In August 1960, the Arts Council of Great Britain, in conjunction with the Edinburgh Festival and the Tate Gallery, launched a major retrospective exhibition of Der Blaue Reiter artists, the first ...show of its kind in the UK to collectively introduce the group to the British public. According to the contemporary press, however, the exhibition was a failure when it moved to the Tate in late September. Critics and art historians alike derided the show for being too intellectually-minded, arguing that it spoke only to the erudite few who were already familiar with the Munich-based movement. Building upon the critical literature at mid-century, this chapter proposes a re-evaluation of the 1960 Tate exhibition and its curatorial agenda. Instead of suggesting that the show was inherently flawed because of its programme, it argues that the aesthetically non-unified style of Der Blaue Reiter was, in part, responsible for the show’s non-laudatory praise. As such, this chapter advances a rethinking of Der Blaue Reiter as a cosmopolitan movement that vacillates between historical and artistic significance, and considers how a bias for French modernism may have affected the manner in which the Tate exhibition was received in post-war Great Britain.
Trostlose Stunden Kuhlman, Erika
Of Little Comfort,
03/2012
Book Chapter
This chapter interweaves the love stories of two wives and their soldier-husbands with the ways in which widows acted collectively to attain a political voice in the early years of the Weimar ...Republic. The first part uses the letters written by Elisabeth Macke and August Macke, the German Expressionist artist, to make the case that, contrary to some historians' views, husbands and wives expressed their experiences and emotions quite thoroughly and honestly during long absences from each other. The second part focuses on the missives exchanged between Johanna and Julius Boldt, which also support the notion of the symbiosis between battlefront and home front. The final section demonstrates the politicization of war widows as activists in survivors' organizations.
For the first time in Philip Leone's 11-year career with Premier Nissan and Premier Kia dealerships in Jefferson Parish, he sold out of every vehicle in the lot. There were an overwhelming number of ...people looking for replacement vehicles, said Leone. We had customers who, because of insurance checks, were able to buy cars without a trade-in. We saw people putting $2,000, $3,000 and $4,000 as down payments.Car dealerships across the New Orleans area benefited in the aftermath of Hurricane Katrina's destruction, which was followed by opportunistic thieves. The months of October and November were terrific for Jefferson Parish - on both banks of the river, said Bob Israel, executive vice president of the Baton Rouge- based, Louisiana Automobile Dealers Association. They were selling record numbers.Premier Nissan in Metairie sold 700 vehicles in October, a 155 percent increase over the nearly 275 vehicles sold in October 2004. That helped offset losses from 30 cars stolen during Katrina and damage to the dealership's fence and showroom floor.Premier Kia in Kenner sold 300 cars in October, a 200 percent increase over the 100 cars it sold in October 2004.The end of the year is normally a good time of year in car business. This year it was even better, Leone said. October was a one-month event.
Soldiers’ Pay, William Faulkner’s 1926 novel about the fate of a Great War hero, is not a romance, although it has all the ingredients of one.¹ Military aviator Lieutenant Donald Mahon lies wounded ...after the enemy shoots down his airplane over Flanders Field. His fiancée and his father both assume he is dead, until the pilot reappears miraculously in his hometown in April 1919 with all the potential for the reverence due for battlefield bravery. In Mahon’s pocket is a letter from his beloved, filled with expectations of chivalrous knights in battle undoubtedly heightened by the romantic aura surrounding the
Exhibition note Yezzi, David
The New Criterion,
02/2014, Letnik:
32, Številka:
6
Trade Publication Article
...American collectors of the Russian-born artist are a focus of both the current show and an essay by Vivian Endocott Barnett in the accompanying catalogue, "Kandinsky Collectors in America, ...1913-1930." Much is made in the exhibition catalogue of Kandinsky's affinity for music ("Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings"), but, though it is alluded to, more might be made of the theosophical underpinnings of Kandinsky's art. Perhaps what Kandinsky's affective language of color (drawn from Leadbetter and Besant) shares with abstract painterly technique and the music of Schönberg-which "leads us into a new realm, where musical experiences are no longer acoustic but purely spiritual"-is the notion of rhythm, which, taken broadly, informs artistic composition across the plastic, performing, and literary arts.
