Download e-book Fifty-two Passages: a Collection of Postcards from Paris (Artnotes: Paris Book 1)

Free download. Book file PDF easily for everyone and every device. You can download and read online Fifty-two Passages: a Collection of Postcards from Paris (Artnotes: Paris Book 1) file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Fifty-two Passages: a Collection of Postcards from Paris (Artnotes: Paris Book 1) book. Happy reading Fifty-two Passages: a Collection of Postcards from Paris (Artnotes: Paris Book 1) Bookeveryone. Download file Free Book PDF Fifty-two Passages: a Collection of Postcards from Paris (Artnotes: Paris Book 1) at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Fifty-two Passages: a Collection of Postcards from Paris (Artnotes: Paris Book 1) Pocket Guide.

Box C Folder 2: Siemens projector Cinecraft ; Invoice for Siemens 16mm double-band projector, and cover-letter confirming a day warranty. Box C Folder 7: "Lonesome Train" prospectus; , undated Prospectus original and copies and notes for a minute telefilm adaptation of The Lonesome Train A Musical Legend to be directed by Hurwitz; prospectus for a television series based on Carter Dickson's Department of Queer Complaints stories; and list of potentially interested persons.

Box C Folder 8: "Lonesome Train" legal ; Attorney invoices and correspondence related to the incorporation of Lonesome Train Productions, notes, and a form letter acknowledging investment. Box C Folder Fund for the Republic; Correspondence between Hurwitz and the Fund for the Republic regarding suggestions for film projects; copy of the Fund's May 31, report.

Box C Folder 1: "Freedom Road" -- early stuff; ca. Box C Folder 18o: Narration -- notes file -- hand notes; undated Drafts and notes regarding the voiceover narration for The Museum and the Fury. In German and English. Contains note "Letters extracted to take to Berlin. Box C Folder Jewish Museum -- original; Correction from the Jewish Museum regarding the omission of Hurwitz's name from Eichmann trial exhibition publications.

Box C Folder 4: Photogard; Invoices, packing lists, and other forms related to the 3M Photogard film coating process. Also includes Photogard brochures; approximately 2 feet of 16mm color film; notes about dirt, scratches, and soundtrack noise; a letter from 3M returning Hurwitz's check and asking for a sample of the affected film; and a brochure from Quik Splice. Also includes the transcript of Pomer's interview with Hurwitz. Box C Folder 6: Prices, rental L.

Includes check stub from Cornell University for the rental of Strange Victory. Box C Folder Gene Searchinger -- Film on Film; Notes, memos, and correspondence related to filmmaker Gene Searchinger proposed series Ways of Knowing , which would include a segment on perception and film featuring Hurwitz. Box C Folder Studio -- lease for W. Bergmann: Distribution -- Germany, Switz, Austria; Notes and correspondence between Hurwitz and Wolfgang Bergmann, manager of Munich-based film distributor Verleih Genossenschaft der Filmemacher regarding overseas distribution of Dialogue with a Woman Departed ; revenue and payment; and damage and repairs to prints of Dialogue , as well as Native Land , Strange Victory, The Sun and Richard Lippold , and other Hurwitz films lent for a retrospective.

Also contains a signed copy of the contract and related "work materials" granting Verleigh the rights to distribute Dialogue in West Germany, Switzerland, and Austria; and a issue of Verlieh's publication Filmkatalog with information about the film. Box C Folder Names of good people -- lists; , undated Pamphlets, flyers, and brochures from the U.

Box C Folder 39a: [Envelope labeled: Names and addresses -- miscellaneous]; , undated Contact information, including lists of students New York University's Institute of Film and Television, and Spanish names and addresses; business cards; postcards messages; and notes. Also includes an undated clipping about the Carabanchel Ten and doodle. Box C Folder 9a: L. Box C Folder 9d: [Proposal for the use of film in dance curriculum]; Proposal for the development of multi-media materials for the use in dance curriculum.

Box C Folder 3: [ Strange Victory film materials, condition reports]; , Condition reports and related notes regarding prints of Strange Victory and The Museum and the Fury after Holland and Switzerland retrospectives. Box C Folder 2: [Correspondence]; Correspondence and notes, mostly related to employment and proposed projects. Also includes sample of entries from Masterplots and a fundraising prospectus for a film adaptation of the play The Hostage.

Includes Hitchens' letter to Harvey V. Materials include signed letter of agreement and contract; a Training Program outline, curricula, and course descriptions; faculty newsletter; meeting minutes; and a letter from actress Marian Carr. Also includes a Brandon Films invoice; a letter from Mediagraphics regarding Hurwitz's possible employment; a copy of a U.

Hurwitz is mentioned as returning from a leave-of-absence. Leon Levy of the Army Service Forces regarding "Colonel [Frank] Capra"'s request to use Native Land footage; letter from Hurwitz to Paul Robeson critiquing Robeson's new album of songs; letter to apartment-house tenants regarding air warden service; and a letter from literary editor Edwin Seaver regarding an unspecified shooting script.

Box C Folder Contracts old, also other docs ; , Contracts and related correspondence, including Hurwitz's contract with the William Morris Agency, and agreements and letters regarding the film projects Voici la France ; "The Fifth Freedom" tentative title? Box C Folder Films -- production forms, budget forms; , , Budget notes and correspondence for film projects including "The Key"; "Ballet Ballads"; a film about rug cleaning for the Lincoln Rug Co. Also includes blank production and requisition forms from Paramount Pictures and International Pictures; shooting schedule, production breakdown, and call sheets for Heaven Only Knows ; and shooting schedules and call sheets for several Columbia Pictures productions.

Box C Folder Ideas for films: Chaplin; Drafts of a letter from Hurwitz to Charles Chaplin in which Hurwitz explains the 16mm film and sound recording apparatus developed by Fons Iannelli, and proposes using it to shoot a feature titled "Chaplin at Work. Box C Folder 4: Re: London contacts; ca. Box C Folder Lab costs: interneg, master; undated Notes on the lab costs of printing an interneg and a master for the projects Landscape and Painting.

Box C Folder Correspondence some older ; Personal and professional correspondence, invoices, and notes. Also includes a draft of Hurwitz's last will and testament; film lab invoices for a Strange Victory print ; passport application; a program for Thomas Brandon memorial at the Museum of Modern Art; and a typewritten letter to Hurwitz from an unnamed admirer whom Nelly Burlingham provisionally identifies as Roberta Cantow, Hurwitz's student at New York University.

Box C Folder Current D. Box C Folder [Political mailings, professional correspondence]; Correspondence includes political-themed mailings; a distribution report for Strange Victory ; insurance mailing; and a festival mailing for the FICN Box C Folder 18a: "Scarlet Letter"; Correspondence regarding "The Scarlet Letter" script, including a letter from Joanna Dunham; draft of replies and notes; casting ideas; a clipping; list of persons to see in London; and promotional shots of Dunham.

Box C Folder 18d: List: my invites -- Hollywood screening of Here at the Waters' Edge ; Materials related to the screening of Here at the Waters' Edge at the Lytton Center for the Visual Arts, Los Angeles, including correspondence, a list of invitees, Hurwitz's screening introduction, and a facility brochure. Originally housed in a manila envelope. Box C Folder 4b: [Envelope labeled: receipts]; Invoices, bills, and receipts from copy centers, photographic equipment sellers and service providers, and US Post Office cash receipts. Also includes note cards itemizing Hurwitz's expenses.

Box C Folder Artist in residence material also for seminars ; Correspondence related to artist-in-residence programs, including Hurwitz's residency at the University of Iowa. Also includes correspondence with William Alexander regarding seminars, and notes on Dialogue with a Woman Departed. Box C Folder Guggenheim application and supplementary papers -- plus extras; Correspondence regarding Hurwitz's application for funding from the Guggenheim Foundation. Also includes a to-do list for the coming year and contact information, including that of Roberto Rossellini.

