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wiremagazine · 5 years

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ARTS NEWSIE: THE GEORGE DANIELL MUSEUM

By Michael Bustamante | Photos provided by The George Daniell Museum / Zentraldepot

The George Daniell Museum opened its doors on April 3, 2019, featuring a full collection by George Daniell, a prominent LGBTQ American photographer and artist. Daniell is known for his work in Time, Life and Esquire, and for his photographs of famed beauties such as Audrey Hepburn, Sophia Loren, Lena Horne, and Georgia O'Keefe. The Museum, located at the Wilzig Museum Building, houses personal homoerotic works of the artist including paintings and aquarelles that date back to 1920-1991, and will be available for public view for the first time. According to Helmut Schuster, director of the George Daniell Museum, "The new George Daniell Museum will be of great interest to both the LGBTQ and the mainstream communities, to see both the glamour and grit of yesteryear, with a strong dose of homoeroticism."

Wire Magazine sat down with Museum Director Helmut Schuster to find out more about the George Daniell Museum's founding, mission, and his favorite piece from the collection.

Michael Bustamante: Tell us about the George Daniell Museum's founding and mission. Helmut Schuster: The George Daniell Museum was founded in 2019 when this well-known artist's trove of stunning photographs and paintings were unearthed and brought to light after his death in 2001. The mission of the George Daniell Museum is not only to preserve his legacy, but to touch the viewer and to help bring a new perspective, particularly from a gay point of view. George Daniell's work has an outstanding quality that allows the viewer to jump into a whole new world. He was openly gay and brings a clear gay perspective to all of his works. Not only was this unusual in the art world, but his work has been shown in important art institutions throughout the world (e.g. the Smithsonian, MoMA, Chicago Art Institute, etc.) because he was able to make this gay perspective understandable to every audience. This is important today because art can be a powerful way to bring understanding and acceptance to the world. Daniell was an early gay activist, in more difficult times than today. Today, with growing right-wing politics all over the world, his work and his message are even more relevant.

MB: What is a day like in the life of a museum director? HS: At the moment, my days are very exciting. I am the museum director not only for the George Daniell Museum, but also the World Erotic Art Museum (now to be known as the Naomi Wilzig Erotic Art Museum, after its founder, Naomi Wilzig), and several other museums which will soon be housed in the same multi-museum building on Washington Avenue in South Beach, to be known as the Wilzig Museum Building. We are currently developing a new structure for our different collections, working together with architects to create new exhibition spaces, working on a new gift shop with a street level entrance and preparing our next show, on loan from Das Museum der Dinge (The Museum of Things) in Berlin. I am also working at the moment with a fashion designer to create our own Museum fashion line, called Naomi. All of this can only happen because we have a great team and one of my biggest goals is to keep the atmosphere in our team positive.

MB: What is your favorite piece in the museum, and why? HS: What's really great about the George Daniell Museum is that we have his entire life's work, from the 1920s to the early 2000s. During that time, you could see how his work evolved, and how he became more free and expressive over time, as he began to accept himself and his sexuality. So, it's hard for me to pick a favorite piece. At the moment, though, I am in love with the work he did at the Hudson River. I like the beauty and the freedom which he could communicate through his images.

MB: What do you look for in an artwork? What speaks to you? HS: If an artwork opens a new door in my life or touches me in some way, I connect to it immediately.

MB: Tell us about the new multi-museum complex, in the same building as the World Erotic Art Museum. HS: We have already two museums and two museum collections in the Wilzig Museum building. By the end of 2020, we will be adding two more museums. It is too early to speak about the details, but you can be sure that the quality of the new museums will be outstanding, and it will perfectly fit into the existing structure.

MB: What do you think Naomi Wilzig would say about The George Daniell Museum? HS: I had the privilege to dream together with Naomi about the future of her collection and the vision of opening new museums that capture expressiveness and freedoms that other museums often overlook. She also had a strong affinity to the LGBTQ community, so I know she would love the George Daniell Museum, and I'm sure she would say her dream came true.

MB: Is there anything else you'd like to share with Wire Magazine readers? HS: I would just like to invite all of your readers to visit us. I promise everyone will have a warm welcome and they will not be disappointed.

