Elisabeth Penker's solo show at the HTTP Gallery in London featured her sound installation "Die Bildhauerin" which breaks down the grammatical structure of words into phonetic units that shape the surrounding space. Her performance involved playing a geometric wooden structure covered with industrial flooring that amplifies sounds produced with wooden blocks and sandpaper. Penker's work successfully rephrases the avant-garde idea of incorporating industrial materials and linguistics into music production. For her upcoming show, she plans to create a "First Nation Pavilion" that examines colonial consciousness and reimagines cultural plurality in contemporary art.
Optical illusions have appealed to the mind of spectators throughout
history, and have had great impact when combined with architectural
elements. Illusionary methods have been used by artists and architects
since antiquity, but only during the Renaissance were they scientifically
analysed to produce the techniques of perspective, anamorphosis,
and their integration with trompe lâoeil. This paper is a study of these
methods employed by artists and architects, focusing on the invention
and evolution of the technique of anamorphosis from its birth during
the Italian Renaissance. By analysing a compilation of early and
contemporary cases of architectural illusionism in two and three
dimensions, the methods used to manipulate observersâ perceptions
are explored in detail. By reintroducing these techniques of the past
into contemporary practice they can prove very beneficial by
producing enhancing spaces when spatial or economic restraints must
be overcomeUccello, Mantegna, masschio, and Leonardo da Vince
The presentation is about installation art history, some famous examples and how it is made.
If you want a copy and some details on how to present this please message me.
Optical illusions have appealed to the mind of spectators throughout
history, and have had great impact when combined with architectural
elements. Illusionary methods have been used by artists and architects
since antiquity, but only during the Renaissance were they scientifically
analysed to produce the techniques of perspective, anamorphosis,
and their integration with trompe lâoeil. This paper is a study of these
methods employed by artists and architects, focusing on the invention
and evolution of the technique of anamorphosis from its birth during
the Italian Renaissance. By analysing a compilation of early and
contemporary cases of architectural illusionism in two and three
dimensions, the methods used to manipulate observersâ perceptions
are explored in detail. By reintroducing these techniques of the past
into contemporary practice they can prove very beneficial by
producing enhancing spaces when spatial or economic restraints must
be overcomeUccello, Mantegna, masschio, and Leonardo da Vince
The presentation is about installation art history, some famous examples and how it is made.
If you want a copy and some details on how to present this please message me.
ANTICHAMAS OU IGNIFUGAĂĂO EM EVENTOS CENOGRAFIA
Das Medidas de Segurança contra Incêndio
Artigo 23 â Constituem medidas de segurança contra incĂŞndio das
edificaçþes e åreas de risco:
I â acesso de viatura na edificação e ĂĄreas de risco;
II â separação entre edificaçþes;
III â segurança estrutural nas edificaçþes;
IV â compartimentação horizontal;
V â compartimentação vertical;
VI â controle de materiais de acabamento;
VII â saĂdas de emergĂŞncia;
VIII â elevador de emergĂŞncia;
IX â controle de fumaça;
X â gerenciamento de risco de incĂŞndio;
XI â brigada de incĂŞndio;
XII â iluminação de emergĂŞncia;
XIII â detecção de incĂŞndio;
XIV â alarme de incĂŞndio;
XV â sinalização de emergĂŞncia;
XVI â extintores;
XVII â hidrante e mangotinhos;
XVIII â chuveiros automĂĄticos;
XIX â resfriamento;
XX â espuma;
XXI â sistema fixo de gases limpos e diĂłxido de Carbono (CO2); e
XXII â sistema de proteção contra descargas atmosfĂŠricas.
8 african arts winter 2013 vol. 46, no. 4Looking for Afr.docxsleeperharwell
Â
8 | african arts winter 2013 vol. 46, no. 4
Looking for Africa in
Carl Einsteinâs Negerplastik
Z.S. Strother
all photos by the author except where otherwise noted
I
n 1914, two men strove to publish the first theoretical
treatise on African art composed in a European lan-
guage. The Latvian painter VoldemÄrs Matvejs and the
German author Carl Einstein worked virtually simulta-
neously and without knowledge of one another. Matvejs
died precipitously in May, delaying publication of his
manuscript, Iskusstvo Negrov (âNegro Artâ) until 1919. During
his lifetime, Latvia was part of the Russian Empire and Matvejs
wrote in Russian under the pseudonym of âVladimir Markov.â
When published, after the Revolution, his text exercised a for-
mative impact on the Soviet avant-garde, for instance, on Malev-
ich, Tatlin, and Rodchenko, before the Stalinist art establishment
consigned it to oblivion in the 1930s. Einsteinâs book Negerplastik
(âNegro sculptureâ) appeared in 1915 with notable success, but
then also gradually disappeared from view.1 Since 1961, the text
has garnered increasing attention thanks to the rising profile of
Einstein himself. For both men, the claim to be the âdiscoverer
of African artâ2 has helped shaped their image as culture heroes
suitable for canonization in the twenty-first century.