In Russian, with some English translations. Box C Folder 3b: Toward retrospective and work papers; Correspondence and notes regarding the delay in returning films from the Soviet Union, and their poor condition upon return. Also includes the calendar for the National Film Theatre in London retrospective, schedules for the Leningrad Festival, and related notes. Box C Folder 2d: Tricontinental Films: letters, etc; Correspondence and signed letter of agreement with Tricontinental Film Center regarding licensing and representation of Hurwitz's films for the Italian market.

Also includes notes about to whom complimentary copies of Harbor Anthology should be sent, and flyers about New York University's summer motion picture workshop. Box C Folder Hollywood towards job; Correspondence regarding Hurwitz's efforts to find work in Hollywood. Includes an unsigned letter from Guthrie. Box C Folder [Unsigned correspondence, notes]; undated Undated and unsigned letter to Bill [no last name given] regarding "our present peril through the subject of the film" with a note at the top that states "more or less exact copy for Leo.

James Press Film Book Series. Also includes notes for Hurwitz's curriculum vitae. Box C Folder 9: Trudy's notes for lay-in of voice and music tracks for mix; Music and voice tracks logs for Dialogue with a Woman Departed , with an alternative selected readings list. Also includes a notebook labeled "Important Things for the Future D. Includes German and English language copies of the contracts. Box C Folder "S. Box C Folder Memoranda; Includes a budget and shooting schedule for an unnamed project possibly "Escudero" ; notes on U. Contains the estimated production budget and addendum for "The Scarlet Letter," with related notes; drafts of a National Endowment for the Humanities grant proposal; curricula vitae for Hurwitz and Jules Victor Schwerin.

Also includes a timeline documenting harassing phone calls made by Mr. Mende and deliveries made to Hurwitz. Box C Folder Personal file from Grad. Also includes correspondence related to prints of Hurwitz's films, This Island , and a fire at Hurwitz's "cutting room" building. Box C Folder Personal file Grad. Folder also includes a clipping of Hurwitz's essay "Student Films Where Are You Going?

Box C Folder [National Geographic Society correspondence; Request from the National Geographic Society to use footage from People of the Cumberland for an educational film about the Depression, with a copy of the cutting script and Hurwitz's response. Box C Folder 6: A-Z -- Regular films; , , undated List of films proposed by the American Film Institute for a core study collection, with correspondence regarding Hurwitz's appraisal.

Also includes photocopies of film-related newspaper and magazine clippings, and a copy of the Fall issue of Reel 4, the official publication of the Screen Actors Guild, New York Branch. Includes notes, outline, and script revisions. Box C Folder List of work ideas from mids; ca. Box C Folder 3: London opening and other correspondence; Correspondence about retrospective at the National Film Theatre in London, including shipment and return of prints and stills; correspondence with Charles Rubinstein about distributing some of Hurwitz's films, including Native Land , Strange Victory , Essay on Death , and Dialogue with a Woman Departed.

Includes copy of script for the film. Box C Folder 7: Eichmann -- Jewish Musuem; Correspondence with the Jewish Museum about their omission of Hurwitz's credit from their film about the Eichmann trial, including apology, newsletter with the correction, handling of press inquiries about the situation, Hurwitz's waiver in regards to the videotaped interview; Hurwitz's notes; promotional mailer, press release, announcement, and clippings for the Eichmann exhibit.

Box C Folder Cinemateca Portuguesa; Correspondence about a retrospective of Hurwitz's films at the Cinemateca Portuguesa in Portugal and related film inspection notes. Box C Folder [Envelope labeled: Used Buffalo to NY airplane tickets plus expense lists ]; Envelopes for airline tickets with many notations , receipts, expense list.

Box C Folder Memoranda -- Film -- ; Internal CBS memos and other documents about the use of film, including International Film Foundation press releases and brochure about production and distribution of documentary films; article "Advantages of Film Programs"; letter from Hurwitz to Gregory Irrsky about Soviet film for US audiences; proposal for a film about television. Box OS-6 Folder 3d: [Television equipment brochure; pages of Life magazine]; , undated Promotional brochures for television production equipment; pages from Life magazine with tissue paper and tracing; and the script for "The Moon is Down.

Series consists of materials related to Hurwitz's produced and unproduced films and television projects, including correspondence, project proposals, outlines, synopses, screenplays, script treatments, drafts, contracts, bills and invoices, expense reports, clippings, promotional materials, notes, and funding materials. The series is divided into 51 subseries according to film title or project. Titles of unproduced projects appear in quotation marks.

Finding Aids

Note on arrangement of the materials: A prior processing effort resulted in the bulk of materials related to Strange Victory being moved and these materials are now stored together. Includes a response to Discovery in a Landscape that was handed to Hurwitz during the screenings.

Also includes an airline ticket to Buffalo and a note on the school curriculum. Box C Folder AFA correspondence; Correspondence with the American Federation of Arts regarding the four Art of Seeing film, with significant correspondence related to the debate over the length of the last two films. Includes correspondence with Rudolf Arnheim. Includes Rudolf Arnheim's reaction and notes.

Giuffre regarding the score for the film "Color 2" later Discovery in a Landscape. Box C Folder Leo H. Productions, Inc. Box C Folder Detroit -- research material for script; Materials related to the Detroit Institute of Arts, including a museum bulletin, brochure, and gallery guide; outreach newsletter; notes taken during a visit; and a trip schedule. Box C Folder Conversation and notes correspondence?

Also includes a letter for Hilary Harris for the film Vision of a City.

Comics, Fine Art, and the Legitimization Process

Box C Folder Series of short films possible from footage of "Color 1"; Notes on possible short films, with references to "Country" and "City. Box C Folder 2: [Envelope labeled: Logs -- workprint and neg. Box C Folder 3b: Neg logs, shot lists: Painting 4 short version and long version ; Shot lists. Box C Folder 3c: Journey into a Painting narration drafts: "Color 4," short version ; Narration and outline; correspondence from Rudolf Arnheim. Box C Folder 3d: Journey into a Painting -- final narration, mix log, title texts ; ca.

Box C Folder 3j: [File Pocket containing film strips and slides]; ca. Box C Folder 5a: "Color 2" -- music and sound, outline of structure: notes; , Notes and correspondence regarding the music, and shot list. Box C Folder 5c: "Color 2" -- cutting notes and script ideas; Outline of the material with notes on the assembly of sections and overall thematic elements. Box C Folder 5e: Music notes for recording; ca. Box C Folder 5f: Organization of material -- "Color 2"; ca.

H; , "Autumn is a Painter" by Anthony J. Stanley; draft of the narration. Box C Folder 5i: Mix: log-loops, title, narration, shot list; Mix log; shot list; narration; and titles. Box C Folder 5k: [Envelopes labeled: "Color 2" or " 4" film clips]; ca. Reel numbers listed. Box C Folder 9c: [Authorization form; introductory letter]; Form authorizing children to appear in the film on color, with a letter stating that Hurwitz is working on behalf of the American Federation of Arts AFA. Box C Folder 9f: AFA -- "Color" and other -- Script in outline beyond "notes" stage; Treatment script for "the first of two films on color" and outline.

Also includes a copy of the agreement between Hurwitz and Vanguard and related notes. Log, 1, 2, 4; Cutting notes. Box C Folder 1c: Address, etc. Box C Folder 1f: ["Color Film 1" arrangement of sequence material]; "Color 1" arrangement of material into categories; notes from original log and screening order. Box C Folder 3b. Box C Folder 3f: [Light and the City -- remix log]; ca. Box C Folder 3h: Editing notes -- AFA film 1A -- city, morn to night; Notes from cutting room table during cutting of Light and the City and Light and the Country ; notes about organization of film material; editing notes; notes after showing of sample material and correspondence from Rudolf Arnheim with suggestions.

Box C Folder 4c: Native Land -- misc. Box C Folder 1: Current correspondence -- answer! Box C Folder Dialogue W. Prints -- Made at Filmtronics Lab; , , undated Notes and correspondence with Filmtronics regarding print material of Dialogue with a Woman Departed. Eastman Kodak -- re: soundtrack faults in early prints; Receipt, notes, and correspondence with Eastman Kodak regarding prints of Dialogue with a Woman Departed. Box C Folder Distribution -- D. Box C Folder Interested inquires -- D.

