AssociatEyes'Way

Grâce et disgrâce de l’adolescence #Galerie du 5ème “Temps de Pose” à partir de la #Collection photographique du Château d’eau de Toulouse

Temps de Pose, Exposition organisée par le réseau Marseille expos à la Galerie du 5ème : photographies de la Collection du Château d’Eau de Toulouse. Commissaires : Soraya Amrane et Jean-Marc Lacabe.

Vitrine des Galeries Lafayette annonçant l'exposition" Temps de Pose" avec la photographie de Gilbert Garcin "La Persévérance". © A.L.Picca 2014

Vitrine des Galeries Lafayette annonçant l’exposition” Temps de Pose” avec la photographie de Gilbert Garcin “La Persévérance”. © A.L.Picca 2014

Décidément la photo est à l’honneur à Marseille, déjà…

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Grâce et disgrâce de l’adolescence
mocatv:

Through film, video and performance, Eugene Kotlyarenko explores the consequences of contemporary miscommunication. Curating for MOCAtv the Feast of Burden director pulls back the curtain on society’s attacks on race, gender and NSA awareness.
YouTube Curated By - Eugene Kotlyarenko - MOCAtv
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mocatv:

Through film, video and performance, Eugene Kotlyarenko explores the consequences of contemporary miscommunication. Curating for MOCAtv the Feast of Burden director pulls back the curtain on society’s attacks on race, gender and NSA awareness.

YouTube Curated By - Eugene Kotlyarenko - MOCAtv

Affiche annonçant l'exposition "Visages", reproduction de Pablo Picasso "Femme au miroir" 1959, Fondation Jean et Suzanne Planque, en dépôt au musée Granet. © A.L.Picca 2014

#Visages de l’intimité : #Nan Goldin à la Vieille Charité/ Marseille

Visages- Picasso, Magritte, Warhol… Une exposition organisée par le Ville de Marseille/ Centre de la Vieille Charité et la RMN (Réunion des Musées Nationaux, Grand Palais) jusqu’au 22 juin 2014.

« Visages »…Affiche annonçant l’exposition “Visages”, reproduction du tableau de Pablo Picasso “Femme au miroir” 1959, Fondation Jean et Suzanne Planque, en dépôt au musée Granet. © A.L.Picca 2014

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Visages de l’intimité : Nan Goldin à la Vieille Charité/ Marseille
le-mari-de-laraignee:

the-paintrist:

juju-be-art:

Otto Dix, Self-Portrait, 1912,
tempera and oil on panel, 49.5 x 73.6 cm,
Detroit Institute of Arts, Detroit, MI, USA