But what role was there for Africa in theories of African art?
Simon Gikandi warns us: âMuch has been written on Picasso and
primitivism but little on his specific engagement with Africaâ
(2006:33).3 By so doing, he argues that scholars replicate Picassoâs
own strategies in separating works of art from the people and
societies that produced them and perhaps for the same reason:
âto minimise ⌠the constitutive role of Africa in the making of
modernismâ (ibid., p. 34). The questions asked of Picasso need
to be posed for the larger community of European modernists
fascinated by art objects from other parts of the world. This essay
takes up Gikandiâs challenge to query what the critic Carl Ein-
stein believed about Africans and what his sources were.4
The FirsT LiFe oF NegerpLasTik: The phoTographs5
âAnother hole in the classical canon of beauty.ââHermann Hesse
Both Matvejs and Einstein recognized instantly that they
could not write critically about African art without first gen-
erating a substantial body of images. At the beginning of his
book, Matvejs emphasized how few photographs of freestand-
ing African sculptures existed when he began his project. As a
consequence, he was forced to travel extensively across Europe
in order to document outstanding sculptures in museum collec-
tions (2009 [1919]:79â80). In contrast, Einstein took advantage
of his connections in the art world to scavenge for professional
photos. Both books provide striking confirmation for Frederick
Bohrerâs thesis that photography was essential to the invention of
art history because it was able to generate a body of comparisons
and (as Bern.
Question 1 PerspectiveScientific perspective was often used durin.docxteofilapeerless
Â
Question 1: Perspective
Scientific perspective was often used during the Renaissance era to create illusionistic works of art.
In your response, discuss how specific works of art used the science of perspective techniques in paintings. Compare and contrast specific art examples from the Northern Renaissance and the Italian Renaissance.Â
In your own words, summarize how the artworks areÂ
reflective
 of the cultures that created them.Â
Assignment 2: Essay
ByÂ
Wednesday, October 1, 2014
, selectÂ
one
 of the questions listed below and develop an essay response of approximately 350 words. Analyze and identify specific historical and visual examples to support your understanding of the topic. Include images with complete identifying information of the specific works of art you chose. ComposeÂ
your
 thoughts with careful research and formulate independent conclusions.
Reference and cite (using MLA format) the textbookÂ
and
 at least one other scholarly source (e.g., a class lecture, scholarly article, or museum website). If you need help with MLA formatting, please visit the Writing Center or Tutoring Services. Note:Â
Wikipedia, blogs, and answers/Yahoo! websites are not permitted scholarly sources
.
Grammar and spelling are expected to reflect college-level work. Please spell-check and proofread all work prior to submission.
Post your response in a Microsoft Word file to theÂ
W5 Assignment 2 DropboxÂ
(do not post anything to theÂ
Discussion Areas
 for the questions)
.Â
Name your file LastNameFirstIntial_W5_A2_QuestionNumber.doc
Note:
 Rubrics provide an explanation for full or partial credit. If a criteria listed is not addressed you will receive a zero for that section.
Assignment 2 Grading Criteria
Maximum Points
Develop a response with accurate and relevant historical information that thoroughly supports the topic and the culture discussed.
10
Analyze and thoroughly identify multiple, visual examples that thoroughly support the topic.
10
Formulate independent conclusions based on research, analysis, and visual observations that support the topic.
10
Utilize the text and scholarly sources that support the response.
10
Employs correct spelling, grammar, and punctuation, and appropriate logic, voice, and utilize correct MLA formatting.
10
Total:
50
Early Northern Renaissance:Â
8-4: JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, 11Ⲡ5âł Ă 7Ⲡ6âł. By: Bridgeman Art Library 3/4 .
https://digitalbookshelf.aionline.edu/#/books/1111904871/pages/51103546
Jan van Eyck
The first Netherlandish painter to achieve international fame was JAN VAN EYCK (ca. 1390â1441), who in 1425 became Philip the Goodâs court painter. The artist moved his studio to Bruges, where the duke maintained his official residence, in 1432, the year he completed theÂ
Ghent Altarpiece
 (
FIGS. 8-4
 andÂ
8-5
) for the church in Ghent originally dedicated to Saint John the Baptist (since 1540 Saint Bavo Cathedral). One .
