229 research outputs found
Frederic Matys Thursz - Radical Painting
Titelblatt, Inhaltsverzeichnis und Abbildungsverzeichnis
Einleitung
Frederic Matys Thursz
Radical Painting
Schlussbetrachtung
Anhang
Literaturverzeichnis
Abbildungsverzeichnis Frederic Matys Thursz I
Abbildungsverzeichnis Frederic Matys Thursz II
Abbildungsverzeichnis Frederic Matys Thursz III
Abbildungsverzeichnis Radical Painting / KontextFrederic Matys Thursz Radical Painting Mit der steten Auflösung der
reprÀsentativen Tafelbildmalerei und der Verweigerung jeglicher
GegenstÀndlichkeit in der Moderne haben sich zugleich SelbstverstÀndnis wie
Status der Malerei zunehmend verÀndert. Die Abkehr von Traditionen und Regeln
stellte die malereiimmanenten Aspekte wie Farbe, Material, BildtrÀger oder die
Bedeutung von Licht in den Vordergrund. Das uvre von Frederic Matys Thursz
(1930-1992) spiegelt diese Entwicklung wider. So stellte der KĂŒnstler die
Malerei immer wieder grundsÀtzlich in Frage und verpflichtete sich aus dieser
kritischen Reflexion heraus ganz der Farbe und dem Licht als Maximen seiner
Malerei. Innerhalb von vier Jahrzehnten schuf Frederic Matys Thursz ein Werk,
das in seiner EigenstÀndigkeit und Ausstrahlung ohne Vergleich ist. Heute
zÀhlt er zu den bedeutendsten Vertretern der Farbmalerei der 80er und 90er
Jahre in Europa und Amerika. In seinem Hauptwerk der 80er und 90er Jahre schuf
Frederic Matys Thursz in einer Art moderner, polychromer Schichtenmalerei mit
bis zu 100 Farbschichten, groĂformatige, scheinbar monochrome Arbeiten, bei
denen er sich in einer radikalen Reduktion auf Farbe und Licht, konzentrierte
fĂŒr ihn the totality of painting . Diese Arbeiten sind bestimmt durch ihre
MaterialitÀt und spezielle Faktur. Ausserdem bestechen sie durch ihre
besondere Farbwirkung sowie die intensive Strahlkraft und behaupten aus der
Symbiose von Farbe und Licht ihre EigenstÀndigkeit. Ab 1978 nahm Frederic
Matys Thursz an Treffen, Ausstellungen und Publikationen von KĂŒnstlern teil,
die sich ebenfalls der Infragestellung bzw. Erneuerung der Malerei
verschrieben hatten. Dazu gehörten Raimund Girke, Marcia Hafif, Joseph
Marioni, Olivier Mosset, Phil Sims, GĂŒnter Umberg und Jerry Zeniuk. Laut
Marcia Hafif war es notwendig geworden, turning to the basic question of what
painting is, not so much for the purpose of defining it as to actually be able
to vivify it beginning all over again. Unter der Etikettierung Radical
Painting gipfelten die gemeinsamen AktivitÀten in der Ausstellung Radical
Painting: An Exhibition of Painting im Williams College Museum of Art,
Williamstown, MA. In Europa fand Radical Painting ebenfalls in verschiedenen
Ausstellungen sein Echo, doch zerschlug sich das gemeinsame Unterfangen Mitte
der 80er Jahre. Trotz ihrer Bedeutung fĂŒr die Entwicklung der Malerei erfuhren
Frederic Matys Thursz und Radical Painting in den USA und Europa kaum
Anerkennung. Erst in den 80er und 90er Jahren wurde dem Werk von Frederic
Matys Thursz wachsende Anerkennung zuteil. 1988 widmete ihm das Musée d Art
Moderne in Saint-Etienne seine erste Retrospektive. WĂ€hrend seiner letzten
Ausstellung 1992 auf der Documenta IX verstarb der KĂŒnstler. Trotzdem ist das
uvre von Frederic Matys Thursz nahezu in Vergessenheit geraten und bisher
nicht umfassend kunsthistorisch behandelt worden. Auch zu Radical Painting
existieren keine Publikationen, die sich eingehend mit dieser Gruppe von
KĂŒnstlern auseinandersetzen. Die kĂŒnstlerische RadikalitĂ€t und Konsequenz, mit
der Frederic Matys Thursz der Frage nachgegangen ist, was Malerei sein kann,
weist weit ĂŒber den malereiimmanenten Diskurs hinaus. Vielmehr stieĂ er mit
seiner Malerei an deren Grenzen, erweiterte sie und eröffnet dem Betrachter
ganz neue Erfahrungswelten ganz im Sinne von Jean-François Lyotard,
demzufolge die Frage nach dem Undarstellbaren die einzige ist, die im
kommenden Jahrhundert den Einsatz von Leben und Denken lohnt.Frederic Matys Thursz Radical Painting The status of modern painting has
changed profoundly over the last centuries due to the deconstruction of
representative painting and the denial of any concrete subject matter. A
renunciation of traditions and common principles emphasized the medium s
immanent aspects like color, paint, light and used materials. The uvre of
Frederic Matys Thursz (1930-1992) very much embodies this development. The
artist fundamentally questioned painting as such . According to this very
radical and critical approach he highlighted color, paint and light as the
principles of his work. Over a four decade period he created an uvre that is
unique in its artistic independence and aura. Today he is considered among the
most influential color painters in Europe and the United States during the
1980 s and 1990 s. In his main uvre of the 1980 s and 1990 s, Thursz applied
a distinctive technique to large formats, sometimes adding up to 100 layers of
different colors that appear at first glance monochromatic, but in fact are
the polychromatic sum of all the layers. Consequently, the artist made color,
