Metzinger volksblatt online dating

29-Nov-2017 01:12

27 The aims and methods of this type of presentation are best exemplified by the most lavishly orchestrated section of the exhi- bition, the "Dada wall" (tig 671 Wassily Kandinsky's abstract composition Der sebwarze Fleck (The black spot, fig 68) of 1921 was painted on the wall as a background, although significantly simplified ( the copy appears to have been based on a reproduction in Will Grohmann's book in the series lunge Kunst-") Grosz's injunction from a poster at the Erste /Hlfrinitio Hiilf served as a paradigm ol "degenerate" art the organizers wen simply out to exploit the material available, and it was certainly not in then own best interest to em mirage their visi- tors to perceive subtleties If the installation ol the exhibition is interpreted as a semiotic system in which the combination ol image and text plays a prepon- derant role, the reactions of the visitors to the exhibition may be analyzed as constituent parts of that system "It is not enough to see what's there the whole way in which the visitors react is bound up with it, too View and object are a single action Organizers and visitors are as one, to a degree that is completely lacking at art exhibitions"' 3 This consensus was achieved partly by conditioning the visitors to the exhibition by the methods mentioned above (according to Alois Schardt, the organizers' aims were additionally served by hiring actors to play the part of indignant and wildly gesticulating visitors") and partly by their predetermined pre- disposition "Whenever one set foot inside the exhibition a great deal of indignation could be heard It was, in fact, sincere For, on the whole, [the visitors] had come with the desire and conviction that they would be outraged " 34 As has been mentioned above, the Munich futjrtflf Kunst exhibi- tion was organized programmatically as a parallel event to the Grossf Df Htstl'r Kunstausstellung, the latter held in the spacious and well-lit rooms of the Haus der Deutschen Kunst and distinguished by delib- erately generous spacing between the individual exhibits 1 hg 2'.

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Cioebbels, and Rosenberg, and by comments and statements by artists and art critics who, when their words were taken out of context, seemed to indict themselves and the artists about whom they wrote This extensive use of extraneous texts represented a departure from the organizational praxis of such exhibitions A further important feature was the quotation of passages from Willrich's antimodemist hook Sauhenmti des Kunsttempels (Cleansing of the temple of art) These inscriptions were also to be a distinctive criterion of the later stages of the exhibition The result of this contextualization was both an impression of chaos and the creation of an associative framework with a powerful, psychologically suggestive impact intended to reduce all the art to the same basic level, to prevent any single work from developing an individual presence or from being perceived in isolation The psychological effects thus achieved were given a political function Captions and pictures, juxtaposed or arranged in orderless confusion, are intended lo stir the viewer's emotions, triggering feelings of repulsion and indignation, these feelings in turn, like the opinions expressed in the cap- tions are intended to encourage a sense of satisfaction at ifcc demise of this type of art and ultimately to inspire agreement with the "revolutionary" new beginning and political succession.

Mosse Christopb Zuscblag LOS ANGELES COUNTY MUSEUM OF ART ■ HARRY N ABRAMS, INC: PUBLISHERS, NEW YORK ( upublished by the Los Angeles County Museum of Art, 5905 Wilshire Boulevard, Los Angeles, California 90036, and Harry N Abrams, Inc , Publishers, New York, 100 Fifth Avenue, New York, New York 1001!

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