ANTICHAMAS OU IGNIFUGAĂĂO EM EVENTOS CENOGRAFIA
Das Medidas de Segurança contra Incêndio
Artigo 23 â Constituem medidas de segurança contra incĂŞndio das
edificaçþes e åreas de risco:
I â acesso de viatura na edificação e ĂĄreas de risco;
II â separação entre edificaçþes;
III â segurança estrutural nas edificaçþes;
IV â compartimentação horizontal;
V â compartimentação vertical;
VI â controle de materiais de acabamento;
VII â saĂdas de emergĂŞncia;
VIII â elevador de emergĂŞncia;
IX â controle de fumaça;
X â gerenciamento de risco de incĂŞndio;
XI â brigada de incĂŞndio;
XII â iluminação de emergĂŞncia;
XIII â detecção de incĂŞndio;
XIV â alarme de incĂŞndio;
XV â sinalização de emergĂŞncia;
XVI â extintores;
XVII â hidrante e mangotinhos;
XVIII â chuveiros automĂĄticos;
XIX â resfriamento;
XX â espuma;
XXI â sistema fixo de gases limpos e diĂłxido de Carbono (CO2); e
XXII â sistema de proteção contra descargas atmosfĂŠricas.
8 african arts winter 2013 vol. 46, no. 4Looking for Afr.docxsleeperharwell
Â
8 | african arts winter 2013 vol. 46, no. 4
Looking for Africa in
Carl Einsteinâs Negerplastik
Z.S. Strother
all photos by the author except where otherwise noted
I
n 1914, two men strove to publish the first theoretical
treatise on African art composed in a European lan-
guage. The Latvian painter VoldemÄrs Matvejs and the
German author Carl Einstein worked virtually simulta-
neously and without knowledge of one another. Matvejs
died precipitously in May, delaying publication of his
manuscript, Iskusstvo Negrov (âNegro Artâ) until 1919. During
his lifetime, Latvia was part of the Russian Empire and Matvejs
wrote in Russian under the pseudonym of âVladimir Markov.â
When published, after the Revolution, his text exercised a for-
mative impact on the Soviet avant-garde, for instance, on Malev-
ich, Tatlin, and Rodchenko, before the Stalinist art establishment
consigned it to oblivion in the 1930s. Einsteinâs book Negerplastik
(âNegro sculptureâ) appeared in 1915 with notable success, but
then also gradually disappeared from view.1 Since 1961, the text
has garnered increasing attention thanks to the rising profile of
Einstein himself. For both men, the claim to be the âdiscoverer
of African artâ2 has helped shaped their image as culture heroes
suitable for canonization in the twenty-first century.
But what role was there for Africa in theories of African art?
Simon Gikandi warns us: âMuch has been written on Picasso and
primitivism but little on his specific engagement with Africaâ
(2006:33).3 By so doing, he argues that scholars replicate Picassoâs
own strategies in separating works of art from the people and
societies that produced them and perhaps for the same reason:
âto minimise ⌠the constitutive role of Africa in the making of
modernismâ (ibid., p. 34). The questions asked of Picasso need
to be posed for the larger community of European modernists
fascinated by art objects from other parts of the world. This essay
takes up Gikandiâs challenge to query what the critic Carl Ein-
stein believed about Africans and what his sources were.4
The FirsT LiFe oF NegerpLasTik: The phoTographs5
âAnother hole in the classical canon of beauty.ââHermann Hesse
Both Matvejs and Einstein recognized instantly that they
could not write critically about African art without first gen-
erating a substantial body of images. At the beginning of his
book, Matvejs emphasized how few photographs of freestand-
ing African sculptures existed when he began his project. As a
consequence, he was forced to travel extensively across Europe
in order to document outstanding sculptures in museum collec-
tions (2009 [1919]:79â80). In contrast, Einstein took advantage
of his connections in the art world to scavenge for professional
photos. Both books provide striking confirmation for Frederick
Bohrerâs thesis that photography was essential to the invention of
art history because it was able to generate a body of comparisons
and (as Bern.
Question 1 PerspectiveScientific perspective was often used durin.docxteofilapeerless
Â
Question 1: Perspective
Scientific perspective was often used during the Renaissance era to create illusionistic works of art.
In your response, discuss how specific works of art used the science of perspective techniques in paintings. Compare and contrast specific art examples from the Northern Renaissance and the Italian Renaissance.Â
In your own words, summarize how the artworks areÂ
reflective
 of the cultures that created them.Â
Assignment 2: Essay
ByÂ
Wednesday, October 1, 2014
, selectÂ
one
 of the questions listed below and develop an essay response of approximately 350 words. Analyze and identify specific historical and visual examples to support your understanding of the topic. Include images with complete identifying information of the specific works of art you chose. ComposeÂ
your
 thoughts with careful research and formulate independent conclusions.