Wilzig Museum Building. 1205 Washington Ave., Miami Beach

This was originally published in Wire Magazine Issue 11.2019

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aurakaura · 7 years

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Odalsela Fate 53

-After waking up Izarius, Aquarell and Cenzao traveled for a few more hours and finally reached the swords alter-. I could not believe it we finally found the Legendary Sword of Odalsela that gifted our world with life. (Cenzao) “I never thought I would get to witness a warrior claim the sword, I’m truly proud of you two”. As Aquarell made her way towards the alter I stood still, (Aquarell) “Izarius aren’t you coming to get the sword?”. (Izarius) “No you were always the stronger warrior, more determined and brave than me you deserve the sword more I’m just honored to be your ally”. We hugged each other and walked through the aura field and began climbing the stairs.

(Cenzao) “That was a very selfless thing for you to do but ask yourself can you live with this decision”. I smiled at him (Izarius) “I can I believe that Aquarell will put an end to the Knights doubt in one of us wielding the sword and show the Dark aura born’s we do not wish to harm them”. (Cenzao) “Well I’m proud of you, for letting a warrior who can find piece in Odalsela have the sword”. I thanked him and thought about all the battle’s I had against each Guardian and the lessons I learned from each of their tests. I hope that she can put an end to the Knights capturing innocent warriors who just wanted to test themselves. (Izarius) “Do you believe in her Cenzao?”, he laughed (Cenzao) “Well when I first faced her I felt she was quite cocky. But hearing the other Guardians talk about her desire and motivation to be an honorable warrior convinced me she has a good heart”. We both looked back over at the alter to see if we could spot her, we could not sadly but hopefully that means she is near the top.

-Aquarell was closing on making it to the top of the alter- I was feeling very out of breath but I could not give up now. I pushed myself more hoping to finally fulfill the my dream, just a few more.....finally made it. I felt to my knees and breathed in a little to try and get my energy back but a person was standing looking at me. (Deity) “Congratulations you have defeated the 6 Odalsela Guardians and made it to the top of the Dark Alter, here is your reward”. He gave me a sword but at first it felt like an ordinary weapon....suddenly his body changed into aura and entered the sword. (Aquarell) “Thank you very much former owner of the Sword I shall use the sword with honor”....(Deity Voice) “Thank you”. I began making my way down the stairs I felt a lot more motivated and determined this time, I saw the two waiting for me at the bottom of the stairs. I held up the sword to show them and I could see the excitement on their faces.

(Cenzao) “Well done, now good luck cleaning up the alter on your continent” we all laughed about it. (Izarius) “Good luck friend I’m sure you shall be a positive influence to the rest of Odalsela”, (Aquarell) “Thank you very much Izarius it is an honor to hear you say that”. We began to make our way back to the village but suddenly I sensed an aura attack “Watch out the warrior is attacking”. We all got out of the way, (Lamia) “Quite impressive water born, but we will be taking that sword from you”. (Enjyu) “Its nothing personal our leader just wishes to have that item”, (Lamia) “-Sigh- Enjyu you have never met these warriors don’t act friendly to them”. They both drew out their weapons....(Izarius) “Aquarell let me and Cenzao take on these two, please don’t risk losing the sword in battle” I nodded.

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steliosagapitos · 7 years

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Hilma af Klint (October 26, 1862 – October 21, 1944) was a Swedish artist and mystic whose paintings were amongst the first abstract art. A considerable body of her abstract work predates the first purely abstract compositions by Kandinsky.