Wilhelm Heinrich Otto Dix (2 December 1891 – 25 July 1969) was a German painter and printmaker, noted for his ruthless and harshly realistic depictions of Weimar society and the brutality of war. Along with George Grosz, he is widely considered one of the most important artists of the Neue Sachlichkeit.
Otto Dix was born in Untermhaus, Germany, now a part of the city of Gera. The eldest son of Franz and Louise Dix, he an iron foundry worker and she a seamstress who had written poetry in her youth, he was exposed to art from an early age. The hours he spent in the studio of his cousin, Fritz Amann, who was a painter, were decisive in forming young Otto’s ambition to be an artist; he received additional encouragement from his primary school teacher. Between 1906 and 1910, he served an apprenticeship with painter Carl Senff, and began painting his first landscapes. In 1910, he entered the Kunstgewerbeschule in Dresden (Academy of Applied Arts), where Richard Guhr was among his teachers.
When the First World War erupted, Dix enthusiastically volunteered for the German Army. He was assigned to a field artillery regiment in Dresden. In the autumn of 1915 he was assigned as a non-commissioned officer of a machine-gun unit on the Western front and took part in the Battle of the Somme. In November 1917, his unit was transferred to the Eastern front until the end of hostilities with Russia, and in February 1918 he was stationed in Flanders. Back on the western front, he fought in the German Spring Offensive. He earned the Iron Cross (second class) and reached the rank of vizefeldwebel. In August of that year he was wounded in the neck, and shortly after he took pilot training lessons. He was discharged from service in December 1918.
Dix was profoundly affected by the sights of the war, and would later describe a recurring nightmare in which he crawled through destroyed houses. He represented his traumatic experiences in many subsequent works, including a portfolio of fifty etchings called Der Krieg, published in 1924.
At the end of 1918 Dix returned to Gera, but the next year he moved to Dresden, where he studied at the Hochschule für Bildende Künste. He became a founder of the Dresden Secession group in 1919, during a period when his work was passing through an expressionist phase. In 1920, he met George Grosz and, influenced by Dada, began incorporating collage elements into his works, some of which he exhibited in the first Dada Fair in Berlin. He also participated in the German Expressionists exhibition in Darmstadt that year.
In 1924, he joined the Berlin Secession; by this time he was developing an increasingly realistic style of painting that used thin glazes of oil paint over a tempera underpainting, in the manner of the old masters. His 1923 painting The Trench, which depicted dismembered and decomposed bodies of soldiers after a battle, caused such a furore that the Wallraf-Richartz Museum hid the painting behind a curtain. In 1925 the then-mayor of Cologne, Konrad Adenauer, cancelled the purchase of the painting and forced the director of the museum to resign.
Dix was a contributor to the Neue Sachlichkeit exhibition in Mannheim in 1925, which featured works by George Grosz, Max Beckmann, Heinrich Maria Davringhausen, Karl Hubbuch, Rudolf Schlichter, Georg Scholz and many others. Dix’s work, like that of Grosz—his friend and fellow veteran—was extremely critical of contemporary German society and often dwelled on the act of Lustmord, or sexual murder. He drew attention to the bleaker side of life, unsparingly depicting prostitution, violence, old age and death.
In one of his few statements, published in 1927, Dix declared, “The object is primary and the form is shaped by the object.”
Among his most famous paintings are the triptych Metropolis (1928), a scornful portrayal of depraved actions of Germany’s Weimar Republic, where nonstop revelry was a way to deal with the wartime defeat and financial catastrophe, and the startling Portrait of the Journalist Sylvia von Harden (1926). His depictions of legless and disfigured veterans—a common sight on Berlin’s streets in the 1920s—unveil the ugly side of war and illustrate their forgotten status within contemporary German society, a concept also developed in Erich Maria Remarque’s All Quiet on the Western Front.
When the Nazis came to power in Germany, they regarded Dix as a degenerate artist and had him sacked from his post as an art teacher at the Dresden Academy. He later moved to Lake Constance in the southwest of Germany. Dix’s paintings The Trench and War cripples were exhibited in the state-sponsored Munich 1937 exhibition of degenerate art, Entartete Kunst. They were later burned.
Dix, like all other practising artists, was forced to join the Nazi government’s Reich Chamber of Fine Arts (Reichskammer der bildenden Kuenste), a subdivision of Goebbels’ Cultural Ministry (Reichskulturkammer). Membership was mandatory for all artists in the Reich. Dix had to promise to paint only inoffensive landscapes. He still painted an occasional allegorical painting that criticized Nazi ideals. His paintings that were considered “degenerate” were discovered among the 1500+ paintings hidden away by an art dealer and his son in 2012.
In 1939 he was arrested on a trumped-up charge of being involved in a plot against Hitler (see Georg Elser), but was later released.
During World War II Dix was conscripted into the Volkssturm. He was captured by French troops at the end of the war and released in February 1946.
Dix eventually returned to Dresden and remained there until 1966. After the war most of his paintings were religious allegories or depictions of post-war suffering, including his 1948 Ecce homo with self-likeness behind barbed wire. In this period, Dix gained recognition in both parts of, the then divided, Germany. In 1959 he was awarded the Grand Merit Cross of the Federal Republic of Germany (Großes Verdienstkreuz) and in 1950, he was unsuccessfully nominated for the National Prize of the GDR. He received the Lichtwark Prize in Hamburg and the Martin Andersen Nexo Art Prize in Dresden to mark his 75th birthday in 1967. Dix was made an honorary citizen of Gera. Also in 1967 he received the Hans Thoma Prize and in 1968 the Rembrandt Prize of the Goethe Foundation in Salzburg.
Dix died on 25 July 1969 after a second stroke in Singen am Hohentwiel. He is buried at Hemmenhofen on Lake Constance.
Dix had three children: a daughter Nelly (1923-1955) and two sons, Ursus (1927-2002) and Jan (* 1928).