Reference and cite (using MLA format) the textbookÂ
and
 at least one other scholarly source (e.g., a class lecture, scholarly article, or museum website). If you need help with MLA formatting, please visit the Writing Center or Tutoring Services. Note:Â
Wikipedia, blogs, and answers/Yahoo! websites are not permitted scholarly sources
.
Grammar and spelling are expected to reflect college-level work. Please spell-check and proofread all work prior to submission.
Post your response in a Microsoft Word file to theÂ
W5 Assignment 2 DropboxÂ
(do not post anything to theÂ
Discussion Areas
 for the questions)
.Â
Name your file LastNameFirstIntial_W5_A2_QuestionNumber.doc
Note:
 Rubrics provide an explanation for full or partial credit. If a criteria listed is not addressed you will receive a zero for that section.
Assignment 2 Grading Criteria
Maximum Points
Develop a response with accurate and relevant historical information that thoroughly supports the topic and the culture discussed.
10
Analyze and thoroughly identify multiple, visual examples that thoroughly support the topic.
10
Formulate independent conclusions based on research, analysis, and visual observations that support the topic.
10
Utilize the text and scholarly sources that support the response.
10
Employs correct spelling, grammar, and punctuation, and appropriate logic, voice, and utilize correct MLA formatting.
10
Total:
50
Early Northern Renaissance:Â
8-4: JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, 11Ⲡ5âł Ă 7Ⲡ6âł. By: Bridgeman Art Library 3/4 .
https://digitalbookshelf.aionline.edu/#/books/1111904871/pages/51103546
Jan van Eyck
The first Netherlandish painter to achieve international fame was JAN VAN EYCK (ca. 1390â1441), who in 1425 became Philip the Goodâs court painter. The artist moved his studio to Bruges, where the duke maintained his official residence, in 1432, the year he completed theÂ
Ghent Altarpiece
 (
FIGS. 8-4
 andÂ
8-5
) for the church in Ghent originally dedicated to Saint John the Baptist (since 1540 Saint Bavo Cathedral). One .
Spain and New Spain 729brought and the value of visual imChereCheek752
Â
Spain and New Spain 729
brought and the value of visual imagery in communicating e!ec-
tively with a wide audience. "us both kings continued to spend
lavishly on art.
Juan SĂĄnchez CotĂĄn. One painter who made a major con-
tribution to the development of Spanish art, although he did not
receive any royal commissions, was J#$% S&%'()* C+,&% (1560â
1627). Born in Orgaz, outside Toledo, SĂĄnchez CotĂĄn moved to
Granada and became a Carthusian monk in 1603. Although he
painted religious subjects, his greatest works are the still lifes (paint-
ings of artfully arranged inanimate objects) that he produced before
entering monastic life (and never therea-er). Few in number, they
nonetheless established still-life painting as an important genre in
17th-century Spain.
Still Life with Game Fowl (./0. 24-25) is one of SĂĄnchez CotĂĄnâs
most ambitious compositions, but it conforms to the pattern he
adopted for all of his still lifes. A niche or a windowâthe artist
clearly wished the setting to be indeterminateâ1lls the entire sur-
face of the canvas. At the bottom, fruits and vegetables, including
a melonâcut open with a slice removedârest on a ledge. Above,
suspended on strings from a nail or hook outside the frame, are
a quince and four game fowl. All are meticulously rendered and
brightly illuminated, enhancing the viewerâs sense of each texture,
color, and shape, yet the background is impenetrable shadow. "e
sharp and unnatural contrast between light and dark imbues the
still life with a sense of mystery that is absent, for example, in Dutch
still-life paintings (./02. 25-1, 25-22, and 25-23).
"ere may, in fact, be a religious reference. SĂĄnchez CotĂĄn
once described his 11 paintings of fruits, vegetables, and birds as
âo!erings to the Virginââprobably a reference to the Virgin as the
fenestra coeli (âwindow to Heavenâ) and the source of spiritual food
for the faithful.
Fra Andrea Pozzo. Another master of ceiling decoration was
F3$ A%43)$ P+**+ (1642â1709), a lay brother of the Jesuit order
and a master of perspective, on which he wrote an in5uential trea-
tise. Pozzo designed and executed the vast ceiling fresco Glori!ca-
tion of Saint Ignatius (./0. 24-24) for the church of SantâIgnazio
in Rome (see âHow to Make a Ceiling Disappear,â page 728). Like
Il GesĂš, SantâIgnazio was a prominent Counter-Reformation
church because of its dedication to the founder of the Jesuit order.
"e Jesuits played a major role in Catholic education and sent
legions of missionaries to the New World and Asia.
