"00:25:43 Wide view of the new House of German Art, a museum dedicated to Nazi-approved artwork, with long, white columns. 00:26:03 Across the street, INTs of the 1937 exhibition of Entartete Kunst ['Degenerate Art'] on the second floor of the Institute of Archaeology. Room 1 with 'Kruzifixus' [Crucified Christ] sculpture by Ludwig Gies (1921), formerly in Luebeck cathedral. 00:26:66 Room 3 with 'Maedchen mit blauem Haar' [Girl with Blue Hair] by Eugen Hoffmann. Wall text refers to a Kandinsky piece 'Zweierlei Rot' (1928) purchased for the National Gallery in Berlin for 2,000 marks as 'paid by taxes from the working German people.' 00:26:39 Wide view of the crowds in Room 3, including the mocking inscription by Georg Grosz, 'Nehmen Sie Dada ernst! Es lohnt sich.' [Take Dada seriously! It's worth it.] Male docent showing visitors Room 3 with 'Springendes Pferd' [Jumping Horse] by expressionist Heinrich Campendonk from the National Gallery and the small painting 'Um den Fisch' [Around the Fish] by Paul Klee. 00:27:13 Visitors moving through Room 3, looking at sculptures beneath an inscription in wavy lines, 'We act as if we were painters, poets, or whatever, but we...are just putting one giant swindle over on the world....' 00:27:24 Exhibit lobby with large head sculpture 'Der neue Mensch' [The New Man] by Otto Freundlich (1912), which was used for the cover of the exhibition guide. 00:27:37 EXTs, people coming out of the building, car and bicycle pass by on the street. Large sign over exhibition entrance: 'Ausstellung 'Entartete Kunst' Eintritt frei.' [Exhibition 'Degenerate Art' Free entrance.] INT, Room 4 with 'Der Strand' [The Beach] by Max Beckmann. 00:28:00 Profile view of two women looking at paintings by Ernst Kirchner and Oskar Kokoschka in Room 4 with 'Sitzender Mann' [Sitting Man] by Erich Heckel of the artists' group 'Die Bruecke' [The Bridge] and 'Die Mulattin' [The Mulatto Woman] by Emil Nolde behind them. Men view works in Room 4 and move through exhibit. 00:28:33 Room 5 with 'Bahnhof in Koenigstein' [Koenigstein station] by Ernst Kirchner, 'Blumen und Tieren' [Flowers and Animals] by Heinrich Campendonk (1926), 'Handstand' by Willi Baumeister, 'Im Kanu' [In the Canoe] by Jean Metzinger, 'Komposition' [Composition] by Piet Mondrian (1929), 'Stilleben' [Still Life] by Karl Schmitt-Rottluff (1932). 00:29:07 The inscription over the doorway from Room 6 to Room 7, 'Sie hatten vier Jahre Zeit.' [They had four years' time.] In Room 1, 'Christus und die Suenderin' [Christ and the Sinner] by Emil Nolde (1929). Visitors before the Dada wall in Room 3, pan to right."
"The Museum of Contemporary Native Arts is the country's [USA] leading museum for exhibiting, collecting and interpreting the most progressive work of contemporary Native artists for local, national and international audiences. MoCNA is a venue for exhibitions of artists who merit, local, national and international recognition. The Museum belongs at the forefront of contemporary Native art presentation and strives to be flexible, foresighted and risk-taking in its exhibitions and programs."
Richard Glazer-Danay, Jan, 2012, "Shake, Rattle & Roll", Museum of Contemporary Native Arts, [http://www.iaia.edu/museum/exhibition/shake-rattle-roll/].
"The National Centre for Craft & Design sits at the heart of the market town of Sleaford in Lincolnshire in the beautiful riverside setting of Navigation Wharf. It is the largest venue in England entirely dedicated to the exhibition, celebration and promotion of contemporary and international craft and design.
We do not have a permanent collection, providing instead a seasonal programme of dynamic exhibitions ranging from international to innovative new work created by local and regional artists shown across our four diverse gallery spaces."
(The National Centre for Craft & Design, UK)
Fig.1 Claire Morgan (2011). "Gone To Seed", Exhibited at About Time, Hub: National Centre for Craft and Design, Lincolnshire, UK.
"Loc ideal pentru păstrarea spiritului românesc autentic, Muzeul în aer liber din Dumbrava Sibiului este aşezat într-un adevărat paradis, în rezervaţia naturală "Dumbrava Sibiului". Dispunând de un lac şi de peste zece kilometri de alei, muzeul prilejuieşte plimbări de tot felul, de la clasicul mers pe jos, până la un scurt tur cu trăsura, cu sania sau cu barca. ...
Povestea Muzeului ASTRA începe în urmă cu mai bine de un secol, odată cu primele manifestări ale unui vis al românilor din Transilvania de a organiza la Sibiu, sub egida Asociaţiunii pentru Literatura Română şi Cultura Poporului Român, o colecţie etnografică. Aceasta avea rolul de a pune în valoare cele mai reprezentative mărturii despre specificul românesc, despre ceea ce ne diferenţia în comparaţie cu alte popoare, lucruri şi fenomene care puteau explica tuturor cine suntem. „Productele” măiestriei românilor trebuia să reprezinte dovada creativităţii tehnice şi ale hărniciei acestui neam. Prima expoziţie a Muzeului Asociaţiunii, instituţie de la care provine numele ASTRA, a avut loc în 1905."
(Complexul Naţional Muzeal ASTRA)
[This stunning open-air folk museum is located in a nature reserve on the outskirts of Sibiu in România.]
Third International Conference on the Image, Higher School of Humanities and Journalism, Poznań, Poland, 14-16 September 2012
"Welcome to the Third International Conference on the Image. The conference will be held at the Higher School of Humanities and Journalism, Poznań, Poland from 14-16 September 2012 and is organized in partnership with the Polish Mediations Biennale 3, The Unknown – Nieznane. The conference encompasses participation in Biennale Special Events including a Biennale Day on September 15 featuring curators Tomasz Wendland, Fumio Nanjo, Denise Carvalho, and Friedhelm Mennekes, as well as the opportunity to submit artistic work for consideration in a Special Exhibition at the Polish Mediations Biennale.
In conversation with the MEDIATIONS BIENNALE theme, 'The Unknown – Nieznane', The Image Conference will address the 2012 special conference theme – The Thread to the Unknown: Is the Unknown a construct? Can we hold the pretense that human hands and minds organize the realm of the Unknown? Are our constructions replicas of known things that hide the unknown from us?
The conference aims to shed light on the boundaries of language, culture, scientific research, artistic production, and visual communication in relation to the Unknown – Are there structural limits in science and human society that necessarily hide what is unknown from us? Or is the Unknown the complex and enormous form of existence that includes our knowledge and consciousness as one very small element?"
(Third International Conference on the Image)