Tate Etc. - Issue 06 - Spring 2006

Tate Etc. - Issue 06 - Spring 2006
Library Shelf Location AP
Publication Date 2006
Abstract MARTIN KIPPENBERGER by Alison Gingeras, Roberto Ohrt, John Baldessari, Gisela Capitain, Jutta Koether, Piotr Uklanski and Urs Fischer As Martin Kippenberger's first solo exhibition in a British institution comes to Tate Modern, TATE ETC. celebrates by asking a selection of friends and admirers for a personal response to this remarkably energetic figure - artist, writer, poet, club manager, actor, musician, promoter, curator and director of his own museum... MAKING HISTORY by Mark Cousins "Documentary is intrinsically aesthetic," argues Mark Cousins, "it is as much about shots and cuts, structure and rhythm as fiction film." From the work of John Grierson and Allen Funt's Candid Camera to Michael Apted's 7Up and works by Gillian Wearing, Cousins charts the development of documentary film through the decades... LÁSZLÓ MOHOLY-NAGY - I by Peder Anker László Moholy-Nagy moved to London in 1935 and quickly established himself (along with Walter Gropius) at the heart of the avant-garde community in the newly designed Lawn Road Flats of London's leafy Hampstead. He brought with him his belief in the importance of "nature as a constructional model" to determine functionality in art and design, and his vision to "add to the politico-social a biological bill of rights"... THE BAUHAUS by Peter Fischli Peter Fischli grew up surrounded by the spirit of the Bauhaus - in fact, in a Bauhaus home designed and built by his father Hans Fischli, an architect and artist who had studied in Dessau. In this exclusive article, he talks about the excitement of growing up around his father: "I was fascinated by the way he led his life... He often painted at night, listening to jazz records... At the weekend, students, fellow artists and teachers would come and have parties... I was spellbound."... LÁSZLÓ MOHOLY-NAGY - II by Stuart Bailey "His convictions were consistent, his rhetoric prophetic, his purpose moral, social and all-inclusive." Stuart Bailey assesses László Moholy-Nagy's importance as a graphic designer, and looks at how his teachings have influenced future generations... JOSEF ALBERS - I by Victor Moscoso, Gabriel Orozco and Robert Mangold Time magazine wrote that he was "the greatest disciplinarian in the United States". As well as being a leading artist, Josef Albers was one of the finest art teachers of the twentieth century. Victor Moscoso remembers him as both a showman and a master, whose colour classes "drove everyone crazy". Robert Mangold continues to admire Albers's work, while Gabriel Orozco believes that his Interaction of Color is "one of the most subtle books on colour that exists"... JOSEF ALBERS - II by Paul Elliman When a friend told Paul Elliman that she had just had a conversation with Josef Albers, even though he knew the artist had been dead for 25 years, it got him thinking about how he could get in touch with the great man. So, borrowing a stencil typeface that Albers designed in 1926, he made a Ouija board... HYPERREALISM by Horst Bredekamp and Barbara Maria Stafford From highly detailed images of nature produced by the fifteenth and sixteenth-century artists Albrecht Dürer and Joris Hoefnagel to the more recent meticulous portrait paintings of Franz Gertsch and Chuck Close, artists have created work that can feel more real than reality. But what is hyperrealism? As Barbara Maria Stafford points out, for the early practitioners "artisanal fabrication was a way of mastering God's creations", while now the hyperreal is often "wrapped up with the insistently single" image. Plus, Carter Ratcliff reflects on the new paintings of Malcolm Morley... MALCOLM MORLEY by Carter Ratcliff Malcolm Morley was an early practitioner of superrealist painting. He then won the first Turner Prize in 1984 after having moved to a looser style of brushwork. In recent years his work has reached a new maturity in what he calls his "fidelity painting"... ESSAY by Lynda Nead At the turn of the twentieth century, a number of pioneering short films appeared that took the artist's studio as their subject. Works such as Thomas Edison's An Artist's Dream (1900) and Georges Méliès's Sleeping Beauty (c.1900) were aimed at promoting, with their illusionistic skills, the medium's artistic and technical superiority over painting. As Nead writes: "The artist's studio became a battleground for a fascinating and frequently comic struggle between art and film."... GOTHIC NIGHTMARES by Patrick McGrath and Louise Welsh Henry Fuseli is said to have created The Nightmare after a night's sleep disturbed by undigested pork chops. The result is often used to epitomise the gothic. Writers Patrick McGrath and Louise Welsh talk about the dark genre's enduring appeal... DARIA MARTIN - Greek Myth and the Ghosts of Bexhill-On-Sea by Olivia Plender Known for her filmic homage to Modernist masters, including Moholy-Nagy, Daria Martin was inspired by the Art Deco splendour and history of the De La Warr Pavilion on England's south coast for the setting of her new film, Wintergarden ... MONA LISA - Jackie, JFK & the Art of Diplomacy by Lisa Liebmann The photograph of Jackie Kennedy and JFK standing in front of the Mona Lisa , when it was loaned to the United States in 1963, is an iconic image, but the story behind it is equally fascinating... WORKS IN THE TATE COLLECTION by Peter Davidson, Pelé Cox, Bjorn van der Horst and Billy Childish Reflections on an icy marine vista, a chef 's recipe inspired by Paolozzi, a poem penned in homage to the Chapman brothers and laughing with Kurt Schwitters... BODY OF EVIDENCE by Lawrence Norfolk On his second visit to the Tate archive, Lawrence Norfolk looks for clues to the life of WSSickert. He unearths the painter's steam-cleaned overalls and a camera lucida that was loaned to a student and never given back...
ISBN 17438853
Quantity 1
Pages 112
Format Magazine
Language English
Issue Tate Etc. - Issue 6 - Spring 2006
Publication Tate Etc

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