paint and light his sole emphasis. These are the principles he considered the
totality of painting . Furthermore, his works are defined by their materiality
and special surface treatment. They captivate with their extraordinary color
and the intensity their radiance, and assert their autonomy through this
symbiosis of color and light. In 1978, Thursz began collaborating with a group
of artists, including Raimund Girke, Marcia Hafif, Joseph Marioni, Olivier
Mosset, Phil Sims, GĂŒnter Umberg, and Jerry Zeniuk. Through meetings,
exhibitions, and publications these artists challenged the common definition
of painting and came to be known as Radical Painting . According to Hafif it
became necessary to turn to the basic question of what painting is, not so
much for the purpose of defining it as to actually be able to vivify it
beginning all over again. Their shared views and activities culminated in the
exhibition Radical Painting: An Exhibition of Painting at the Williams College
Museum of Art in Williamstown, Massachusetts. In Europe their endeavors echoed
in numerous exhibitions as well, but in the middle of the 1980 s the group
fell apart. Despite the crucial role Thursz and Radical Painting played in
redefining painting, they received little acclaim from the broader art world.
The first consequential exhibition of Thursz s work was at the Musée d Art
Moderne in Saint-Etienne, France in 1988. He slowly began to receive rightful
acknowledgment in the years that followed. Unfortunately, Thursz died at the
Documenta IX in 1992. Regrettably, the oeuvre of Thursz is today nearly
forgotten and not scholarly researched. Accordingly, no publications exist
about Radical Painting that focus on the group and its development. The
radicalism and stringency with which Frederic Matys Thursz focused on the
questions of what painting can be and what color and light are able to
enforce, extended far beyond just painting. In fact, the artist pushed
painting to its limits, broadening it and empowering the viewer to experience
completely new perceptions and emotions as Jean-François Lyotard noted,
the question of the undepictable is the only one that warrants the dedication
of life and death
Towards the Holographic Dual of N = 2 SYK
The gravitational part of the holographic dual to the SYK model has been
conjectured to be Jackiw-Teitelboim (JT) gravity. In this paper we construct an
AdS2 background in N = (2,2) JT gravity and show that the gravitational
dynamics are - as in the N = 0 and N = 1 cases - fully captured by the
extrinsic curvature as an effective boundary action. This boundary term is
given by the super-Schwarzian of the N = 2 SYK model, thereby providing further
evidence of the JT/SYK duality. The chirality of this SYK model is reproduced
by the inherent chirality of axial N = (2,2) supergravity.Comment: 22 pages,v2 references added, typos correcte
Southern Splash: Indoor Aquatic Facility Business Plan
The purpose of this project was to develop a feasible business plan for a swim school, which would offer various aquatic activities with the care product being youth swimming lessons. The initial portion of this thesis discusses in detail what a business plan is, the purpose of a business plan, and the components of a business plan. This business plan will also include a market research analysis
No Page curves for the de Sitter horizon
We investigate the fine-grained entropy of the de Sitter cosmological
horizon. Starting from three-dimensional pure de Sitter space, we consider a
partial reduction approach, which supplies an auxiliary system acting as a heat
bath both at future infinity and inside the static patch. This allows us to
study the time-dependent entropy of radiation collected for both observers in
the out-of-equilibrium Unruh-de Sitter state, analogous to black hole
evaporation for a cosmological horizon. Central to our analysis in the static
patch is the identification of a weakly gravitating region close to the past
cosmological horizon; this is suggestive of a relation between observables at
future infinity and inside the static patch. We find that in principle, while
the meta-observer at future infinity naturally observes a pure state, the
static patch observer requires the use of the island formula to reproduce a
unitary Page curve. However, in practice, catastrophic backreaction occurs at
the Page time, and neither observer will see unitary evaporation.Comment: 33 pages, 8 figures. v2: references added, minor edits. v3: as
published in JHEP. Minor edits. Comments and clarifications added, regarding
e.g. the static patch backreacted dilaton, and the weakly-coupled radiation
regio
Beziehungen von weiblichen Angestellten in Irmgard Keuns Romanen âGilgi â eine von unsâ und âDas kunstseidene MĂ€dchenâ
Diese Arbeit untersucht die zwischenmenschlichen und âmateriellenâ Beziehungen weiblicher Angestellter in zwei Romanen Irmgard Keuns. Als ReprĂ€sentantinnen werden die Protagonistinnen Gilgi (âGilgi â eine von unsâ) und Doris (âDas kunstseidene MĂ€dchenâ) herangezogen.