She belonged to a group called "The Five", a circle of women who shared her belief in the importance of trying to make contact with the so-called 'High Masters' - often by way of séances. Her paintings, which sometimes resemble diagrams, were a visual representation of complex spiritual ideas. The fourth child of Captain Victor af Klint, a Swedish naval commander, and Mathilda af Klint (née Sonntag), Hilma af Klint spent summers with her family at their manor Hanmora on the island of Adelsö in Lake Mälaren. In these idyllic surroundings Hilma came into contact with nature at an early stage in her life and this deep association with natural forms was to be an inspiration in her work. Later in life, Hilma af Klint came to live on a permanent basis at Munsö, an island next to Adelsö.From her family, Hilma af Klint inherited a great interest for mathematics and botanic. She showed an early ability in visual art, and after the family moved to Stockholm, she studied at the Academy of Fine Arts of Stockholm (Konstakademien), where she learned portraiture and landscape painting. This choice was quite controversial at this time, as very few women had access to higher studies in the beginning of the 20th century. She was admitted at the Royal Academy of Fine Arts at the age of twenty. During the years 1882-1887 she studied mainly drawing, and portrait- and landscape painting. She graduated with honors, and was allocated a scholarship in the form of a studio in the so called "Atelier Building" (Ateljébyggnaden), owned by The Academy of Fine Arts in the crossing between Hamngatan and Kungsträdgården in central Stockholm. This was the main cultural hub in the Swedish capital at that time. The same building also held Blanchs Café and Blanchs Art Gallery, where the conflict stood between the conventional art view of the Academy of Fine Arts, and the opposition movement of the "Art Society" (Konstnärsförbundet), inspired by the French En Plein Air painters. Hilma af Klint began working in Stockholm, gaining recognition for her landscapes, botanical drawings, and portraits. Her conventional painting became the source of financial income. But her 'life's work' remained a quite separate practice.

In 1880 her younger sister Hermina died and it was at this time that the spiritual dimension of her life began to develop. The interest for abstraction and symbolism came from Hilma af Klints involvement in spiritism, very much en vogue at the end of the 19th and beginning of 20th century. Hilma af Klint became interested in the theosophy of Madame Blavatsky and the philosophy of Christian Rosencreutz. In 1908 she met for the first time Rudolf Steiner, the founder of the Anthroposophical Society, who was on a visit in Stockholm. Rudolf Steiner initiated her to his own theories regarding arts, and would have a certain influence on her paintings later in life. Several years later, in 1920, she would meet him again in Goetheanum in Dornach in Switzerland, the headquarters of the Antroposophical Society. Between 1921 and 1930 she would spend long journeys at Goetheanum.Af Klint's work can be understood in the wider context of the modernist search for new forms in artistic, spiritual, political and scientific systems at the beginnings of the 20th century. One will find the same interest in spirituality in other artist during this same period of time, such as Wassily Kandinsky, Piet Mondrian, Kasimir Malevitch and the French Nabis of which many were, like af Klint, inspired by the Theosophical Movement. However, the artistic transition to abstract art and the non figurative painting of Hilma af Klint would occur without any contacts with the modern movements of this time.The works of Hilma af Klint is mainly spiritual, and her artistic work in a consequence of this.

At the Academy of Fine Arts she met Anna Cassel, the first of the four women with whom she later worked in "The Five" (de Fem), a group of artists who shared her ideas. The group of female artists The Five was engaged in the paranormal and regularly organized spiritistic séances. They recorded in a book a completely new system of mystical thoughts in the form of messages from higher spirits, called The High Masters ("Höga Mästare"). One, Gregor, spoke thus: "All the knowledge that is not of the senses, not of the intellect, not of the heart but is the property that exclusively belongs to the deepest aspect of your being... the knowledge of your spirit".

Through her work with the group The Five Hilma af Klint created experimental automatic drawing as early as 1896, leading her towards an inventive geometric visual language capable of conceptualizing invisible forces both of the inner and outer worlds. As she got more familiar with this form of expression, Hilma af Klint was assigned by the High Masters to create the paintings for the "Temple" - however she never understood what this "Temple" referred to. Hilma af Klint felt she was being directed by a force that would literally guide her hand. She wrote in her notebook :

“The pictures were painted directly through me, without any preliminary drawings, and with great force. I had no idea what the paintings were supposed to depict; nevertheless I worked swiftly and surely, without changing a single brush stroke.”

In 1906, after 20 years of artistic works, and at the age of 44, Hilma af Klint painted the first series of abstract paintings.

The work for the Temple ran between 1906 and 1915, carried out in two phases with an interruption between 1908 and 1912. As Hilma af Klint discovered this new form of visual expression, she developed a new artistic language. Her painting became more autonomous and more intentional. The spiritual would however continue being the main source of creativity throughout the rest of her life.

The collection for the Temple counts in total 193 paintings, grouped in several sub-series. The major paintings, dated 1907, are extremely large in size : each painting measures approximately 2,40 x 3,20m. This series, called The Ten Largest, describes the different phases in life, from early childhood to old age.

