Exhibition note Davies, Christie
The New Criterion,
06/2011, Letnik:
29, Številka:
10
Trade Publication Article
Over the years, Forms in Space #1 (1924) has been intermittently on display at The Whitney Museum of American Art as part of the permanent collection; its snug synthesis of Cubist innovation, ...Futurist speed, and Secessionist ornament has proved diverting-and a tease. Because of his travels, he came into contact with a veritable who's-who of modernism: ...Storrs's American identity proved decisive.
The special nature of artistic and cultural goods is commonly stressed in inquiries into the failings of the art market. Though artistic goods are not clearly defined, their special character is held ...up as a rationale for art policies. This paper attempts to ground them theoretically. In the first section, we introduce the concept of artistic goods as a class of semiotic goods - that is, goods that are bearers of an aesthetic sign acknowledged in a specific cultural context. The second section relates the semiotic nature of art to three models of organization and regulation of the artistic field, namely the model based on institutions and hierarchies, the gift model and the market model. La spécificité des activités et des biens culturels et l'impossibilité de gérer les arts par les simples forces du marché sont couramment invoquées pour justifier des politiques culturelles élaborées en dépit de l'imprécision qui caractérise la définition d'une activité artistique. Les auteurs s'efforcent justement de donner à cette dernière un fondement théorique. Dans la première partie de l'article, ils introduisent la notion de bien culturel sémiotique, c'est-à-dire porteur d'un signe esthétique reconnu dans un contexte culturel donné. Dans la seconde, ils établissent un lien entre la nature sémiotique de l'art et trois modèles d'organisation et de régulation du domaine artistique, fondés soit sur les institutions et les hiérarchies, soit sur les dons, soit sur le marché. Los estudios realizados sobre las debilidades del mercado artístico hacen usualmente hincapié en la naturaleza singular de los bienes artísticos y culturales. Aunque los bienes artísticos no están claramente definidos. Las políticas en el campo de las artes se basan en su carácter particular. Este artículo intenta dar un fundamento teórico a esta argumentación. En la primera parte, introducimos el concepto de bienes artísticos como una categoría de bienes semióticos, es decir, bienes portadores de un signo estético reconocido en un contexto cultural específico. La segunda parte vincula la naturaleza semiótica del arte a tres modelos organizativos y normativos que existen en el ámbito artístico, a saber, el modelo institucional y jerárquico, el modelo orientado al concepto de regalo y el modelo orientado al mercado.
Manuscris olograf in limba româna, scris cu cerneala neagra pe recto unei file (28 x 21,7 cm), 22 rânduri pe pagina; Hârtia are in filigran marca "Plover Bond 25 Cotton Fiber U.S.A. Permanged"; ...Scrisoarea se refera la expedierea volumului "Pe strada Mântuleasa" si la consideratiuni privind "Masa Tacerii". Autorul relateaza despre programul sau de vacanta pentru anul 1970.
Pe plic si pe recto filei se afla antetul publicatiei "History of Religions";
Romanian manuscript, written in black ink on the recto of a file (28 x 21.7 cm), 22 lines on the page; The paper has in filigree the mark “Plover Bond 25 Cotton Fiber U.S.A. Permanged”; The letter refers to the dispatch of the volume “On Salvat Street” and to considerations regarding “Tacscris Table.” The author reports about his holiday program for 1970.
On the envelope and on the recto file are the header of the publication “History of Religions”;
Manuscris olograf in limba româna, scris cu cerneala neagra pe recto unei file (28 x 21,7 cm), 22 rânduri pe pagina; Hârtia are in filigran marca "Plover Bond 25 Cotton Fiber U.S.A. Permanged"; Scrisoarea se refera la expedierea volumului "Pe strada Mântuleasa" si la consideratiuni privind "Masa Tacerii". Autorul relateaza despre programul sau de vacanta pentru anul 1970.
Pe plic si pe recto filei se afla antetul publicatiei "History of Religions";
from here to eternity Renzi, Jen
Interior design,
03/2017, Letnik:
88, Številka:
3
Magazine Article
It was in 1935 that Constantin Brancusi was commissioned to create a sculpture as a memorial honoring soldiers who had defended Targu Jiu during the First World War. Completed right before the Second ...World War, as it turned out, the column eventually suffered damage at the hands of the Communists. Here, Renzi features "Endless Column," Brancusi's favorite motif.
Constantin the great Crow, Charlotte
History today,
01/2004, Letnik:
54, Številka:
1
Magazine Article
Outlines the life and work of the Romanian sculptor introducing the first retrospective of his work in Britain, the exhibition "Constantin Brancusi: the Essence of Things", at Tate Modern. (Quotes ...from original text)
Soaring Achievement Herrera, Philip; Anthony Barzilay Freund
Town & country,
07/2004, Letnik:
158, Številka:
5290
Magazine Article
Herrera presents his greatest outdoor sculpture in the Western world. His ultimate choice is an evocative abstract work of Constantin Brancusi's Endless Column (1938), in the Romanian village ...Targu-Jiu. Recently restored by the World Monuments Fund, it was designed as a World War I memorial reaches ninety-eight feet into the sky, recalling ancient obelisks.
Between 1919 and 1930, Mina Loy created a series of pictorial and poetic portraits of her artistic contemporaries: from pen-ink sketches such as Constantin Brancusi, Carl Van Vechten, Jules Pascin, ...Marianne Moore, to linguistically innovative verses like "'Joyce's Ulysses," "Gertrude Stein," "Nancy Cunard," and a note "William Carlos Williams." In interacting with avant-gardists of her time, Loy explored new patterns of expression as an alternative to literary and cultural conventions. This paper will thus investigate the use of readymade words in two of Loy's artist-portrait poems depicting Gertrude Stein and James Joyce. Her verbal portraits do not merely offer the reader a poetic profile of modernist artists and their formal experimentation. It will be demonstrated at the end of this paper that, by treating the word as readymade, Loy and her portrayed writers are able to articulate a different form of language that is more fluid, plastic, and performative.
