Jodi Hauptman Pořadí knih

Af Klint's exquisitely rendered botanical portfolio reveals a deep spiritual engagement with the flora of her native Sweden Across the spring and summer seasons of 1919 and 1920, Swedish artist Hilma af Klint engaged in a period of intense observation of nature, venturing into forests and fields and drawing the flowers she found there. The resulting 46 sheets comprise her Nature Studiesportfolio, recently acquired by the Museum of Modern Art, New York. In pencil and jewel-toned watercolor, af Klint juxtaposed exquisitely rendered blossoms with enigmatic diagrams: a blooming sunflower is echoed by nested circles; lily of the valley is joined by a colorful checkerboard; catsfoot is set against a pair of mirrored spirals. Together, these two modes--representational and abstract--demonstrate the artist's belief that close observation of nature reveals "what stands behind the flowers": ineffable aspects of the human character. Published in conjunction with the first public exhibition of this rare portfolio, Hilma af Klint: What Stands Behind the Flowerspresents the drawings alongside contextualizing artworks and translations of the artist's previously unpublished writings. An overview essay by curator Jodi Hauptman explores af Klint's portfolio and the circumstances of its creation; texts by Ewa Lajer-Burcharth, Laura Neufeld and Lena Struwe unpack the imagery, materiality and botanical knowledge behind these works. Hilma af Klint(1862-1944) trained at Stockholm's Royal Academy of Fine Arts and established herself as a professional artist. In the first decade of the 20th century, she developed a unique abstract vocabulary, some years earlier than her peers. Whether on canvas or on paper, her singular work is informed by her spiritual investigations and, as this project demonstrates, an interest in and attunement to the natural world.

Jodi Hauptman examines the procedures and context behind Kelly's formative 1951 abstraction Ellsworth Kelly's landmark 1951 work Colors for a Large Wall is the culmination of an extraordinarily productive moment in the artist's early career, a time when he developed his singular form of abstraction. After serving in the US Army during World War II, he returned to France in 1948 and lived and worked there until 1954. Connecting with artists of an earlier generation, discovering Paris with his peers, and surveying monuments of the past, Kelly began an audacious creative journey in which, paradoxically, he sought to eliminate "invention" from the process of making art. In this volume of the MoMA One on One series, curator Jodi Hauptman looks closely at the evolution of Colors for a Large Wall, unpacking Kelly's toolbox of close observation of the world, chance procedures, collage and the monochrome, and examining his ambition to create art on a public, architectural scale.

"How the modernist avant-gardes from Dada to constructivism reconceived their roles, working as propagandists, advertisers, publishers, graphic designers, curators and more, to create new visual languages for a radically changed world. "We regarded ourselves as engineers, we maintained that we were building things...we put our works together like fitters." So declared the artist Hannah Höch, describing a radically new approach to artmaking in the 1920s and '30s. Such wholesale reinvention of the role of the artist and the functions of art took place in lockstep with that era's shifts in industry, technology, and labor, and amid the profound impact of momentous events: World War I, the Russian Revolution, the collapse of the Austro-Hungarian Empire, and the rise of fascism. Highlighting figures such as Aleksandr Rodchenko, Lyubov Popova, John Heartfield, Marianne Brandt, and Fré Cohen, Engineer, Agitator, Constructor : The Artist Reinvented demonstrates the ways in which artists reimagined their roles to create a dynamic art for a new world. These "engineers," "agitators," "constructors," "photomonteurs," "workers" - all designations adopted by the artists themselves - turned away from traditional forms of painting and sculpture and invented new visual languages. Central among them was photomontage, in which photographs and images from newspapers and magazines were cut, remixed, and pasted together. Working as propagandists, advertisers, publishers, editors, theater designers, and curators, these artists engaged with expanded audiences in novel ways, establishing distinctive infrastructures for presenting and distributing their work. Published in conjunction with a major exhibition, Engineer, Agitator, Constructor celebrates the recent transformative addition to MoMA's holdings from the Merrill C. Berman Collection, one of the great private collections of early-twentieth-century political art and design. Essays by eminent scholars, conservators, artists, and poets consider the era's revolutionary art forms, such as photomontage and the New Typography; the essential role of women in the avant-garde; and the networks linking these artists across geographic and ideological borders. The exhibition presents the social engagement, fearless experimentation, and utopian aspirations that defined the early 20th century, and how these strategies still reverberate today" --Taken from publisher description

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