Quite apart from their diagrammatic purpose the paintings have a freshness and a modern aesthetic of tentative line and hastily captured image: a segmented circle, a helix bisected and divided into a spectrum of lightly painted colors. The artistic world of Hilma af Klint is impregnated with symbols, letters and words. The paintings often depicts symmetrical dualities, or reciprocities : up and down, in and out, earthly and esoteric, male and female, good and evil. The colour choice is throughout metaphorical: blue stands for the female spirit, yellow for the male one, and pink / red for physical / spiritual love. The Swan and the Dove, names of two series of the Paintings for the Temple, are also symbolic, representing respectively transcendence and love. As gates to other dimensions, her paintings call for interpretation on a narrative, esoterically and artistic level.

When Hilma af Klint had completed the works for the Temple, the spiritual guidance ended. However, she pursued abstract painting, now independently from any external influence. If the paintings for the Temple were mostly oil paintings, she now also used aquarelle. Her later paintings are significantly smaller in size. She painted among others a series depicting the stand-points of different religions at various stages in history, as well as representations of the duality between the physical being and its equivalence on an esoteric level. As Hilma af Klint pursued her artistic and esoteric research, it is possible to perceive a certain inspiration from the artistic theories developed by the Antroposophical Society from 1920 onward.

All through her life, Hilma af Klint would seek to understand the mysteries that she had come in contact with through her work. She left behind more than 150 notebooks with her thoughts and studies.[8]

Hilma af Klint never dared to show her abstract work to her contemporaries. Her major work, the one dedicated to the Temple, had been questioned and rejected by Rudolf Steiner. Hilma af Klint drew the conclusion that her time was not yet ready to understand them. More than 1200 paintings and drawings were carefully stored away in her atelier, waiting for the future.

Hilma af Klint died in 1944, nearly 82 years old, in the aftermath of a traffic accident.

In her will, Hilma af Klint left all her abstract paintings to her nephew, , vice-admiral in the Swedish Royal Navy. She specified that her work should be kept secret for at least 20 years after her death. When the boxes were opened at the end of the 1960's, very few persons had knowledge of what would be revealed.

In 1970 her paintings were offered as a gift to Moderna Museet in Stockholm, which declined the donation. Thanks to the art historian Åke Fant, her art was introduced to an international audience in the 1980s, when he presented her at a Nordik conference in Helsinki in 1984. Erik af Klint then donated thousands of drawings and paintings to a foundation bearing the artist’s name in the 1970s.

The collection of abstract paintings of Hilma af Klint counts more than 1200 pieces. It is owned and managed by the Hilma af Klint Foundation in Stockholm, Sweden. In 2017, Norwegian architectural firm Snøhetta presented plans for an exhibition centre dedicated af Klint in Järna, south of Stockholm, with estimated building costs of between €6 million and €7.5 million.

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aurakaura · 7 years

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Odalsela Fate 49

-Lady Dukbelle had something she wished to discuss with Izarius and Aquarell-. (Lady Dukbelle) “You two have fought bravely and I wish to give you a gift now I have seen first hand the kindness of your hearts”. I took out a map and offered it to them, “This is a map to where the Odalsela Sword is currently placed”. They both had shocked expressions on their faces, (Izarius) “Wait if you have a map to the sword why does no one try and steal it?” (Aquarell) “Also why do you have the sword here sorry?”. (Lady Dukbelle) “Well there is an aura wall that only those who have defeated the 6 Odalsela Guardians can walk through. It is here as the last claimer of the sword was a darkness born thus the sword was placed in an alter on their home continent”. They both seemed quite satisfied with the answers, (Izarius and Aquarell) “Thank you Lady Dukbelle” they both thanked me and I sen’t them on there way to collect the sword. I waited until they had left my home as I had some business to discuss with my tribe. (Lady Dukbelle) “Lamia well done on sabotaging that Boomerang attack, but you almost were caught”.

