, English, Book, Illustrated edition: Harald Szeemann: exhibition maker / Hans-Joachim Müller ; [English translation, Leila Kais]. Müller, Hans-Joachim. Harald Szeemann: exhibition maker. Front Cover. Hans-Joachim Müller. Hatje Cantz, Bibliographic information. QR code for Harald Szeemann. Harald Szeemann – Exhibition Maker. Harald Szeemann () was one of the most influential curators of the recent past. An entire generation of.

Author: Kilkis Kajiktilar
Country: Poland
Language: English (Spanish)
Genre: Health and Food
Published (Last): 11 May 2010
Pages: 486
PDF File Size: 17.71 Mb
ePub File Size: 1.4 Mb
ISBN: 667-4-62223-984-6
Downloads: 48840
Price: Free* [*Free Regsitration Required]
Uploader: Doutaxe

Amy Hood ahood getty.

Press Release

Linked Data More info about Linked Data. Szeemann was thereafter inspired to focus the upcoming exhibition on behaviors and gestures. LOS ANGELES — One of the largest collections the Getty Research Institute has ever acquired has led to a major exhibition surveying the extraordinary practices of Harald Szeemann — the world-renowned curator of modern and exibition art who championed radical art and was a fascinating art-world figure.

Views Read Edit View history. Then set up a personal list of libraries from your profile page by clicking on your user name at the top right of any screen.

Collection | Search | Harald Szeemann: Exhibition Maker | Asia Art Archive

It serves education in the broadest sense by increasing knowledge and understanding about art and its exhibitoon through advanced research. This single location in Victoria: No trivia or quizzes yet. Document, Internet resource Document Type: International Sculpture Center, University of Sydney Library. Another portion of the “historical” section was an entry in the exhibition catalog by the French art historian and curator Jean Clair.



Getty Research Institute Presents Harald Szeemann: Museum of Obsessions | News from the Getty

Interview by Hans-Ulrich Obrist. The University of Sydney.

Art museum curators — Switzerland — Biography. May not be open to the public ; N Many of the artists made their works directly on site, damaging the Kunsthalle Bern in the process: In addition to the regular crew he uses for installation he brought with him Agnes Kohlmeyer to help with the show and Cecilia Liveriero to work on the catalog.

Create lists, bibliographies and reviews: Stadt Frankfurt am Main.

Goodreads helps you keep track of books you want to read. Subjects Szeemann, Harald — Criticism and interpretation. Each biennial has a specific theme and guest curator who determines the components of the exhibition.

Harald Szeemann seated on the last night of documenta 5: The E-mail Address es field is required. Jan greeted Szeemann from behind two tables; one of which had neon light coming out of the surface and the other one was covered in grass which he watered. Museum of Obsessions will be accompanied by two books from Getty Publications: In the last 10 years of Szeemann’s life, he sought the new as avidly as ever, as viewers will note in documentation of his fourth Lyon Biennale, second Kwangju Biennial, both the and Venice Biennales, and the first Seville Biennial, which closed two months before his makee Szeemann was largely concerned with traditional structure of the Biennale and believed the treatment of artists during installation required improvement.


Museums — Curatorship — Philosophy.

Their daughter is Una Szeemann. Max Beckmann Prize [32]. The Future Lies in the Bal kans and Visionary BelgiumSzeemann took a singular approach to the representation of single nations and cultural regions, bringing together a remarkable range and number of cultural artifacts that often featured graphic wallpapers, salon-hung walls, msker impressive large-scale installations.

Artforum International Magazine, Inc, It also included anything acting as correspondence: Please verify that you are not a robot. Ana Luisa marked it as to-read Jul 01, An apparent theme intended by Szeemann in L’Autre was to position artists at the end of modernism within the context of a “self-historifying mythos”.