SPAIN AND NEW SPAIN
During the 16th century, Spain had established itself as an interna-
tional power. "e Habsburg kings had built a dynastic state encom-
passing Portugal, part of Italy, the Netherlands, and extensive areas
of the New World. By the beginning of the 17th century, however,
the Habsburg Empire was in decline, and although Spain mounted
an aggressive e!ort during the "irty Yearsâ War, by 1660 the impe-
rial age of the Spa ...
THE DIVERSE BEAUTY OF MATHILDENHĂHE: AN INSIGHT INTO AESTHETIC PHILOSOPHY AND...John1Lorcan
Â
This article aims to look at the World Heritage Site from the perspective of curatorial studies and aesthetic
philosophy. The Darmstadt Artists' Colony made an enormous contribution to art and formed a bridge
between the British Arts & Crafts movement and the German Association of Craftsmen, which eventually
led to the Bauhaus movement. The last Grand Duke of Hesse and the Rhine was not only a patron who
founded this Artists' Colony, but also a prominent curator together with the Austrian architect and one of
the founders of the Vienna Secession, Joseph Maria Olbrich. Together they combined economic
development with artistic innovation. The establishment of the Darmstadt Artists' Colony was a sensation
in the art world. Itmarked the beginning of the 20th century, turning everyday life into an aesthetic
experience.
the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.
ARTARCHITECTURE; The Truth Is Out How Realists Could Be So Reali.docxdavezstarr61655
Â
ART/ARCHITECTURE; The Truth Is Out: How Realists Could Be So Realistic
By RICHARD B. WOODWARD
Published: Sunday, November 25, 2001
THOMAS EAKINS had a secret. For decades he engaged in a practice that many in late-19th-century Philadelphia would very likely have regarded as scandalous had they known. Not wanting to risk exposure, he kept quiet about it all his life. If any of his students or friends ever guessed -- and someone could easily have discovered him in the act -- they never talked either. His wife said in an interview that if he did it, he didn't enjoy it.
I refer, of course, to the stunning discovery -- revealed for the first time at the current Eakins retrospective at the Philadelphia Museum Art -- that the artist hailed by an 1882 critic as ''the greatest draughtsman in America'' often relied on projected images to make paintings and watercolors during the 1870's and 80's. To be blunt: he traced from photographs.
According to Darrell Sewell, the museum's chief curator of American painting and the show's organizer, ''This is big news.'' What was long suspected as a practice among realist artists of the time has finally been proven. Never before has a 19th-century painter -- and not just any painter -- been ''caught'' seeking such direct aid from the novel and then controversial 19th-century invention. Curators around the world must now re-examine all kinds of post-1839 work in the light of this new discovery. At the MusĂŠe d'Orsay in Paris, where the exhibition travels next year, the process has already begun.
As a special video about the revelation spells out, uncovering the truth was fortuitous. Eakins left a trail in the form of hundreds of photographs. By chance, these were saved by his wife and then by an acolyte. The museum's conservators, Mark Tucker and Nica Gutman, knew what to look for when they began to study the paintings. Using infrared reflectography, they detected odd preparatory drawings beneath layers of pigment and were able to match them to the photographic prints and glass plates owned by Eakins.
In some cases, like ''Shad Fishing at Gloucester on the Delaware River,'' from 1881, Eakins drew from a single photograph projected on the canvas. But more commonly, as in an earlier version of the same painting, or in ''Mending the Net,'' also from 1881, the composition was built up from a half-dozen or more separate photographs. Like a digital film director, he would set the scene by choosing one image as the establishing shot, for drawing in trees and various landscape features. Then, from other photographs he had taken, he would project the human or animal figures he wanted in the painting.
The process involved planning and rigorous editing. A science-minded realist, Eakins never hid his appreciation for the new medium. He urged students to photograph one another nude for purposes of anatomical study and was an early champion of Eadweard Muybridge's attempts to capture motion with a camera. In 1878 he even a.