Box C Folder Funding: D. Box C Folder D. New distribution thoughts; Undated prints-outs of notes and ideas regarding Dialogue with a Woman Departed , and the Spring-Summer issue of Monthly Review Press. Box C Folder Distribution of D. Also includes a Bauer Films catalog. Includes contract, correspondence, account statements, notes, contact information, promotional postcards, and a copy of an agreement between FilmCentrum and the Arts Council of Great Britain for the film Dread, Beat an' Blood.

Box C Folder 1: Press material -- copies to be distributed in these files; , , Includes reviews and background material for Dialogue with a Woman Departed. Box C Folder 2: Misc. Box C Folder 3: [ Dialogue with a Woman Departed press book]; Materials related to Dialogue with a Woman Departed , including reviews, flyers, production information, note on the presentation, and biographical information. Also includes a synopsis for Hurwitz's proposed John Brown film.

Materials include review, programing announcement from WBAI-FM, flyers, schedule, press release, a recollection of Peggy Lawson, and a response to Discovery in a Landscape that was handed to Hurwitz during the screenings. Box C Folder 7: Materials for layout samples for D.

Box C Folder 9: Layout samples -- D. Box C Folder Original press kit layouts -- color -- D. Box C Folder 11a: Work material: "responses" and notes on presentation; Responses to Dialogue with a Woman Departed from critics and others, and a draft of the presentation of the film for distributors and exhibitors. Box C Folder 11c: Letters, etc. Box C Folder 11d: Portuguese -- reviews -- responses -- letters -- photos -- Sept. Also includes a photograph of Hurwitz, and correspondence with "Connie," with an English translation.

In Dutch, with no translation. Box C Folder 12c: Responses to D. Materials are in English, Dutch, German, and Finnish. Also includes an issue of Andere Sinema [in Dutch with some English translations]. Materials are in English, Swedish, and French. Box C Folder 3: Transcripts from tapes by C. Box C Folder 11c: N.

Box C Folder 16e: Note re: presentation; ca. Box C Folder Sweden reviews -- copies; Photocopies of clippings from Swedish newspaper articles regarding Dialogue with a Woman Departed , with English translations of full reviews. Box C Folder Recollection of Peggy; ca. Box C Folder Credits: D. Box C Folder 1: [Envelope labeled: Sweden: Folkets Bio -- skimpy press material and Film Institute programs]; Correspondence and press materials regarding Dialogue with a Woman Departed and programs for the showing of Hurwitz films in Sweden.

In German. Box C Folder 4: [ Dialogue with a Woman Departed -- distribution material]; Correspondence, distribution agreements, receipts, expense reports, and other distribution materials for Dialogue with a Woman Departed. Box C Folder 5: [ Dialogue with a Woman Departed -- promotional material layouts]; Pull-quotes and excerpts from reviews of Dialogue with a Woman Departed , cut and pasted into layouts for promotional materials. Box C Folder 2: [ Dialogue with a Woman Departed production publication and correspondence]; , undated Dialogue with a Woman Departed investment prospectus, with biographical notes, investment terms, and a proposed budget.

Correspondence lists possible distributors. Includes copies of cover letters that accompanied promotional material, notes, and contact list. Box C Folder Copies for sending L. Includes edits. Box C Folder Plus corrected older versions; ca. All copies, no originals. Native Land is occasionally mentioned in the context of retrospective screenings.

D ]; ca. Box C Folder [ Dialogue with a Woman Departed articles, screening promotional material]; , Newspaper articles about Dialogue with a Woman Departed with flyers for screenings of that film and Hurwitz retrospectives. Box C Folder 1b: Summarized schedule etc. Includes schedule, correspondence, and customs information. Possible screenings in Helsinki, Italy, and Brussels are mentioned. Also includes inventories for the European trip; customs letter; screening schedules and programs; and bills accrued during the trip.

In German, with some English translations. Box C Folder 9a: Verleih Genossenschaft promotional material; Promotional materials for Dialogue with a Woman Departed created by Verleih Genossenschaft, including a folded poster for the film. Box C Folder 9b: Openings: German cities -- promotional material; German promotional material for screenings of Dialogue with a Woman Departed and Hurwitz retrospectives. In German and French. Box C Folder 9e: [German clipping, screening flyer -- Dialogue with a Woman Departed and retrospective]; Clippings from the German magazine Zitty regarding Dialogue with a Woman Departed and including a brief interview with Hurwitz.

Flyer is for screening of the film and a Hurwitz retrospective. Box C Folder 9f: Film Verleih Genossenschaft: Swiss showings press material; Promotional material for the Swiss screening of Dialogue with a Woman Departed , including materials produced by the film club Le Bon Film and newspaper clippings. Verleih Genossenschaft is a German company who distributed the film. Also includes promotional materials, correspondence, and French subtitles for Le Masson's film Regarde elle a les yeux grand ouverts, and correspondence regarding French exhibition of Dialogue with a Woman Departed.

Also includes a festival schedule and copies of a brochure about Hurwitz, with filmography. In Dutch. Box C Folder 4: Words -- "S. Box C Folder 6: Notes and scribbles toward script -- recent and old -- typed -- "S. Box C Folder 7: "S. Box C Folder 8: Picture source lists Dialogue with a Woman Departed ; Inventories of stills sources and a breakdown of shots by reel. Box C Folder 9: Current notes summer "S. Box C Folder Script -- "S. Also includes a partial script marked "words. Box C Folder Notes from cutting table back shelves, screen, etc.

Box C Folder First script notes -- "S. Box C Folder Music list -- D. In English in German. Also includes a blank credit application form. Box C Folder Typed script and notes -- "S. Box C Folder [Envelope labeled: D. Dialogue with a Woman Departed ] script, sequence lists and Dialogue broken down by reels, with added notes.

Dialogue with a Woman Departed ] script, with edits, broken down by reel. Box C Folder 2: Old script and seq. Box C Folder 4: "S. Box C Folder 5: "S. Box C Folder 6: "S. Box C Folder 7: Quotes from films and stills notes ; Notes regarding the selection and analysis of quotes from films and their possible use in Dialogue with a Woman Departed. Box C Folder 8: "S. Box C Folder Inventories -- "S. Also includes correspondence from Kirkland College. Two copies. Box C Folder Cutting table misc.

Includes a tentative schedule for Hurwitz's departure for Kirkland College. Batty, Riots; Notes related to Dialogue with a Woman Departed , including line ideas and problems with the film.

Exhibition History | Robert Rauschenberg Foundation

Includes "log for scratch mixes with historical SDS [sounds]. Includes an envelope containing fragments of 16mm magnetic sound tape labeled "Leo's Lines Breaths -- Box C Folder [Envelope labeled: Quote list, sources, footages -- original and copies]; ca. Box C Folder More recent important notes -- Dialogue with a Woman Departed ; Notes regarding Dialogue with a Woman Departed screenings, sequences, script changes, and to-do list. Box C Folder Notes from wall R.

Box C Folder 7: [Correspondence]; Includes correspondence regarding the formation of limited partnership to produce the film "Shoot Film, Not People" [original title of Dialogue with a Woman Departed ]. Includes added notes on the seminar and Dialogue with a Woman Departed. Original box discarded. Box C Folder Mozambique -- D.

Folder also includes handwritten notes regarding timing and print quality. Box C Folder Filmtronics -- invoices -- D. Paul Minnesota. Materials include calendars; a schedule of events for the symposium "The Documentary Today," which included a screening of Dialogue with a Woman Departed and a panel discussion with Hurwitz; plane tickets from New York City to St. Paul' and copies of Film in the Cities' final grant application.

Box C Folder Native Land : re. Includes call for entries pamphlet, submission forms and cover letters, and follow-up correspondence between Hurwitz and executive producer Marc Weiss. Also includes follow-up correspondence with attendees, including letters between Hurwitz and German broadcaster Norddeutscher Rundfunk NDR in English and German regarding potential interest in Dialogue with a Woman Departed and loans of Hurwitz's films; copies of cover letters sent to archives and cinematheques along with the text of the talk Hurwitz gave in Verna included in Box C, Folder 72 ; and handwritten "To Do" and "Done" lists of related tasks.

