© Albertinum | GNM, Gal.-Nr. 2219 C Staatliche Kunstsammlungen Dresden, Foto: Jürgen Karpinski prozession im nebel

S# 14, Ed. 02/05

Gütschow, Beate (1970-) - Photographer

This photograph belongs to a collection of works of art, which was acquired by the Gesellschaft für Moderne Kunst in Dresden e.V. on the suggestion of the respective directors for the Albertinum / Galerie Neue Meister and has since been on loan.

SKD

Langes Brot mit Tasche - 1981 Theodor Rosenhauer (1901 Dresden - 1996 Berlin) Dresden, Albertinum, Galerie Neue Meister

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Hans Grundig, Hungermarsch (Café Republik) / Hunger March. Oil on canvas, 1932. Albertinum, Galerie Neue Meister, Dresden.

<strong>IMG_5252 Gotthard Kuehl. 1850-1915. Waisenkinder in Lübeck. Orphelins à Lübeck. Orphans in Lübeck. 1884. Dresde. Gemälde Galerie Neue Meister. Albertinum. <a href="https://www.flickr.com/photos/mazanto/">by jean louis mazieres</a></strong>

Gotthard Kuehl. 1850-1915. Waisenkinder in Lübeck. Orphelins à Lübeck. Orphans in Lübeck. 1884. Dresde. Gemälde Galerie Neue Meister. Albertinum.

Gerhard Richter at Gagosian 541 West 24th Street, New York

March 29, 2021

GERHARD RICHTER Cage Paintings

April 19–June 26, 2021 541 West 24th Street, New York __________ One can see, or rather hear, a great example in John Cage’s work of how extensively, cleverly, and sensitively he treats coincidence in order to make music out of it. —Gerhard Richter Gagosian is pleased to present Gerhard Richter’s Cage paintings, which were shown at Gagosian Beverly Hills in an exhibition that opened in December 2020. The series was a highlight of the artist’s recent retrospective, Gerhard Richter: Painting After All, at the Metropolitan Museum of Art, New York. Throughout his career, Richter has navigated between naturalism and abstraction, painting and photography, exploring the conceptual, historical, and material implications of various mediums without ideological restraint. In paintings he produced while studying at the Staatliche Kunstakademie Düsseldorf, Germany, in the early 1960s, his imagery derived from magazine and newspaper photographs; he has continued this exploration throughout his career, manipulating it in ways that have inspired subsequent generations of painters. Richter approaches the concept of abstraction with similar rigor, employing varying combinations of process, expressiveness, and chance. The resultant works range from austere monochromes and mirrors to dynamic, layered, and richly chromatic compositions.

Characterized by their large scale and concentrated materiality, the six Cage paintings (2006) are constructed from intersecting lines, fields, and swaths of color applied with a broad squeegee. By varying the force with which he dragged this tool across the canvas, Richter added and, crucially, removed areas of pigment to generate a highly unpredictable surface. The paintings are titled after influential composer, artist, and philosopher John Cage (1912–1992), whose music Richter was listening to when he produced the series. Cage’s pursuit of indeterminacy in music, reflected in his use of the I Ching and other chance operations as compositional tools, has always resonated with Richter, who has compared his own process to the act of arranging musical notes into a score. Shown in conjunction with the Cage paintings is a group of abstract drawings Richter made in a single, characteristically intensive working session during the summer of 2020. Richter’s drawings function as autonomous works and have always been an important part of his oeuvre. In the compositions on view, he makes clear use of an eraser to help direct the graphite, emphasizing the self-reflexive nature of drawing, and echoing, perhaps, the subtractive strategy that the creation of the Cage paintings entails. A catalogue, including an introduction by Larry Gagosian and a conversation between the artist and Hans Ulrich Obrist, artistic director of the Serpentine Galleries in London, will be published to coincide with the exhibition. A forthcoming episode of Gagosian Premieres will celebrate the exhibition with Obrist, featuring a musical performance by Patti Smith and new choreography created and performed by Rashaun Mitchell + Silas Riener in response to the work. Gerhard Richter was born in Dresden, Germany, in 1932, and lives and works in Cologne, Germany. His work resides in museum collections throughout the world. Major solo exhibitions include Forty Years of Painting, Museum of Modern Art, New York (2002, traveled to Art Institute of Chicago; San Francisco Museum of Modern Art; and Hirshhorn Museum and Sculpture Garden, Washington, DC); Portraits, National Portrait Gallery, London (2009); Panorama, Tate Modern, London (2011–12, traveled to Neue Nationalgalerie, Berlin, and Centre Pompidou, Paris); ATLAS, Kunsthalle im Lipsiusbau, Dresden, Germany (2012); Drawings and Watercolors 1957–2008, Musée du Louvre, Paris (2012); Streifen & Glas, Galerie Neue Meister, Albertinum, Staatliche Kunstsammlungen Dresden, Germany (2013–14, traveled to Kunst Museum Winterthur, Switzerland); Fondation Beyeler, Riehen/Basel, Switzerland (2014); Birkenau, Museum Frieder Burda, Baden-Baden, Germany (2016); New Paintings, Museum Ludwig, Cologne, Germany (2017); National Gallery, Prague (2017); The Life of Images, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia (2017–18); Over Schilderen, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2017); Abstraktion, Museum Barberini, Potsdam, Germany (2018); Seascapes, Guggenheim Bilbao, Spain (2019); Painting After All, Metropolitan Museum of Art, New York (2020); and 100 Selbstbildnisse, Kunst Museum Winterthur, Switzerland (2020).