1. Städteplanung / Architektur / Religion Buch II - Elisabeth Penker ST/A/R 17
ELISABETH PENKER
âPolysynthetische Doppelperspektive 1, Claude Levi- Straussâ
Photocolloage C-Print, 40 x 30 cm Collection Galila Barzilai Hollander, Belgien
2. 18 ST/A/R Buch II - Elisabeth Penker Nr. 13/2007
De-grammatical
f
or the past few years, Austrian artist Elisabeth Penker has been exploring the
spatial dynamics that occur in the relation between objects and sound. In her solo
show at HTTP Gallery in London consecrated to "technologically termed praxis,"
she investigates rhythm and musicality by rearranging phonetic units in a process
inspired by First Nation languages. With the multichannel sound installation Die Bild-
hauerin (The Sculptress), 2005, the artist breaks the grammatical structure of the title
words into units, or "morphemes," which become the basis of a minimal composition
that resonates in and shapes the surrounding space. Backed by pre-recorded vocals and
the echoing sound of two stonemasons chiselling into a wall, Penker's performance on
the show's opening night took place on Sonic Structure (portable instrument), 2005,
a geometric construction vaguely resembling a keyboard, made of wood and covered
with industrial flooring. Any sounds made on this structure are amplified by means of
a number of microphones set at different heights that allow any performer to produce
music with wooden blocks and sandpaper. Having examined Luigi Russolo's "Futurist
Manifesto" of 1912 and, in particular, his experiments with noise, Penker successfully
rephrases the old avant-garde formula through an orchestra that, although organized
with instruments made of industrial materials, is able to involve those forces embedded
within the most sophisticated sonic structure of allâlinguistics.
âDiana Baldon, published Artforum 2005
Elisabeth Penker, installation view, âDe-Grammatical: Rhythm and Language Transformationâ HTTP Gallery, London curated by Tobi Maier 2005
3. Nr. 13/2007 Buch II - Elisabeth Penker ST/A/R 19
SPLIT REPRESENTATION / DOUBLE PERSPECTIVE
the animal (person) is imagined cut in two from head to tail (toe)âŚ
there is a deep depression between the eyes, extending down to the nose.
This shows that the head itself must have not been considered a front view,
but consisting of two profiles which adjoin at mouth and nose...
Franz Boas
âPolysynthetische Doppelperspektive 2, Claude Levi- Straussâ
Photocolloage C-Print, 40 x 30 cm Collection Galila Barzilai Hollander, Belgien
4. Städteplanung / Architektur / Religion Buch II - Elisa
ELISABETH
9 September - 22
INOVA Institute
Wisconsin-M
Opening reception: 8
PICTORALâREALISM?
Our concept of pictorial realism should include a reference to perceptual proficiency relative to a cultural
contextâŚ. However, the variety of styles that serve the purposes of depiction in non-Western cultures suggests
that realism (when conceived as determining the degree to which an object is visually recognised in a depic-
Studio: tion) even when understood as determined by a natural generative system[5] is far more multifaceted than the
standing "resemblance" theories would allow. Compare the split style of Haida Art with the Rembrandt pen
Elisabeth Penker and ink drawing provided below⌠An example of a prediction would be that while it may be true that indig-
Franzengasse 13 enous Canadians traditionally raised will eventually come to recognise certain Western art styles as realistic if
A-1050 Wien continually exposed to them, this would not mean that they necessarily cease to perceive their traditional split
style pictures as realistic. It just means that they have added a new style of configuration to their repertoire.
T: ++ 43 (0)699 197 193 53 The same would apply (conversely) for Westerners. Contrary to the standing resemblance theories, pictorial
elpenker@gmx.at realism is a matter of the degree to which underlying perceptual principles are deployed in ways compatible
with recognition and there are numerous candidates for this. (J.McMahon)
www.eliserichter.at
5. abeth Penker ST/A/R 21
H PENKER
November 2007
E Of VISuAL ARTS
milWaukee
8. September, 6-9 pm
CUBISM AND THE
INVENTION OF COLLAGE
In the early 20th century, artists such as Picasso and Braque (and later the Dadaist and the Surrealist) like
Foto: Andrea Basczinsky
Gauguin turned to African Art for Enlightenment. African Art taught them the distinction between visual or
perceptual reality and the reality of knowledge or of concepts that echoes the western philosophical premise
that goes back to Plato. As early as 1907-1914, both Picasso and Braque were developing through Cubism,
painting as an art of representation and illusion. By finding for every aspect of three dimensional vision as
an explicitly two-dimensional equivalent, regardless of how much verisimilitude might suffer in the process.
They discovered that trompe-l'oeil could be used to undeceive, as well as, deceive the eye by declaring and
denying paintings physical flatness. Once the non-literal nature of the support was advertised, whatever hap-
pened upon the surface was not intended literally would be set-off and enhanced in its non-literalness.