Box C Folder 1: [ Dialogue with a Woman Departed -- script-log -- bound copies]; Bound copies of the script of Dialogue with a Woman Departed , with the note "final, as regards to text. Box C Folder 5: German subtitles for D. Box C Folder 2: Copies: D. Box C Folder 7: Masters: press kit -- 4 items ; , Items for the Dialogue with a Woman Departed press kit, including film credits, clippings, and a word about the production.

Artist Talk with Doug Aitken, Manetti Shrem Museum of Art, Davis, CA, Saturday, October 5

Box C Folder 8: Swedish reviews -- Stockholm masters; Contains translations of Swedish reviews for Dialogue with a Woman Departed , and a collage of the original clippings. In Swedish and English. Box C Folder Master and original for master for quotes booklet; Copy master of the Dialogue with a Woman Departed quotes book and original to make master. Quotes are about the film. In German, with English translation. In French with English translation.


Hurwitz withdrew the film "because poor time slot. Box C Folder Master: a note Re: presentation; ca. Box C Folder Masters: press kit -- 5 items; ca. Box C Folder Masters: some individual responses; Personal correspondence containing responses to the film Dialogue with a Woman Departed ; reflection poem by Rosemary Willey. University of Vermont; Notes and correspondence regarding the screening of Dialogue with a Woman Departed at the festival, and festival mailings, including a call for films and videos, calendar of events, and entry form.

Box C Folder W. Box C Folder 1: D. Box C Folder 3: Info. Box C Folder 5: Logs: scratch mixes historical sds ; Logs for "scratch" mixes of historical sounds for the Dialogue with a Woman Departed soundtrack. Box C Folder 6: Notes re: historical sounds for building soundtrack, D.

Box C Folder 7: Notes re: structure of historical sounds, seq. Box C Folder [Unlabeled folder containing Dialogue with a Woman Departed notes and narration] ; Production notes and voice-over narration script. Dialogue W. Box C Folder Budget stuff D. Box C Folder Foundation grants -- D. Also includes an entry form, correspondence, and printed material related to the Los Angeles International Film Exposition.

Also includes a letter from Hurwitz to Joseph Papp. Box C Folder Carlyn's Mass. Also includes Pleasant Valley Theatre programs from Also includes correspondence with the Berkshire Forum. Box C Folder Music releases, D. Mortimer Blumenthal soliciting funds for Dialogue with a Woman Departed. Also includes a list of names of possible supporters. Box C Folder [Untitled folder containing ]; To-do lists, "plan of action," notes, and correspondence related to the production of Dialogue with a Woman Departed. Box C Folder "Quotes" copies D.

Box C Folder [Unlabeled folder with Dialogue with a Woman Departed material]; , undated Dialogue with a Woman Departed prospectus and letter to Third World Newsreel regarding discontinuation of a distribution-production agreement. Folder originally contained a letter from Stanley Faulkner to Paolo Cherchi-Usai regarding a discussion about depositing Hurwitz papers at Eastman House.

Letter has been moved to a folder of institutional records. Box C Folder 6b: [Envelope labeled: Misc. Includes correspondence, entry forms, program, screening schedule, flyers, newspaper clippings, and Epernay tourism information. Also includes Harpers Ferry tourist information. Includes symposium program booklet and pamphlets; Hurwitz's name tag; the November-December Film in the Cities program [2 copies]; and visitor information.

Includes seminar schedule, participants list, film information, and Hurwitz's name tag. Box C Folder 8: U. Box C Folder Materials to be translated; Foreign-language publications and issues featuring articles on Hurwitz, including photocopies of German newspaper and journal reviews of Dialogue with a Woman Departed , some with English translations; two March issues of the Finnish film journal Filmihullu featuring a cover story on Dialogue with a Woman Departed ; the third Oulu [Finland] Film Center yearbook, featuring an interview with Hurwitz; Swedish film magazine and newspaper clippings; two May issues of the Italian magazine A-Rivista Anarchica ; two programs for the December Leo T.

Box C Folder [Flex folder labeled: Europe trip notes, letters, addresses, schedules, etc. Includes notebooks [one from an earlier, trip to Europe]; tickets; receipts; film festival passes; map of Nancy, France; and postcards and other correspondence, including a letter from Elizabeth ["Lisa"] McClaney and Abelardo Morell. In German, Dutch, French, and English. Box C Folder [Folder labeled: Europe trip notes, letters, addresses, schedules, etc.

Includes travel itinerary; correspondence, including letters -- some with newspaper clippings regarding Hurwitz -- from Portugal; and notes. In Portuguese, Dutch, and English. Contains notes, schedules, correspondence, and contact information. Inscription from Nelly Burlingham on inside front cover. Box C Folder [Berlin Film Festival notes and film listings, film flyers, distributor promotional material]; , Promotional material for non-Hurwitz films screening at the Berlin Film Festival; a listing of films included in the Festival's ad hoc group AUF Association of Unassociated Filmmakers , including Dialogue with a Woman Departed , and Festival program notes.

Box C Folder 4c: Bills: D. Also includes itemized expenses and budget notes. Includes program notes, screening schedules, and newspaper clippings. Box C Folder 3c: [Envelope labeled: Folkways stuff]; , Contains lists of historical sounds needed for Dialogue with a Woman Departed , motion picture sources, and permissions address. Also includes reports on audiovisual records in the National Archives according to subject.

Box C Folder 3e: [Unfoldered D. Box C Folder 4b: D. Box C Folder 4c: [Envelope labeled: D. Cineprobe screening, etc. Box C Folder 4d: [Envelope labeled: D. Box C Folder 18a: For Kirkland seminar, "SFNP"; Documents related to Hurwitz's artist-in-residency and seminars at Kirkland College, including notes; schedules; class lists; students' self-evaluations with Hurwitz's responses; student proposals for alternative study; course change forms; notes related to "Shoot Film, Not People" ["SFNP", working title of Dialogue with a Woman Departed ; and student papers.

Box C Folder 1: [Envelope labeled: Dialogue with a Woman Departed -- summary notes]; Materials related to the soundtrack of Dialogue with a Woman Departed , including logs and lists of original sources and sounds to be recorded. Also includes materials related to the Columbia University protests. Box C Folder 7: [ Dialogue with a Woman Departed -- mix to-do list, recorded lines, list of Hurwitz films quotes and clips]; To-do lists and sound and spoken-word material related to the soundtrack recording of Dialogue with a Woman Departed , including lines recorded by Kaiulani Lee at New York University, and a lists of quotes and clips from Heart of Spain , Strange Victory , Native Land , and The Museum and the Fury.

Box C Folder 8: Dialogue with a Woman Departed sketch mix track logs ; Logs for soundtrack recording of Dialogue with a Woman Departed , including a log for scratch mixes of historical sounds. Nothing else takes place. The spectators leave the field, but the bell is still ringing. Has the action ended, or not yet? Monastyrsky, Commentaries Monastyrsky, Foreword to the 1st volume of the Journeys Outside the City, Emptiness is the magic formula, or at least the artistic device that many of these artists and poets have deployed in the construction of their work.

The function of this tool is comparable, in many respects, to those used by other generations of Russian and Soviet artists. During the early twentieth century, for instance, the Russian Cubo-futurists painters and poets often spoke of sdvig shift, break, displacement , one of their most favored artistic techniques, which contributed to the emergence of such radical forms of artistic experiences as zaum poetry and Suprematist painting.

As concepts, both pustota and sdvig gathered around them constellations of other concepts, terms, ideas and formulas; they were the axes around which the discursive fields of these traditions evolved. Each words in turn shoulders the overall program of these two generations of artists and poets. The album is paged through and through until the moment when aunts, uncles, children, grannies, grandpas, children, military men, cousins, all mix up into one giant muddy stain.

The paging through is thus not an everyday bytovoe action, as it may seem at first glance, but an artistic khudojestvennoe gesture. It emerged as a theme that dealt with Western post-World War Two contemporary culture and its infatuation with Zen Buddhism. The members of the KD group in particular, who brought into their aesthetics and artistic practice some Buddhist postulates and principles, have contributed to this aspect of conceptualist emptiness. In Soviet times, the artists had certainly kept their eyes fixed on the West, and the tradition of Moscow Conceptualism emerged in part as an imaginary dialogue with Western art.

