Fine Arts and Music）where he studied with the painter Fujishima Takeji in the Western painting department.
After graduating in 1932，he returned to Kansai（western Japan） and set up a painting studio in Hyogo Prefecture.
He began photography around this time and became a member of the Tampei Photography Club. As a main member of the Tampei Photography Club he produced a large number of experimental photographs，employing such special techniques as photogram, solarization and a combination of drawing and photography that he dubbed Photo peinture（photo painting）.
After the war Shiihara moved to Osaka, where he worked for dying and continued his photography, and in 1953 he joined Tanahashi Shisui and others in forming the Spiegel Photographers Association.
His works are in permanent collections of national and international institutions and museums including The National Museum of Modern Art, Tokyo, Nagoya City Art Museum, The Museumn of Fine Arts, Houston and The Museum of Modern Art, New York.
see also http://lapetitemelancolie.com/tag/photogramme/
http://www.moma.org/
Egon Schiele
Nel 1912 fu accusato di aver sedotto una minorenne e, in seguito al ritrovamento di “disegni pornografici” nel suo appartamento, fu arrestato e detenuto per tre giorni. La dichiarata convivenza con la modella Wally Neuzil e i suoi dipinti e disegni di ragazze minorenni lo mantennero sempre ai margini dalla società tradizionale austriaca.Nel 1915 sposò Edith Harms e, quattro giorni dopo il matrimonio, fu costretto ad arruolarsi, dopo aver tentato inutilmente di farsi assegnare il compito di artista ufficiale di guerra; inviato a Praga, fu assegnato al controllo dei prigionieri di guerra russi. Tornò a Vienna nel luglio dello stesso anno.Grande rappresentante dell’espressionismo austriaco ed uno dei più brillanti disegnatori di tutti i tempi, Egon Schiele spinse fino a livelli drammatici l’erotismo moderato di Klimt, tanto che con Schiele, per la prima volta, entrò nella pittura la crudezza del sesso, fatta di nudi estremamente magri e sfiniti.
Vissuto gran parte della sua vita in miseria, nel 1918, sei mesi prima della morte, una grande retrospettiva, organizzata nell’ambito della Secessione Viennese, rivalutò la sua opera e l’originalità e l’incisività del suo segno, consacrandolo al successo.Nell’autunno del 1918 la moglie, in stato di gravidanza, morì di febbre spagnola; tre giorni dopo, il 31 ottobre 1918, contagiato dalla stessa malattia, Egon Schiele si spense, a Vienna, a soli 28 anni.
Grigiabot 