(via Tumbling)
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le-mari-de-laraignee:

the-paintrist:

juju-be-art:

Otto Dix, Self-Portrait, 1912,

tempera and oil on panel, 49.5 x 73.6 cm,

Detroit Institute of Arts, Detroit, MI, USA

Wilhelm Heinrich Otto Dix (2 December 1891 – 25 July 1969) was a German painter and printmaker, noted for his ruthless and harshly realistic depictions of Weimar society and the brutality of war. Along with George Grosz, he is widely considered one of the most important artists of the Neue Sachlichkeit.

Otto Dix was born in Untermhaus, Germany, now a part of the city of Gera. The eldest son of Franz and Louise Dix, he an iron foundry worker and she a seamstress who had written poetry in her youth, he was exposed to art from an early age. The hours he spent in the studio of his cousin, Fritz Amann, who was a painter, were decisive in forming young Otto’s ambition to be an artist; he received additional encouragement from his primary school teacher. Between 1906 and 1910, he served an apprenticeship with painter Carl Senff, and began painting his first landscapes. In 1910, he entered the Kunstgewerbeschule in Dresden (Academy of Applied Arts), where Richard Guhr was among his teachers.

When the First World War erupted, Dix enthusiastically volunteered for the German Army. He was assigned to a field artillery regiment in Dresden. In the autumn of 1915 he was assigned as a non-commissioned officer of a machine-gun unit on the Western front and took part in the Battle of the Somme. In November 1917, his unit was transferred to the Eastern front until the end of hostilities with Russia, and in February 1918 he was stationed in Flanders. Back on the western front, he fought in the German Spring Offensive. He earned the Iron Cross (second class) and reached the rank of vizefeldwebel. In August of that year he was wounded in the neck, and shortly after he took pilot training lessons. He was discharged from service in December 1918.

Dix was profoundly affected by the sights of the war, and would later describe a recurring nightmare in which he crawled through destroyed houses. He represented his traumatic experiences in many subsequent works, including a portfolio of fifty etchings called Der Krieg, published in 1924.

At the end of 1918 Dix returned to Gera, but the next year he moved to Dresden, where he studied at the Hochschule für Bildende Künste. He became a founder of the Dresden Secession group in 1919, during a period when his work was passing through an expressionist phase. In 1920, he met George Grosz and, influenced by Dada, began incorporating collage elements into his works, some of which he exhibited in the first Dada Fair in Berlin. He also participated in the German Expressionists exhibition in Darmstadt that year.

In 1924, he joined the Berlin Secession; by this time he was developing an increasingly realistic style of painting that used thin glazes of oil paint over a tempera underpainting, in the manner of the old masters. His 1923 painting The Trench, which depicted dismembered and decomposed bodies of soldiers after a battle, caused such a furore that the Wallraf-Richartz Museum hid the painting behind a curtain. In 1925 the then-mayor of Cologne, Konrad Adenauer, cancelled the purchase of the painting and forced the director of the museum to resign.

Dix was a contributor to the Neue Sachlichkeit exhibition in Mannheim in 1925, which featured works by George Grosz, Max Beckmann, Heinrich Maria Davringhausen, Karl Hubbuch, Rudolf Schlichter, Georg Scholz and many others. Dix’s work, like that of Grosz—his friend and fellow veteran—was extremely critical of contemporary German society and often dwelled on the act of Lustmord, or sexual murder. He drew attention to the bleaker side of life, unsparingly depicting prostitution, violence, old age and death.

In one of his few statements, published in 1927, Dix declared, “The object is primary and the form is shaped by the object.”

Among his most famous paintings are the triptych Metropolis (1928), a scornful portrayal of depraved actions of Germany’s Weimar Republic, where nonstop revelry was a way to deal with the wartime defeat and financial catastrophe, and the startling Portrait of the Journalist Sylvia von Harden (1926). His depictions of legless and disfigured veterans—a common sight on Berlin’s streets in the 1920s—unveil the ugly side of war and illustrate their forgotten status within contemporary German society, a concept also developed in Erich Maria Remarque’s All Quiet on the Western Front.