Gustav Adolf Hahn (German, 1819-1872), "Der Hof des Schlosses Kriebstein in Sachsen/The courtyard of the castle Kriebstein in Saxony" (ca. 1850)

Oil on canvas, 107 x 81 cm

Dresden, Galerie Neue Meister Albertinum

Zwei Männer in Betrachtung des Mondes (Two Men Contemplating The Moon), 1819 | Caspar David Friedrich (German, 1774--1840) | Galerie Neue Meister / Albertinum, Dresden, Germany

The men in this painting have been identified as Friedrich, the painter himself, at right, and his friend and disciple August Heinrich (1794–1822). Fascination with the moon ran high among the German Romantics, who regarded the motif as an object of pious contemplation. This first version of one of Friedrich’s most famous compositions was painted during Heinrich's lifetime. The second and third were painted after Heinrich's death, respectively in circa 1824 and 1825-30. (Adapted from text on Wikimedia Commons)

HBD Gerhard! “In der Galerie Neue Meister im Dresdner Albertinum sind Gerhard Richters Werke ‘Die Sekretaerin' (r.), aus dem Jahr 1963 und 'Das Motorboot' aus dem Jahr 1965 zu sehen.” (mdr.de)

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Lori LaVerriere said in a Saturday account that she has removed Matthew Petty, the city’s blaze chief, and accursed Debby Coles-Dobay, the city’s accessible arts manager.

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BOYNTON BEACH – Afterwards a accessible art activity based on photographs replaced the images of two atramentous above administration chiefs with white faces, Burghal Administrator Lori LaVerriere removed Matthew Petty, the city’s blaze chief, and accursed Debby Coles-Dobay, the city’s accessible arts manager.

LaVerriere wrote in a Saturday afternoon account that she “concluded a basic ysis apropos the inappropriate decisions fabricated by Burghal employees.”

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Coles-Dobay wrote Saturday to the Post that she “was pressured to accomplish this artwork change by the Blaze Arch and his staff, as the Burghal able-bodied knows.”

Coles-Dobay did not elaborate.

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The removals are able immediately. Petty, who initially faced demotion, agreed to resign, LaVerriere said in an email statement.

The mural, which the burghal apparent this month, asleep the angel of Boynton-born and -raised Latosha Clemons, who was the city’s aboriginal and alone atramentous changeable firefighter and agent chief.

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She scaled and led the administration ranks for about 24 years until backward able March 1.

The mural additionally asleep the face of Glenn Joseph, the city’s above blaze arch and the aboriginal atramentous firefighter in Boca Raton’s department.

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Officials removed the accessible art activity a day afterwards it was unveiled.

“I’m hurt. I’m disappointed. I’m outraged,” Clemons said Friday. “It’s been my affection and body and my aspect to

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Stiftung Museum Kunstpalast

UTOPIE UND UNTERGANG

Kunst in der DDR

Pressekonferenz: Mittwoch, 4. September 2019 | 11 Uhr

Ausstellung: 5. September 2019 – 5. Januar 2020

Foyer Robert-Schumann-Saal

Kulturzentrum EhrenhofEhrenhof 4-5D-40479 Düsseldorf https://www.kunstpalast.de/utopie-untergang

Utopie und Untergang. Kunst in der DDR5. September 2019 – 5. Januar 2020 30 Jahre nach dem Mauerfall widmet sich der Kunstpalast in einer großen Sonderausstellung der in der DDR entstande­nen Kunst mit einem besonderen Fokus auf Malerei. Mit einer Auswahl von 13 Künstlerinnen und Künstlern und ca. 80 Werken lenkt die Ausstellung „Utopie und Untergang. Kunst in der DDR“ den Blick auf die überraschend vielseitige und zugleich wider­sprüchliche Kunstepoche zwischen 1949 und 1989. In monographischen Werkgruppen werden künst­lerische Positionen zwischen Anpassung und Rebel­lion, Affirmation und Subversion vorgestellt. Neben den bekannten, oftmals als offizielle Repräsentanten der DDR wahrgenommenen Künstlern wie Willi Sitte (1921–2013), Bernhard Heisig (1925–2011), Wolfgang Mattheuer (1927–2004) und Werner Tübke (1929–2004) zeigt die Schau auch zu entdeckende Malerinnen wie Elisabeth Voigt (1893–1977) und Angela Hampel (*1956). Wie heterogen die Kunst­szene in der DDR war, wird deutlich anhand der Œuvres von Wilhelm Lachnit (1899–1962), Gerhard Altenbourg (1926–1989), Carlfriedrich Claus (1930–1998), Michael Morgner (*1942), Hermann Glöckner (1889–1987), Cornelia Schleime (*1953) oder A. R. Penck (1939–2017), dessen Werk zu großen Teilen noch vor seiner Ausbürgerung aus der DDR 1980 entstand. Die Ausstellung steht unter der Schirmherrschaft von Bundespräsident Frank-Walter Steinmeier. Wolfgang MattheuerDie Flucht des Sisyphos. 1972, Öl auf Hartfaserplatte, 96,8 x 118 cm, Albertinum | Galerie Neue Meister, Gal.-Nr. 3929, © Foto: Albertinum | Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Elke Estel/Hans-Peter Klut, VG Bildkunst, Bonn, 2019

"Dame mit Fernglas" (1877), oil on cardboard | Edgar Degas | Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Albertinum.

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