ZunĂ€chst erfolgt ein historischer Ăberblick zu den Themen âNeue Sachlichkeitâ, âAngestellteâ und die âNeue Frauâ, anschlieĂend wird auf die verschiedenen Beziehungen, welche die Hauptprotagonistinnen haben, eingegangen. Vor jedem Kapitel (Freundschaft, Familie, Liebe, Arbeit und Mode) steht ein Einblick in die Lage der Frau in der Weimarer Republik, dann folgt die literarische Analyse.
Die Analyse ergibt, dass Freundschaften in dem Leben der beiden Figuren eine groĂe Rolle spielt und das VerhĂ€ltnis zur Familie eher kĂŒhl ist. In Bezug auf Ehe entsprechen beide ganz dem Typ âNeue Frauâ, da sie von Ehe und FamiliengrĂŒndung nicht viel halten. Liebe nimmt einen hohen Stellenwert ein, wobei beide Protagonistinnen im Endeffekt aber allein bleiben. Gilgi ist ihre Arbeitsstelle sehr wichtig, sie macht einen Teil ihrer IdentitĂ€t aus, Doris hingegen möchte lieber ein âGlanzâ werden. Beide machen sich viele Gedanken ĂŒber ihr Aussehen, fĂŒr Gilgi ist dieses fĂŒr ihr Wohlbefinden notwendig, fĂŒr Doris bedeutet Mode eine Steigerung ihres Status.
Insgesamt zeigt sich, dass beide Frauen, auch wenn sie versuchen, selbststÀndig und selbstbewusst als Neue Frauen zu agieren, am Ende dennoch in der AbhÀngigkeit von MÀnnern bleiben, Doris stÀrker noch als Gilgi
The Lion, the Witch, and the Wormhole: Ensemble averaging the symmetric product orbifold
We consider the ensemble average of two dimensional symmetric product
orbifold CFTs over the Narain moduli space. We
argue for a bulk dual given by copies of an abelian Chern-Simons theory
coupled to topological gravity, endowed with a discrete gauge symmetry
exchanging the copies. As a check of this proposal, we calculate the
ensemble average of various partition and correlation functions of the
symmetric product orbifold theory and compare the resulting expressions to
gauge theory quantities in the bulk. We comment on the ensemble average of the
tensionless string partition function on by considering the specific case of with the addition of
supersymmetry.Comment: 84 pages, 25 figure
âOur old pastor thinks the mobile phone is a source of evil.â Capturing contested and conflicting insights on digital wellbeing and digital detoxing in an age of rapid mobile connectivity
While Africa has largely been considered a digitally-disconnected country, recent studies have shown that connectivity figures are on a rise. In this paper, we theorize digital wellbeing in a context characterized by a fast-growing number of mobile data users despite a historically low Internet penetration. It is focused on an ongoing ethnographic research on mobile users and digital inequalities in Africa, zooming in on results from an explorative study featuring 10 in-depth interviews with young adult heavy users (more than 4â5 hours a day) and seeking to understand strategies they use in attaining digital wellbeing. The findings show how the sampled young adults (18â30 years old) struggle with the daily realities of digital participation including addiction and generational conflict in technology use. Results also reveal ways through which electronic connectivity is perceived both be a tool of freedom as well as a subtle form of potential digital enslavering
Defining an Adequate Sample of Earlywood Vessels for Retrospective Injury Detection in Diffuse-Porous Species
Vessels of broad-leaved trees have been analyzed to study how trees deal with various environmental factors. Cambial injury, in particular, has been reported to induce the formation of narrower conduits. Yet, little or no effort has been devoted to the elaboration of vessel sampling strategies for retrospective injury detection based on vessel lumen size reduction. To fill this methodological gap, four wounded individuals each of grey alder (Alnus incana (L.) Moench) and downy birch (Betula pubescens Ehrh.) were harvested in an avalanche path. Earlywood vessel lumina were measured and compared for each tree between the injury ring built during the growing season following wounding and the control ring laid down the previous year. Measurements were performed along a 10 mm wide radial strip, located directly next to the injury. Specifically, this study aimed at (i) investigating the intra-annual duration and local extension of vessel narrowing close to the wound margin and (ii) identifying an adequate sample of earlywood vessels (number and intra-ring location of cells) attesting to cambial injury. Based on the results of this study, we recommend analyzing at least 30 vessels in each ring. Within the 10 mm wide segment of the injury ring, wound-induced reduction in vessel lumen size did not fade with increasing radial and tangential distances, but we nevertheless advise favoring early earlywood vessels located closest to the injury. These findings, derived from two species widespread across subarctic, mountainous, and temperate regions, will assist retrospective injury detection in Alnus, Betula, and other diffuse-porous species as well as future related research on hydraulic implications after wounding
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