But in the before-period, the West was far less real. This incident is suggestive of certain other aspects of the cultural dialogue between the West and the rest of world. The end of the eighties, argues Groys, was similar in many respects to the situation at the beginning of the twentieth century: many had hoped to find in the unofficial art and culture of the USSR new opportunities to revive Western art.

The West expected from Russian artists just such a new form because they had naively assumed that the Russians followed their own alternative way of development. It was these expectations that provided a big impulse to the reception of Russian art in the West. But they did not receive from Russian artists the desired new form but only a new content in which the West was never particularly interested. Viktor Pivovarov, Page from the Album Sakralizatory , []. Anufriev, The definition was provided by P.

The author refuse to provide a definition for this term. Term by MG [Medgerminevtika]. Medgerminevtika, Slovarnost' , This eventually leads to the total extinction of the author's territory. In Coauthorship as a method was adopted by Zakharov together with N. Together they established three types of Coauthorship: parallel, consecutive and assumptive. Zakharov's Coauthorship activities, which lasted from till , have been related to the following names: I.

Lutz, V. Skersis, N. Stolpovskaia, S. Anufriev, MG, Y. Albert, I. Chuikov, A. Gonopolisky, I. For most of the decade this fact went unnoticed, and only relatively recently have some artists and critics begun to express disappointment, trying to distance themselves from the new cultural paradigm. As a typical Moscow conceptualist I never could stand contemporary art. More recently Kabakov has expressed his disappointment with the bourgeois hypocrisy of the contemporary art industry that puts economic concerns over artistic ones.

Groys is more theoretical but not more optimistic. Examples of Sotsmodernism are: the architecture of the first line of the Moscow subway, book and magazine design, photography and photomontage, the decoration of exhibition pavilions and workers' clubs, etc. What makes Sotsmodernism different from the traditional avant-garde is its canceling or removal sneatie of the negation. Therefore Sotsmodernism can be considered an affirmative avant-garde.

Tupitsyn, Drugoe Iskusstvo. Tim Harte, Fast Forward, p. The term was proposed by Monastyrsky in the mids and widely used in the texts of the Medgerminevtika group. Salinger with his sister Doris in August Some books have had a great impact on the vocabulary and artistic strategies of the Moscow conceptualists. During the late s such a book was Eastern Culture in the Contemporary Western World , by Evgenia Zavadskaia, which quickly became very popular among the younger generation of unofficial artists, poets and writers. The syndrome is derived from J.

BODY OF TERROR [ Telo terrora ] — simultaneous victims and agents of a certain type of Terror that destroys bodies in order to preserve the eidetic fullness of orthodox speech, which perceives this destruction as something completely positive. In writing about Rabelais during the Stalinist s, Bakhtin was composing a requiem for the individual body.

Your body, my body, became incidental, synthetic, disposable, mute-and in its place the collective body of the people was granted all the reproductive and rhetorical rights. It could not die, so others were set free to kill the individual you. When equipped with Corporal Optics, the individual acquires the skills of group vision. Kabakov's total installations have several features that concern the issues of authorship, narrative dramatization, space and time. This was an ironic self-definition. The end of the Soviet Union has put an end to the myth of the Soviet dissident artist.

Sovietness, in this case, does not refer to politics, but to common culture. Kabakov embraces the idea of collective art. His installations offer an interactive narrative which could not exist without the viewer. Moreover, he turns himself into a kind of ideal communist collective, made up of his own embarrassed alter-egos - the characters from whose points of view he tells his many stories and to whom he ascribes their authorship.

If one attempts to briefly define the basic issues that Abalakova and Zhigalov touch upon in their TOTART performances they can be summarized as follows: firstly, an investigation of the unconscious mechanisms and the ways in which art functions; secondly, an exposure of the basic hidden structures and perceptions that are inherent in the system of cultural communication.

Unlike the majority of Moscow artists, TOTART often employs symbolic elements to which specific cultural meanings adhere for example, the use of black, white, red and gold which refer to their symbolic role within the conventions of icon painting. The action of the performance opens up the layers of cultural stereotypes to reveal their unconventional core. The performance leads each participant and the audience to reconstruct the primal mechanisms of the stereotype freed from the overlay of contemporary meanings.

In other words, in TOTART performances situations are created in which the traditional cultural signs and symbols are deprived of the specificity of fixed and frozen meanings and thus are in a state of permanent fluctuation between culture and nature. By constructing the action in this way, an emphasis on play and parody has become an important element of their work. On the day the event took place, fences, benches and litter bins around the building were painted gold. The performance was called Golden Voluntary Sunday. The avant-garde strategy unexpectedly reveals itself in every-day situations, as emphasizing the awareness of its own absurdity.

The introduction of such a symbolic color as gold into this paradoxical situation deprived it of the conventional, conceptual baggage which it had acquired over the ages. The action represented the color not as a cultural sign but as a natural element. This desire to reveal the deeper archetypes of the subconscious determines not only the deliberate manner of execution, but also the plastic expressiveness of TOTART works. They appeal to unconscious and purely emotional levels of perception. Several performances are directed towards the plastic transformation of various objects during the course of the event.

The central theme of the performances is the study of boundaries between two forms of space, the chaotic and that which is structurally organized, how they are created and how they are overcome. The construction of the cube that encapsulated an idea of spatial perfection played a major part in several works. In the White Cube performance the frame of a cube was created from wooden beams in a space of a room.

The participants then bandaged up the cube and the resulting object divided them into two groups. It was possible to re-unite the participants only after the cube had been destroyed by severing the bandaged surface. The physical actions of the performance were quite straight forward. However, by displacing the meaning of the actions from their usual context they were deprived of any practical aim.

The message could not be rationally expressed in language and was therefore stressed on the level of unconscious feelings and emotions. The imperative of making manifest the immediate primeval aspect by highlighting the conventional cultural framework likens this and other TOTART events to religious rituals. We can say that this performance represents the picture-making process from within the space of a picture itself. At the end of the action, having returned to the original point of departure, they painted each other.

Thus their painted bodies, as it were, dissolved and merged with the surrounding space. In the course of the action the room imperceptibly turned from being the object into the subject, and thereby gained an independent power of action. The performance was sufficiently expressive to be comprehensible to all participants. The action of an entire series of TOTART performances is based, as the artists themselves defined it, on the principle of perpetuum mobile. Its action was laconic in the extreme and involved taking pieces of dry clay from one pile to another.

Abalakova took the clay from the first pile to the second and Zhigalov took it from the second pile back to the first. The performance was constructed, theoretically, as an endless and closed process. At the same time, this deliberately simple and ordered activity, by repetition of the same event ad infinitum, at a certain moment begins to be perceived as something that is deprived of structure and is therefore chaotic. Because of its theoretically infinite nature, i. From behind the facade of mundane and familiar actions an unknown dimension suddenly emerges which cannot be calculated logically.

It is precisely such borderline and unstable situations which determine and expose the mechanisms of contemporary art that TOTART examines in its performances. Pepperstein, Fontan-gora. Anufriev and V. Tupik kak zhanr ]. See S. Zakharov, Catalogue Kunstverein Freiburg, Hirt Wonders. Together with texts about texts next to the texts. A revision of the theory of culture of Moscow Conceptualism, The definition was offered by P. Chuikov], the term equates painting, as a form of high art, with craft [ alfreinymi rabotami ], suggesting that the application of signs on the surface of canvas is the essence of the practice of painting.

Ivan Chuikov A Fake , []. Monastyrsky, Foreword to the second volume of Journeys Outside the City , The introduction of the factographical discourse was like the discovery of another layer of reality, which from the second phase on ran parallel to other layers in the demonstrative field of the actions. He also announces that it was precisely this action that opened this new discourse for KD. Thus the demonstrative field, which stands for all those elements included by the artists in the construction of the action, acquired during the second phase a third factographical layer, which belongs to the realm of representation.