(Clement Greenberg "Collage" 1959)
6. 22 ST/A/R Buch II - Elisabeth Penker Nr. 13/2007
âcracky wallsâ, exhibited at KĂźnstlerhaus Stuttgart, Gandy Gallery Bratislava, Howard House Gallery Seattle
Elisabeth Penker
First Nation Pavilion
First Nation
Pavilion The âFirst Nation Pavilionâ by Elisabeth Penker at-
tempts to set-up an area for colonial consciousness of
the European past and a utopic space for re-imagin-
Der âFirst Nation pavilionâ von
ing a plurality of cultural forms in contemporary art.
elisabeth penker unternimmt den
The composition entitled âde-grammaticalâ contained
versuch, einen bereich fĂźr ein kolo-
within the First Nation Pavilion is structurally-based
niales bewusstsein der europäischen
on the grammatical classifications of languages, decon-
vergangenheit zu schaffen und
structed into minimal phonetic units played within a
einen utopischen raum fĂźr neue
non-linear 5-channel matrix.
vorstellungen von einer mannig-
faltigkeit an kulturellen Formen in
Penker is questioning the possible overlaps between
der zeitgenĂśssischen kunst. Die
music-language and visual structure, within the pri-
komposition âde-grammaticalâ,
mary focus on polysynthetic languages (First Nation
ein bestandteil des âFirst Nation
and Pacific Islands) and First Nation Art compared to
pavilionâ, beruht in ihrer Struktur
Elisabeth Penker âFirst Nations Pavillionâ (outside, prefabricated house, Modern Art. More recently in the age of post-colonial-
Michael Elmgreen & Ingar Dragset) Kunsthaus Graz, Protections, auf den grammatischen einteilungen
ism the discourse of cultural translation is arising
Kuratoren: Adam Budak und Christine Peters der Sprachen, die in phonetische
questions that have also been experimented by the
minimaleinheiten dekonstruiert sind,
Dadaists phonetic experiments in the 1910-20s and
und wird Ăźber eine nichtlineare 5-
later in Concept Art of the 1960s-70s.
kanal-matrix gespielt.
Front
âDe-grammaticalâ, 4-channel sound installation
penker untersucht mĂśgliche Ăberschneidungen zwischen der Sprache der musik und der bild- C.T (shelf/ bench), Acryl auf Pappelsperrholz
struktur, wobei ihr Hauptaugenmerk polysynthetischen Sprachen (First Nations und paziďŹsche Back: âPull Out, Yukme Shirley Hallâ
inseln) gilt sowie dem vergleich zwischen der kunst von First Nations und der modernen kunst.
erst in jĂźngerer Zeit, in der Ăra des postkolonialismus, hat der Diskurs der kulturellen Ăberset-
zung Fragen aufgeworfen, mit denen man sich schon in den phonetischen experimenten des
Elisabeth Penker is a Viennese artist
Dadaismus in den 1910er und 1920er Jahren beschäftigt hatte, sowie später, in der konzept-
and musician working with sound in a
kunst der 1960er und 70er Jahre.
sculptural context. In her (subjective)
tour, Penker approaches the entire
anti-exhibition PROTECTIONS from
an angle of its position and signifi-
cance in the context of Sound Art as
located on the crossway between visual
Die Wiener kĂźnstlerin und musikerin elisabeth penker arbeitet mit klang im Zusammenhang
arts, language and music.
mit bildhauerei. in ihrer (subjektiven) Fßhrung nähert sie sich der anti-ausstellung protec-
tioNS aus einem blickwinkel, der die position und bedeutung der klangkunst an der kreuzung
zwischen bildender kunst, Sprache und musik verortet.
âUntitled Instrument, sonic structureâ, Kunsthaus Graz â Protections;
Kuratoren: Adam Budak und Christine Peters
âPoetics of Dead Spaceâ âPoetics of Dead Spaceâ
FĂźr protectioNS entwickelte elisabeth penker einen leitmotivischen key Sound, âpoetics
of Dead Spaceâ, der weitgehend eine Hommage an gaston bachelards wegweisendes buch For PROTECTIONS Elisabeth Penker developed a key-sound, âPoetics of Dead Spaceâ which is
poetics of Space darstellt, in dem die verbindungen zwischen lyrik und räumlichen emotionen to a large extent an hommage to Gaston Bachelardâs seminal book, âPoetics of Spaceâ where the
analysiert werden. penkers key Sound wird das publikum durch die ausstellung geleiten, die connections between the poetry and the spatial emotions are analysed. Penkerâs key-sound will
identität der Schau in ihrer gesamtheit erfassen und in gewisser Weise die (audio-narrative) guide the viewer through the exhibition, mapping the overall identity of the show, in some way,
route des publikums im labyrinth der kunstgegenstände, ereignisse und Situationen aber auch controlling the viewerâs (audio-narrative) route in the maze of art objects, events, situations but
räumlicher leerstellen und ungenutzter Winkel kontrollieren. also spatial voids and unused corners. Adam Budak
Speaker placement: Station 1 outdoor (entrance), 2 (escalator), 4 (corner ), 5 (corner) 6 (escalator) 7 (corner)
A non linear composition, 7 mono active speakers are placed through out the Kunsthaus Graz within itâs dead architecture.