(Lamia) “I’m sorry my lady, I under estimated the water born’s observation skills next time I shall be more careful” she bowed. (Lady Dukbelle) “Make sure you don’t get caught again we can not afford to let them know we are using them to get the sword ourselves”. (Izaruchi) “But what happens if they do gain the sword won’t its power easily defeat us?”, (Lady Dukbelle) “If the plan goes well Lamia and her ally Enjyu will steal it from them. We simply need it past the wall after that anyone can posses the sword and if they resist its your job to crush them Izaruchi”. He nodded his head, (Lamia) “Does Suemally support you on this decision my lady as she stronger than us?”. (Lady Dukbelle) “She does not know and neither do her two students, she wants to believe in the outside world but I just can’t. I hope wielding the sword will make the rest of the world support us Darkness born’s”. (Izaruchi) “Wait Noire does not know what we are doing?” (Rankuto) “Who cares you follow the Lady Dukbelle don’t you?”.

He clenched his fist but then suddenly became calm, (Izaruchi) “Yes I follow your orders my lady”. (Lady Dukbelle) “Good now prepare a team and go to the alter and await for the pair to collect the sword”. He left the room and I wished to talk more with Lamia. “Now Lamia whatever you do, make sure you and Enjyu do not engage the pair in battle, your goal is to just collect the sword”. She bowed again, (Lamia) “I will make sure we swipe the sword and leave my lady”. I smiled and let her go on her way to catch up with the pair but I was worried in case something wen’t wrong. (Rankuto) “Don’t worry my lady everyone is loyal to you and won’t let themselves fail these roles”. I smiled a little, (Lady Dukbelle) “Thank you for the reassurance Rankuto”. I sat back down and waited patiently soon the greatest sword in Odalsela would be ours and we would bring respect back to the Dark aura born’s.

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aurakaura · 7 years

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Odalsela Fate 35

-Aquarell was taken before the King as he feared her being a potential threat if she was to claim the Sword of Odalsela-. It felt weird to stand in front of this King I met him as a child when he seemed more joyful but now all I saw was a man full of fear. (King Ignis) “Oh Aquarell how you have grown since the day your father introduced you to me”. (Aquarell) “I would say it is touching you remember me but the fact I’m here is a prisoner ruins the moment”. He seemed upset by this claim but deep down I could tell he understood my frustration. (King Ignis) “If you give up on your quest for the sword then I can let you go free, please don’t make things harder”. (Aquarell) “I...I can’t my father taught me all I know and I won’t to use his teachings to become a leading warrior to this world”. He seemed to smile slightly at my response but then shut off his pride and looked like he was about to send me away but stopped himself.

He started pacing back and forth occasionally stopping presumably to ask a question but changed his mind. (King Ignis) “I will respect your father until the day I die...but power corrupts at times my dear I’m sorry”. (Aquarell) “Is that why you capture those of us who reach for our dreams, your power corrupted you? I understand some people have selfish reasons for wanting power, but the Sword gifted this world with life I believe it would only accept one with a pure heart and heroic intentions”. He was starting to seem more convinced, (King Ignis) “Do you have a pure hart though, and are your intentions heroic or do you just want to surpass your father? You are not an evil warrior Aquarell but you fight to prove yourself not too protect others am I right?”. I was about to answer but could not answer yet as even I did not feel my actions were heroic. I did fight to prove I was strong no...I have fought for another.

(Aquarell) “I fight to protect Izarius, I know its not enough to prove I’m a hero but he has helped me to open up too others. If I can continue to fight by his side I’m sure I will learn to understand fighting for others”. He seemed shocked at my answer I guess he thought he had me trumped with his last question. Sadly I could answer a hundred questions and prove I’m not a threat to him, he would still refuse to let me go unless I gave up on the sword. Suddenly a Guard entered the throne, (Guard) “Your highness someone has been destroying your collection of vases on the top floor”. (King Ignis) “Go capture him, the one behind this could be violent and dangerous to the Nobles”. He sent all his men to go check Izarius just as we had planned, I waited until their footsteps became faint. (Aquarell) “Tsunami Pillar, sorry but I have a sword to go fight for” I ran before he could get up and catch me.

(King Ignis) “AQUARELL, you will not get away” I ran as fast as I could trying to avoid being caught as I was limited without a weapon. Luckily for me the King was not much of a fighter and wen’t down easily, the Castle was most likely about get chaotic. I hope Izarius is already by a ship otherwise he may end up leading a squad of Knights to the docks. It was going to be a struggle to get to the docks myself as I barely remember the Castle routes but I could not give up now.

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