The factographical discourse came forward and became, from this phase on, more important than the other discourses or components of the demonstrative field. To the psychic subjective and the empirical objective dimensions of the demonstrative field, KD added a third dimension, which operated on a level constructed by various forms of mechanical reproductions text, photo, sound, etc. Emptiness, the main theme of KD, spread now into all these three layers. With the introduction of the factographical discourse a series of new concepts enter the lexicon of the group.

By raising this position into a concept it also emphasizes the new direction and priorities of KD. But the turn towards the factographical discourse, or to representation, also meant a certain degree of distancing and estrangement from direct experience, prompting Monastyrsky to use the metaphor of the space suit in order to describe this shift.

Container List

The factographical discourse became like the transparent visor of the space or the diving helmet skafandry faktografii that separated the artists from their previous rough and unmediated experience. But after these two actions the events turned into photographs of the out-of-town fields, as if we had been separated from reality by a factographical film. It was as if we had been suddenly put into the space suits of the factographical discourse, and kept those suits in our subsequent actions. But the place itself had also been covered by a thin layer of film that belonged to the factographical discourse… The removal of the factographical space helmet during the action did not guarantee a return to reality, to a real sky, field, and so forth, because this reality was already of the second order and it was also covered by a layer of film, or a helmet.

And although the space helmet could be removed because it was within reach, on our heads, then to remove the factographical layer of film that had covered the woods, the field, and the sky was impossible. It was out of reach. The Kievogorskoe Field was irreversibly transformed into a space shuttle a mechanism which flew from action to action in the cosmos of logos. In fact, the field research of the first volume has ended and we have turned to the usual frame of art and literature.

A type of occupation or quasi-ritual that confers upon philosophy a practical component. The term helped the circle MANI to identify itself, and it is considered this circle's greatest discovery. Gundlakh, from texts of the late s. Anufriev, Fotokreatsia, Fragmentation in this context refers to the selection and the comparision of the most diverse stylistic components in order to demonstrate the conventionality of representation. The term emerged in in the co-authored works of Zakharov and Lutz. It was also occasionally employed by V.

Zakharov and S. Zakharov, MANI 1 , ARTISTIC INSANITY [ Khudozhestvennoe nevmeniaemosti' ] —behavior of artists who do not reflect upon a specific cultural-historical context, and neither upon the succession of dominant cultural-aesthetic mainstreams, to the point that [these mainstreams] affirm themselves within a particular culture, turning into artistic genres [ promysly ]. Prigov, Foreword to a collection of texts from the early s. Tupitsyn, Kommunalinyi post modernism. Makarevich, Series of works from Zakharov, Pastor, n.

The term was introduced in the circle of Moscow Conceptualism by M. After the lexicon of Moscow Conceptualism is populated by a series of new words. References to the schizo-terms appear here and there throughout the seventh and the eighth volumes of the Journeys , but nowhere are they clearly explained nor is it even demonstrated how to handle them, which is not unusual given the propensity of the conceptualists to leave many terms undefined.

Monastyrsky, Zemlianye raboty, There has also been prepared an expanded version of this text for publication. Andrei Monastyrsky, Slovari terminov moskovskoi kontzeptualinoi shkoly , In this way formless is not only an adjective having such and such a meaning, but a term serving to declassify, requiring in general that every thing should have a form. What it designates does not, in any sense whatever, posses rights, and everywhere gets crushed like a spider or an earthworm.

For academics to be satisfied, it would be necessary, in effect, for the universe to take on a form… To affirm on the contrary that the universe resembles nothing at all and is only formless, amount to saying that the universe is something akin to a spider or a gob of spittle. Image source: M. Margins of Soviet Art: socialist realism to the present. Milan; Politi, From Esanu, Transition in post-Soviet Art. Translated from Russian by Octavian Esanu. Accessed August 5, Monastyrsky, Poezdki za gorod: kollektivnye deistvia vols , Excerpt from Esanu, Transition in post-Soviet Art.

From the series Nostalgic Socialist Realism , From Esanu, Transition in post-Soviet Art , For the original Russian version see Monastyrsky, Poezdki za gorod: kollektivnye deistvia vols , Tupitsyn, Kommunalinyi post modernizm. See also Monastyrsky, Slovari terminov moskovskoi kontzeptualinoi shkoly , Backstein, Josef , and Bart de Baere.

Brussels: Mercatorfonds, From Esanu, Transition in post-Soviet art. Fragment translated by Octavian Esanu from M. Email message to the translator from A. Martin's Press, See Monastyrsky, Slovari terminov moskovskoi kontzeptualinoi shkoly. Today the statement that American and English conceptual art was inspired by the language of scientific experiment Groys , p. The reference to the Russian spirit was then picked up by other critics who wrote about this phenomenon.

See Bobrinskaia, Konzeptualism , [unpaginated]. For the quasi-religious atmosphere of criticism see Dyogot and Zakharov, Moskovskii konzeptualism , Moskva: Izdatelistvo WAM, Monastyrsky, Slovari terminov moskovskoi kontzeptualinoi shkoly , Estonia — the name of a circle, which to some extent came to replace NOMA. The group was formed in the period after the second putsch of Moksha — Moscow Conceptual School.

The term was introduced by Pavel Pepperstein in Monastyrsky, "Poezdki za gorod: kollektivnye deistvia vols. Interview with the author, Moscow, Russia July 24th Ekaterina Dyogot, "Prieatnye zaneatia," Tvorchestvo , no. Dyogot, "Prieatnye zaneatia," Dyogot and Zakharov, Moskovskii konzeptualism. Such artists as D. Gutov did indeed moved towards a more constructivist or activist art.

Rakitin, "Russkaia volna, kajhetsea, poshla na spad. From Esanu, Transition in post-Soviet Art Translated by Octavian Esanu. Courtesy Bar-Gera collection. Andrei Monastyrsky, Poezdki za gorod: kollektivnye deistvia vols. Tupitsyn, Kommunalinyi Post Modernizm , Image source: Leonid Sokov; sculptures, paintings, objects, installations, documents, articles. The State Russian Museum, Quoted from Esanu, Transition in post-Soviet Art. For a full description of this action and diagram see Esanu, Transition in post-Soviet Art. Translated excerpt from Pavel Pepperstein, Khudozhestvenye gruppy vkhodeaschie v krug Medgermenevtika , Ray Grigg, The Tao of Zen , 1st ed.

Boston: C. Tuttle Co. Hazel E. In a lecture delivered in Berlin in , El Lissitzky spoke about the importance of this painting in following terms:. For us, however, this zero was the turning point. When we have a series of numbers coming from infinity …6, 5, 4, 3, 2, 1, 0…it comes right down to the 0, then, begins the ascending line 0, 1, 2, 3, 4, 5, 6…These lines are ascending, but already from the other side of the picture. It has been said that the centuries have brought painting right up to the square, so that here they can find their way down. We are saying that if on the one side the stone of the square has blocked the narrowing canal of painting, then on the other side it becomes the foundation-stone for the new spatial construction of reality.

Groys, "The Artist as Narrator. See Monastyrsky, p. Extract from Esanu, Transition in post-Soviet Art. The most complete elaboration of the notion of sdvig and sdvigology was made by the poet Alexei Kruchenykh in A. Kruchenykh, Kukish proshliakam: faktura slova, sdvigologiia russkogo stikha, apokalipsis v russkoi literature Moskva: Gileia, Theory of Prose. Kabakov, e — e: zapiski o neofitialinoi zhizni v Moskve , Dyogot and Zakharov, Moskovskii konzeptualism , Groys, Utopia i obmen.

This becomes particularly clear at the turn of the century, when the artistic scene became polarized and fragmented into various anti-Western cultural and political fractions e. Groys, Utopia i obmen , See Kabakov, Groys, and Petrovskaia, Dialogi: , Kabakov, Groys, and Petrovskaia, Dialogi: , Pavel Pepperstein, "Soziologia moskovskogo konzeptualizma," Khudozhestvenyi zhurnal , no. In Moscow the first institutions of contemporary art were opened during the nineties by those who were part of Moscow conceptualist circles.

