Sponsored by a US tobacco corporation, this exhibition, curated by the great Harald Szeemann, presented a lot of North American artists that the average visitor of the fourth documenta a year earlier not even had heard of: in the mid-size towns of Bern and Krefeld, Szeemann managed to outplay documenta in its own newly chosen game, that is, presenting the latest and most advanced contemporary art! They now stressed the international character of modernism on display, too, by arranging the artworks in combinations that obeyed aesthetic guidelines instead of national representation. A Critique of Globalisation was published in by Wagenbach in Berlin. Pages from the documenta cataloguePrestel Verlag, Munich, reprint with list of artists National Affiliations The omissions were, of course, partly due to the Iron Curtain and the Cold War, and furthermore to a post-war lack of information and to still restricted possibilities of travelling for West Germans, too. Minimalist Home. Modern House Facades. With hindsight, the German-Italian predominance could even appear embarrassing, as both countries had been allies of fascism and brothers-in-arms during most of World War II that had ended only ten years before. Download Issue 33 US Letter, 4. Home Decor. Modern Barn.
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Modern Craftsman. House Template. Germany and Italy thus presented national art in the traditional context of birth and origin while the genuine French artists were represented together with a mixture of migrants which Paris had attracted and therefore stood for the modernist concept of internationalism.
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Haacke himself was the subject of attempted discredit: he had Smithson has said that he wanted to attend the ASL because a public school teacher had told him Although Hirst was not paid guaranteed sums by the auction house.
Ästhetik verstecken, sondern den Mythos eines voraussetzungs. Art History and Archaeology The James B.
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This can be pointed out by the British contribution throughout the first three documentas.
The following three documentas can be regarded as variations and alterations on the themes the first one had established. After the European-wide genocide orchestrated by Germany, it may well have been difficult to find works by Jewish artists, whose families, gallerists, collectors, and heirs had likewise been forced into exile or killed.
It seemed easier in the 19th century, when European art was explicitly meant and officially supported to profile and celebrate national cultures.
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But if we look east of the 16 th line, nearly every artist of importance was missing: only Russia and Hungary were considered, with five artists altogether Chagall, Jawlensky, Kandinsky, Pevsner, and Vasarelyall of them migrants and three of them actually living in France at the time.