7. Nr. 13/2007 Buch II - Elisabeth Penker ST/A/R 23
âPolysynthetische Doppelperspektive 3, Claude Levi- Straussâ
Photocolloage C-Print, 40 x 30 cm Collection Galila Barzilai Hollander, Belgien
8. 24 ST/A/R Buch II - Elisabeth Penker Nr. 13/2007
COLONIAL LUICIDE LIST ⢠Miwok, Bay Language
⢠Mobilian Language
Canada
⢠Mohegan Language
⢠Beothuk Language
⢠Molala Language
⢠BungÊe Language
⢠Nanticoke Language
⢠Laurentian Language
⢠Narragansett Language
⢠Pentlatch Language
⢠Natchez Language
⢠Tsetsaut Language
⢠Nooksack Language
⢠Wyandot Language
⢠Northern Kalapuyan Language
United States
⢠Obispeùo Language
⢠Abnaki, Eastern Language
⢠Ofo Language
⢠Adai Language
⢠Pamlico Language
⢠Alsea Language
⢠Piro Language
⢠Atakapa Language
⢠Pomo, Eastern Language
⢠Barbareùo Language Elisabeth Penker: C.T. Structure
⢠Pomo, Northern Language (kulturelle Ăbersetzung) (2003)
⢠Biloxi Language (Acryl auf Holz, 77cm H, 82cm B, 22 cm T
⢠Powhatan Language - insgesamt 3-teilig)
⢠Cayuse Language
⢠Purisimeùo Language Das Werk von Elisabeth Penker lässt
⢠Chehalis Language sich sowohl von einer bildhauerisch-
⢠Quiripi-Naugatuck-Unquachog Language visuellen Seite wie von einer musika-
⢠Chimariko Language lisch-performativen Seite betrachten.
⢠Salinan Language Die vorliegenden Reliefs geben
⢠Chitimacha Language natßrlich eher den Einblick auf den
⢠Shinnecock Language erstgenannten Aspekt. Es ist jedoch
⢠Coquille Language von Nutzen, zu wissen, dass diesen
⢠Siuslaw Language räumlichen Konstruktionen komplexe
⢠Costanoan, Northern Language Ăberlegungen zugrunde liegen, bei
⢠Susquehannock Language denen sich räumliche Organisationen
⢠Costanoan, Southern Language an sprachlichen und musikalischen
⢠Takelma Language Prinzipien orientieren. Die Kßnstle-
⢠Cowlitz Language rin ist selbst musikalisch aktiv, baut
⢠Tillamook Language Bßhnen und integriert die Betrachter/
⢠Cruzeùo Language innen in den Prozess des Kunstwerkes.
⢠Tonkawa Language Dieser versteht sich immer als Referenz
⢠Delaware, Pidgin Language auf die Konstruktion von Raum und
⢠Tsetsaut Language Bedeutung und darauf, wie diese aus
⢠Eel River Athabaskan Language unserem Verhalten heraus konstituiert
⢠Tunica Language und damit wahrgenommen werden.
⢠Esselen Language
⢠Tutelo Language Kunst im Parlament
⢠Etchemin Language kuratiert von Peter Pakesch
⢠Twana Language
⢠Galice-Applegate Language
⢠Upper Umpqua Language
⢠Hanis Language
⢠Ventureùo Language
⢠Ineseùo Language
⢠Wappo Language
⢠Iowa-Oto Language
⢠Wiyot Language
⢠Island Chumash Language
⢠Wyandot Language
⢠Jersey Dutch Language
⢠Yana Language
⢠Karkin Language
⢠Yaquina Language
⢠Kathlamet Language
⢠Yonkalla Language
⢠Kitsai Language
U.S. Virgin Islands
⢠Kwalhioqua-Clatskanie Language
⢠Negerhollands Language
⢠Loup A Language
Mexico
⢠Loup B Language
⢠Chicomuceltec Language
⢠Lower Chinook Language
⢠Cochimà Language
⢠Lumbee Language
⢠Nåhuatl, Classical Language
⢠Mahican Language
⢠Nåhuatl, Tabasco Language
⢠Maidu, Valley Language
⢠Pame Sur Language
⢠Massachusett Language
⢠Tepecano Language
⢠Mattole-Bear River Language
⢠Tubar Language
⢠Miami-Illinois Language
⢠Miluk Language
"Colonial after effects of Luicide"
Liste von Sprachen (nicht vollständig), die durch den eurÜpäischen Kolonialismus ausgerottet wurden Gips, Metallkette, Hose, Schuh