In addition many Moscow Conceptualists have benefited or participated in numerous activities of the Soros Centers for Contemporary Art Network and the Soros Foundation. See dialogue between Kabakov, V. Tupitsyn and M. The contemporary art of today is a method by which contemporaneity presents its essence — the very act of presenting the present akt prezentazii nastoiaschego. In this regard contemporary art is different both from modern art , which was oriented to the future, as well as from postmodern art, which was a historical reflection on the subject of the modernist project.

Contemporary art gives preference to the present in regard to the future and the past. Thus in order correctly to characterize contemporary art , it is necessary to follow its relation to the modernist project and its evaluation of postmodernism. Boris Groys, "Topologia sovremennogo iskusstva," Khudozhestvenyi zhurnal Groys, "Moskovskii konzeptualizm: 25 let spustea," in Moskovskii konzeptualism , ed.

One wing of the historical Russian avant-garde to which the conceptualists and other Soviet unofficials showed full loyalty and claimed direct linkage, was the OBERIU group. But the latter did not share a passion for revolutionary art with the Cubo-futurists, the Constructivists or the Suprematists, and therefore they have been less known abroad. Moskva: Izd-vo Moskovskogo kulturologicheskogo lytsieia, See also Glossary. Zavadskaia, Kulitura Vostoka v sovremennom zapadnom mire Moskva: Nauka, Vostok na Zapade Moskva, In a footnote the author explains that the two are not identical.

Zavadskaia, Kulitura Vostoka v sovremennom zapadnom mire. Emerson, Caryl. On appointed days the masses were encouraged to fulfill their civic duty by doing necessary tasks painting, tidying up, fixing things etc. Red was the color of the day. Oil, acrylic and alkyd enamel on board. All translations, annotations and reconstructed diagrams by Octavian Esanu, unless specified. Monastyrsky In the origins of this project lies a very simple consideration, namely that conceptual art deals primarily with ideas and most often with ideas of relations and not with the world of objects and its long-established paradigms of naming.

Monastyrsky, 28 December, Makarevich, N. Panitkov, A. Passo i detriumfatsia , Library record of V. WINDOWS [ Okna ] — constructions imitating real windows but which are in fact hybrids of windows and pictures that pretend to reveal the essence of painting. Ivan Chuikov, Works starting with the painting Window 1 , Medgerminevtika, Wonderful!

Pepperstein, Letter to S. Calder worked for several years after graduation at various jobs, including as a hydraulics and automotive engineer, timekeeper in a logging camp, and fireman in a ship's boiler room. While serving in the latter occupation, on a ship from New York bound for San Francisco, Calder awoke on the deck to see both a brilliant sunrise and a scintillating full moon; each was visible on opposite horizons the ship then lay off the Guatemalan coast. The experience made a lasting impression on Calder: he would refer to it throughout his life.

Calder committed to becoming an artist shortly thereafter, and in he moved to New York and enrolled at the Art Students League. He also took a job illustrating for the National Police Gazette , which sent him to the Ringling Bros. The circus became a lifelong interest of Calder's, and after moving to Paris in , he created his Cirque Calder , a complex and unique body of art.

The assemblage included diminutive performers, animals, and props he had observed at the Ringling Bros. Fashioned from wire, leather, cloth, and other found materials, Cirque Calder was designed to be manipulated manually by Calder. Every piece was small enough to be packed into a large trunk, enabling the artist to carry it with him and hold performances anywhere. Its first performance was held in Paris for an audience of friends and peers, and soon Calder was presenting the circus in both Paris and New York to much success.

Calder's renderings of his circus often lasted about two hours and were quite elaborate. Indeed, the Cirque Calder predated performance art by forty years. Calder found he enjoyed working with wire for his circus. He soon began to sculpt from this material many portraits of his friends and public figures of the day. Word traveled about the inventive artist, and in Calder was given his first solo gallery show at the Weyhe Gallery in New York. This exhibition was soon followed by others in New York, Paris, and Berlin; as a result, Calder spent much time crossing the ocean by boat.

He met Louisa James a grandniece of writer Henry James on one of these steamer journeys and the two were married in January In October of , Calder visited the studio of Piet Mondrian in Paris and was deeply impressed by a wall of colored paper rectangles that Mondrian continually repositioned for compositional experiments. He recalled later in life that this experience "shocked" him toward total abstraction. For three weeks following this visit, he created solely abstract paintings, only to discover that he did indeed prefer sculpture to painting.

In the fall of , a significant turning point in Calder's artistic career occurred when he created his first truly kinetic sculpture and gave form to an entirely new type of art. Many of these early objects moved by motors and were dubbed "mobiles" by Marcel Duchamp—in French mobile refers to both "motion" and "motive. Arp, in order to differentiate Calder's non-kinetic works from his kinetic works, named Calder's stationary objects "stabiles. In , Calder and Louisa left France and returned to the United States, where they purchased an old farmhouse in Roxbury, Connecticut. Calder converted an icehouse attached to the main house into a studio.

Their first daughter, Sandra, was born in , and a second daughter, Mary, followed in He also began his association with the Pierre Matisse Gallery in New York with his first show in James Johnson Sweeney, who had become a close friend, wrote the catalogue's preface. Calder also constructed sets for ballets by both Martha Graham and Eric Satie during the s, and continued to give Cirque Calder performances.

Calder's earliest attempts at large, outdoor sculptures were also constructed in this decade. These predecessors of his later imposing public works were much smaller and more delicate; the first attempts made for his garden were easily bent in strong winds.

And yet, they are indicative of his early intentions to work on a grand scale. In , Calder created his first large bolted stabile fashioned entirely from sheet metal, which he entitled Devil Fish. Enlarged from an earlier and smaller stabile, the work was exhibited in a Pierre Matisse Gallery show, Stabiles and Mobiles.

This show also included Big Bird , another large work based on a maquette.

He continued to create: because metal was in short supply during the war years, Calder turned increasingly to wood as a sculptural medium. Working in wood resulted in yet another original form of sculpture, works called "constellations" by Sweeney and Duchamp. With their carved wood elements anchored by wire, the constellations were so-called because they suggested the cosmos, though Calder did not intend that they represent anything in particular.

The Pierre Matisse Gallery held an exhibition of these works in the spring of , Calder's last solo show at that gallery. The forties and fifties were a remarkably productive period for Calder, which was launched in with the first retrospective of his work at the George Walter Vincent Smith Gallery in Springfield, Massachusetts. A second, major retrospective was exhibited at the Museum of Modern Art in New York just a few years later, in In , Calder made a series of small-scale works; in keeping with his economy, many were made from scraps of metal trimmed while making larger pieces.

While visiting Calder's studio about this time, Duchamp was intrigued by these small works. This important show was held the following year and Jean-Paul Sartre wrote his famous essay on Calder's mobiles for the exhibition catalogue. Galerie Maeght in Paris also held a Calder show in , and subsequently became Calder's exclusive Parisian dealer. His association with Galerie Maeght lasted twenty-six years, until his death in After his New York dealer Curt Valentin died unexpectedly in , Calder selected Perls Galleries in New York as his new American dealer, and this alliance also lasted until the end of his life.

Calder concentrated his efforts primarily on large-scale commissioned works in his later years. Some of these major monumental sculpture commissions include:. As the range and breadth of his various projects and commissions indicate, Calder's artistic talents were renowned worldwide by the s. A retrospective of his work opened at the Guggenheim Museum in New York in In , Calder, together with his son-in-law Jean Davidson, published a well-received autobiography.

Just a few weeks later, Calder died at the age of seventy-eight, ending the most prolific and innovative artistic career of the twentieth century. Newspaper, Illustration. September Horse, cab, and driver; Athlete with racket; Three men in bowler hats; Charleston dancer for Arthur Murray advertisement. New Yorker c. Magazine, Illustration. Exhibition catalogue. Group Exhibition Catalogue. LXXXV, no. Football player. New York Times , 22 October Pemberton, Murdock. Magazine, Exhibition Review. Raushenbush, Winifred. LVI, no. Calder, Alexander.