When the Nazis came to power in Germany, they regarded Dix as a degenerate artist and had him sacked from his post as an art teacher at the Dresden Academy. He later moved to Lake Constance in the southwest of Germany. Dix’s paintings The Trench and War cripples were exhibited in the state-sponsored Munich 1937 exhibition of degenerate art, Entartete Kunst. They were later burned.

Dix, like all other practising artists, was forced to join the Nazi government’s Reich Chamber of Fine Arts (Reichskammer der bildenden Kuenste), a subdivision of Goebbels’ Cultural Ministry (Reichskulturkammer). Membership was mandatory for all artists in the Reich. Dix had to promise to paint only inoffensive landscapes. He still painted an occasional allegorical painting that criticized Nazi ideals. His paintings that were considered “degenerate” were discovered among the 1500+ paintings hidden away by an art dealer and his son in 2012.

In 1939 he was arrested on a trumped-up charge of being involved in a plot against Hitler (see Georg Elser), but was later released.

During World War II Dix was conscripted into the Volkssturm. He was captured by French troops at the end of the war and released in February 1946.

Dix eventually returned to Dresden and remained there until 1966. After the war most of his paintings were religious allegories or depictions of post-war suffering, including his 1948 Ecce homo with self-likeness behind barbed wire. In this period, Dix gained recognition in both parts of, the then divided, Germany. In 1959 he was awarded the Grand Merit Cross of the Federal Republic of Germany (Großes Verdienstkreuz) and in 1950, he was unsuccessfully nominated for the National Prize of the GDR. He received the Lichtwark Prize in Hamburg and the Martin Andersen Nexo Art Prize in Dresden to mark his 75th birthday in 1967. Dix was made an honorary citizen of Gera. Also in 1967 he received the Hans Thoma Prize and in 1968 the Rembrandt Prize of the Goethe Foundation in Salzburg.

Dix died on 25 July 1969 after a second stroke in Singen am Hohentwiel. He is buried at Hemmenhofen on Lake Constance.

Dix had three children: a daughter Nelly (1923-1955) and two sons, Ursus (1927-2002) and Jan (* 1928).

(via Tumbling)

gloriamundi:

Robert Adams // the place we live // Jeu de Paume
sfmoma:

Robert Adams, Sitka Spruce, Cape Blanco State Park, Curry County, Oregon, 1993-2003. Gift of Randi and Bob Fisher. © Robert Adams
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gloriamundi:

Robert Adams // the place we live // Jeu de Paume

sfmoma:

Robert Adams, Sitka Spruce, Cape Blanco State Park, Curry County, Oregon, 1993-2003. Gift of Randi and Bob Fisher. © Robert Adams

colepeter:

D’où viennent nos étonnements ?

2014-03-01 à 12-38-05

Étonnement devant la subtilité de la représentation du corps d’Hermaphrodite, féminin selon qu’on se place d’un côté, masculin si l’on change d’angle de vue. Pour comprendre et voir ce qui se révèle, il faut se déplacer, faire quelques pas de côté, contourner ce corps étendu.

Étonnement devant la douceur des lignes, des courbes d’un corps endormi féminin-masculin…

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Etonnement
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hermineownstheconcrete:

L’ERRANCE II 

l’ERRANCE I

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hermineownstheconcrete:

L’ERRANCE I  (ERRANCE II)

L’errance est un mot qui enlace bien Marseille, ces personnages perdus dans la ville d’un “western moderne” saupoudrent à leurs pas indéterminés les rues de mystère et de nostalgie. Et même si on veut bien s’y attacher on y verrait des Cowboys cliquetants dans une cité cinétique aux seules richesses que ses murs baignés d’or.

L’errance n’est ni le voyage ni la promenade mais cette expérience du monde qui renvoie à une question essentielle : qu’est-ce que je fais là ? Pourquoi ici plutôt qu’ailleurs ? Comment vivre le plus longtemps possible dans le présent, c’est-à-dire être heureux ? Comment se regarder, s’accepter ? Qu’est-ce que je suis, qu’est-ce que je vaux, quel est mon regard ?

Raymond DEPARDON

humansofmarseille:

Francis - Rue de l’Académie -13001
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humansofmarseille:

Francis - Rue de l’Académie -13001

(via hermineownstheconcrete)