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 repräsentativen Tafelbildmalerei und der Verweigerung jeglicher Gegenständlichkeit in der Moderne haben sich zugleich Selbstverständnis wie Status der Malerei zunehmend verändert. Die Abkehr von Traditionen und Regeln stellte die malereiimmanenten Aspekte wie Farbe, Material, Bildträger oder die Bedeutung von Licht in den Vordergrund. Das uvre von Frederic Matys Thursz (1930-1992) spiegelt diese Entwicklung wider. So stellte der Künstler die Malerei immer wieder grundsätzlich 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 Eigenständigkeit und Ausstrahlung ohne Vergleich ist. Heute zählt 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, großformatige, scheinbar monochrome Arbeiten, bei denen er sich in einer radikalen Reduktion auf Farbe und Licht, konzentrierte für ihn the totality of painting . Diese Arbeiten sind bestimmt durch ihre Materialität und spezielle Faktur. Ausserdem bestechen sie durch ihre besondere Farbwirkung sowie die intensive Strahlkraft und behaupten aus der Symbiose von Farbe und Licht ihre Eigenständigkeit. Ab 1978 nahm Frederic Matys Thursz an Treffen, Ausstellungen und Publikationen von Künstlern teil, die sich ebenfalls der Infragestellung bzw. Erneuerung der Malerei verschrieben hatten. Dazu gehörten Raimund Girke, Marcia Hafif, Joseph Marioni, Olivier Mosset, Phil Sims, Günter 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 Aktivitäten 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 für 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. Während seiner letzten Ausstellung 1992 auf der Documenta IX verstarb der Künstler. 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 Künstlern auseinandersetzen. Die künstlerische Radikalität und Konsequenz, mit der Frederic Matys Thursz der Frage nachgegangen ist, was Malerei sein kann, weist weit über den malereiimmanenten Diskurs hinaus. Vielmehr stieß 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, Günter 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 „Gilgi – eine von uns“ und „Das kunstseidene Mädchen“

Diese Arbeit untersucht die zwischenmenschlichen und „materiellen“ Beziehungen weiblicher Angestellter in zwei Romanen Irmgard Keuns. Als Repräsentantinnen werden die Protagonistinnen Gilgi („Gilgi – eine von uns“) und Doris („Das kunstseidene Mädchen“) herangezogen. Zunächst erfolgt ein historischer Überblick zu den Themen „Neue Sachlichkeit“, „Angestellte“ und die „Neue Frau“, anschließend 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 große Rolle spielt und das Verhältnis zur Familie eher kühl ist. In Bezug auf Ehe entsprechen beide ganz dem Typ „Neue Frau“, da sie von Ehe und Familiengründung 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 Identität aus, Doris hingegen möchte lieber ein „Glanz“ werden. Beide machen sich viele Gedanken über ihr Aussehen, für Gilgi ist dieses für ihr Wohlbefinden notwendig, für Doris bedeutet Mode eine Steigerung ihres Status. Insgesamt zeigt sich, dass beide Frauen, auch wenn sie versuchen, selbstständig und selbstbewusst als Neue Frauen zu agieren, am Ende dennoch in der Abhängigkeit von Männern bleiben, Doris stärker 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 $\text{Sym}^N(\mathbb{T}^D)$ over the Narain moduli space. We argue for a bulk dual given by $N$ copies of an abelian Chern-Simons theory coupled to topological gravity, endowed with a discrete gauge symmetry exchanging the $N$ 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 $\text{AdS}_3 \times \text{S}^3 \times \mathbb T^4$ by considering the specific case of $D=4$ with the addition of supersymmetry.Comment: 84 pages, 25 figure

‘Our old pastor thinks the mobile phone is a source of evil.’ 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 4–5 hours a day) and seeking to understand strategies they use in attaining digital wellbeing. The findings show how the sampled young adults (18–30 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