Animal Sketching. Pelham, New York: Bridgman Publishers, Illustrated Book. Messer Stow, Charles. Newspaper, Exhibition Review. Cover Two Jockeys. The Boulevardier , no. Alexander Calder Scrapbook, — Calder Foundation, New York. Unpublished Document or Manuscript. Flint, Ralph.

Hawes, Elizabeth. IX, no. III April The Salon of American Artists. Statement on Wire Sculpture. Manuscript, January—February Artist Galerie Billiet-Pierre Vorms, Paris. Sculptures bois et fil de fer de Alexandre Calder. Text by Jules Pascin. Solo Exhibition Catalogue. Gaussin, Yvan. Bal, George. Haskell, Douglas. Fierens, Paul. George, Waldemar. Harris, Ruth Green. Galerie Neumann-Nierendorf, Berlin. Alexander Calder: Skulpturen aus Holz und aus Draht.

Artists at Work: Alexander Calder Directed by Dr. Behne, Adolf. Werner, Bruno. Das Illustrierte Blatt , no. Arne, B. Frejaville, Gustave. Salon des Tuileries, Paris. Lazareff, Pierre. Szittya, Emil. Ramond, Edouard. Lechenperg, Harald. Galerie G. Early, Eleanor. October Parc des Expositions, Porte de Versailles, Paris. Wilms, Rosemonde R. Painting and Sculpture by Living Americans. Nachtausgabe , 8 January Powell, Hickman. Brissac, Jacques. Galerie Percier, Paris. Berthelot, Pierre. Heilmaier, Hans. Neue Pariser Zeitung , c. May Brown, Don. Carnet de la Semaine , 2 May Westheim, Paul.

With Fifty Drawings by Alexander Calder. Paris: Harrison of Paris, Jacobson, John. Galerie Vignon, Paris. Exposition de dessins. Gramont, Henry. Art et Decoration February Richard, Marius. Root, Waverly Lewis. Comtesse Belloni. Journal des Debats , 29 February Gallotti, Jean. Julien Levy Gallery, New York. Solo Exhibition Catalogue, Illustration. Jewell, Edward Alden. McBride, Henry. Gutman, Walter. III, no. Buffet-Picabia, Gabrielle. Focius Josep Foix Vicenc. Prin, Alice Kiki de Montparnasse.

Mobile Rushes Cinematography by Jean Painleve. Ferrero, Miguel Perez. Jakovski, Anatole. Dictionnaire Biographique des Artistes Contemporains, supplemental volume. Recht, Paul. Galerie Pierre , du 9 au 24 juin," Cahiers d'Art , vol. Galerie Pierre, Paris. Text by Anatole Jakovski. Berkshire Museum, Pittsfield, Massachusetts. Statement by Calder. James, Edward Holton. Jesus for Jews: A History. Concord, Massachusetts: The Emerson Press, Rockefeller Center, New York. First Municipal Art Exhibition.

Pierre Matisse Gallery, New York. Mobiles by Alexander Calder. Text by James Johnson Sweeney. Cass, Judith. Margot, Jr.

  • How to Know When its Time 2 Go.
  • Billy Sheehan: Advanced Bass (Alfreds Artist Series);
  • A View from the Jury Box.
  • Sylvias Lovers [with Biographical Introduction].
  • Lindsey: Love and Intrigue?
  • His Promise . . . 20 Years Later.
  • ’Of a Kind Hitherto Unknown’: The American Art Association of Paris in .

Wadsworth Atheneum, Hartford, Connecticut. Kunstmuseum, Luzern, Switzerland. Art Institute of Chicago. Sweeney, James Johnson. Jakovski, Anatole, ed. Paris: Editions G. Orobitz et Cie, Benson, Emanuel Merwin. Abstract Art. Levy, Julian. New York: Black Sun Press, General Reference.

Art of Today. Brenner, Anita. Brooklyn Daily Eagle , 10 February Genauer, Emily. New York Sun , 15 February Sayre, A. Lane, J. Cubism and Abstract Art. Edited by Alfred H. Barr, Jr. Text by A. Modern Painters and Sculptors as Illustrators. Worcester Art Museum, Massachusetts. Art of the Machine Age. Galerie Charles Ratton, Paris. Abbott, Jere. Sirato, Ch. Autumn Fantastic Art, Dada and Surrealism.

Preface by Alfred H. New Burlington Galleries, London. International Surrealist Exhibition. Kunsthalle Basel. Klein, Jerome. New York Post , 27 February McCausland, Elizabeth. Vaughan, Malcolm. Frankel, Robert. London: Gerold Howe, Artek Gallery, Helsinki. Tracy, Charles. Tayler, Herbert. Blunt, Anthony. The Spectator 10 December Gordon, Jan. Newton, Eric. Earp, T. Stedelijk Museum, Amsterdam.

Tentoonstelling Abstracte Kunst. Galerie Guggenheim Jeune, London. Preface by Jean Zay; foreword by A. Conger Goodyear; texts by Alfred H. Calder Mobiles. Foreword by James Johnson Sweeney. Rogers, W. Or What? Calder Mobiles—Stabiles. Breuning, Margaret. Journal and American , 14 May Bird, P. New York University, New York. Museum of Living Art; A. Gallatin Collection. Lane, James W. Devree, Howard. Mumford, Lewis. New Techniques Affect Both. New York Sun , 7 December Buchholz Gallery, New York. Exhibition of American Sculpture To-Day.

Coates, Robert M. Alexander Calder: Recent Works. Upton, Melville. Burrows, Carlyle. Journal and American , 1 June Camprubi, Ines. Sacartoff, Elizabeth. Ross, Kenneth. Hellman, Geoffrey T. Jolas, Eugene, ed. New York: Gotham Bookmart, Frankenstein, Alfred. New York: Art of This Century, VVV Portfolio.

New York: VVV, The Arts Club of Chicago. Nine American Artists. Masters of Abstract Art. Cincinnati Art Museum, Ohio. Coan, Ellen Stone. Hughes, Joyce. May—June First Papers of Surrealism. Annual Exhibition of Contemporary Art. Archives of American Art, Smithsonian Institution. Morris, George L. Adlow, Dorothy. Alexander Calder. Revised, enlarged, and issued as a monograph in Riley, Maude Kemper. Bindol, Ben. Tiers, Mary Lowber.

Dreifuss, Jerome. Fordell, Hanson, and Francis T. Greenberg, Clement. Frost, Rosamund. Annual Exhibition of Contemporary American Art. Newspaper, Book Review.

  1. From Books to Museum Walls: Comics as Art, Authors as Artists.
  2. John F. Kennedy Presidential Library and Museum.
  3. What’s Happening?
  4. Alexander Calder: Sculpture and Constructions Sweeney, James Johnson, ed. Three Young Rats and Other Rhymes. New York: Curt Valentin, Modern Drawings. Drawings by Contemporary Artists. Harper's Bazaar July San Francisco Museum of Art. Abstract and Surrealist Art in the United States.

    Recent Work by Alexander Calder. Pedrosa, Mario. Motherwell, Robert. Magazine, Book Review. Mounin, Georges. Recent Work by American Sculptors. Young, Margaret. Kraus, Felix H. Painting and Sculpture by Outstanding Berkshire Artists. Bear, Donald. Mindlin, Henrique.

    Stroup, Jon. For Art In New York. Coleridge, Samuel Taylor. The Rime of the Ancient Mariner. New York: Reynal and Hitchcock, Bouxin, Andre. The Detroit Institute of Arts, Michigan. Origins of Modern Sculpture. Warren, Robert Penn. VIII Summer Richter, Hans. Cincinnati Modern Art Society, Ohio. Sartre, Jean-Paul. Alexander Calder: Mobiles, Stabiles, Constellations. Chevalier, Denys. Publication unknown , 1 November Duche, Jean. November Estienne, Charles. Limbour, Georges. Guichard, Jean. Diehl, Gaston. Einstein, William.

    Six Artists Footage compiled by Hans Richter. Black-and-white, silent; min. This segment shows Calder performing Cirque Calder. Payne, Elizabeth H. Breit, Harvey. Mattatuck Historical Society, Waterbury, Connecticut. Hill, Lyall H. Cunard, Nancy. Schneider-Lengyel, I. Bouxin, A.