43,363 research outputs found
The Russell Chantry Lothar Goetz / Duncan Grant Publication
No full textMonograph published by The Collection Lincoln to coincide with the exhibition 'The Russell Chantry Lothar Goetz / Duncan Grant' at the Collection Lincoln in 2016 with texts by Linda Tilbury, Ian Waits, Ashley Gallant, Jenny Gleadell and David McSherry. Artist's interview with Simon Martin
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The David W. Fentress Family Letters, 1856-1969
No full textTranscript of a letter by an unidentified author to David Fentress regarding sharing federal newspapers and the banning of federal newspapers in some areas. The author passes on the news of the war including the destruction of the Federal merchantmen by the Confederate fleet. He passes along world news: Russia preparing to go to War with Europe and how that could negatively affect the Confederacy. There is also speculation on the future of the war
The David W. Fentress Family Letters, 1856-1969
No full textTranscript of a letter by an unidentified author to David Fentress regarding sharing federal newspapers and the banning of federal newspapers in some areas. The author passes on the news of the war including the destruction of the Federal merchantmen by the Confederate fleet. He passes along world news: Russia preparing to go to War with Europe and how that could negatively affect the Confederacy. There is also speculation on the future of the war
Portrait of author David Foster at the National Library of Australia, Canberra, 8 June 2011 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author David Foster at the National Library of Australia, Canberra, 8 June 2011.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Publication COLOURSPACE David Batchelor - Ian Davenport - Lothar Goetz - Jim Lambie - Annie Morris - Fiona Rae
No full textPublication accompanying the exhibition COLOURSPACE at Mucciaccia Gallery, Rome.
published by SilvanaEditoriale, Milan
edited by Dario Cimorelli
text by Catherine Loewe
Lothar Goetz is best known for his dancing polychromatic patterns in the language of geometric abstraction which leap across the boundaries of two and three-dimensional space, sometimes on an epic scale, such as the 2019 commission for the exterior of the Towner Museum in Eastbourne. Goetz relishes the curves and angles that might defeat most artists to create effects that completely transform the spaces they inhabit. The radiating diagonals, lozenge-shapes and intersecting triangles in bright, rather unexpected harlequin hues on the Towner seem draped across it like material. The effect is part wrapped Christo, part dazzle camouflage, in keeping with his desire to alter our perceptions of space and the buildings themselves to reshape our own response to how we see the world. Goetz says, “The works are all about tension or discrepancy between the reality of the space and an abstract idea. I see the space, and I design this abstract painting in my studio, which then changes again completely because of the reality of the space. The moment it’s painted onto a wall, it becomes part of the space - part of reality, never completely abstract. There is a transition between abstraction and the real space; it’s this play that interests me.”
With Goetz’s site-specific commissions, the work might be described as 3D painting, uniquely responding to the architecture and context in which it is placed. The results are intimate dialogues with their environments, “ In an ideal situation, the building tells me what it wants. It feels like a cooperative practice. There is a spirit, there is an aura, a history.” The title of the Towner commission, Dance Diagonal reflects Goetz’s interest in the ephemeral world of movement and performance. The work is a dance of shapes linking stage choreography and painting composition. Goetz has likened his temporary installations to dressing up for a carnival, the element of transience allowing him to play with ideas and materials free from the burden of practical considerations associated with longevity. “Even the pieces I make in the studio—I’m not attached to them as objects. My pleasure and excitement in making them is not about making an object. It’s about the events that the object engenders or enables.”
A pivotal influence is Oskar Schlemmer’s Triadic Ballet, which saw costumed actors transformed into geometrical representations of the human body in what Schlemmer described as a "party of form and colour". In the 1920’s Schlemmer ran the mural-painting and sculpture departments at the Bauhaus School before taking over as Master of Form at the theatre workshop. Goetz’s work is imbued with the ideal visions embedded in the art and design of political and cultural utopias of the early 20th century like the Bauhaus and Constructivism. Although colour is invocative of joy and liberation, for Goetz there remains an underlying political aspect referring to the darker narrative when radical abstraction was labelled as degenerate by the Nazis. Colour theory was at the core of the visionary Bauhaus teachings of Kandinsky, Klee, Itten and Albers who pioneered the holistic practice of art, architecture and design, “Modernism and the Bauhaus probably had the biggest influence on me. When I was a student, I became completely fascinated by the Bauhaus and what I liked so much was that they did not create a distinction between painting, sculpture, theatre and textiles – let’s say the fine arts and the applied arts. They broke these boundaries. I was always a huge fan of Josef and Anni Albers, they created a very positive world and manufactured something that a lot of people could afford – something beautiful for the masses, not just for the few.” In this spirit, Lothar has collaborated with manufacturers to create designs for fabrics, wallpaper and china.
Growing up in a small market town in Bavaria, architecture played a key role in Goetz’s life from trompe l’oeil ceilings in Baroque churches to the hard-edged shapes and geometric layouts of Modernist houses. Many of his drawings represent the floor plans of idealized dwellings for historical or imaginary people, an ongoing series where colour is used to denote functions and atmospheres of domestic spaces. Goetz says, “I’m responding to something: it could be somewhere I’ve been, or a piece of design, could be clothing. Sometimes I see someone in the papers, and I’m taken, and then I go to the studio and I draw a retreat for them and it looks like an abstract drawing, but it is actually an imagined ground plan for a building. I’m not interested in how that really would look like as three-dimensional. In the end it’s a colour composition.” Goetz’s work is the distillation of ideas lifted from the world, in a web of imaginative factors that continually feed into the geometrical arrangement of form and colour. In our times of global pandemic and civil unrest Goetz’s art remind us of the possibilities of both personal and collective utopias, better visions for a new world
Author David Foster with academic Jeff Doyle at the National Library of Australia, Canberra, 8 June 2011 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author David Foster at the National Library of Australia, Canberra, 8 June 2011.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Author David Foster and academic Jeff Doyle at the National Library of Australia, Canberra, 8 June 2011 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author David Foster at the National Library of Australia, Canberra, 8 June 2011.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
David Braithwaite at White Waltham Steam Fair
No full textDavid Braithwaite, fairground enthusiast and author photographed at White Waltham Steam Fair, August 1964
David Zimmer Christmas letter
No full textThis Christmas letter written November 30, 1999, by David Zimmer is titled "Season's Greetings from the last of the Red-Hot-Santas!" It features an illustration of Santa Claus with a guitar, and a summary of Zimmer's year.
David Zimmer (1929-2005) was born in Harrisburg, Ohio. He enlisted in the U.S. Army and served for two years during the Korean War at the Brooke Army Medical Center in San Antonio, where he performed in drag for wounded soldiers. After the war, he returned to Ohio. Zimmer performed as Dolly Divine, a name inspired by the song "Hello Dolly." In 1964, he established the Berwick Ball with Orn Huntington, another important early gay activist in Central Ohio. The Ball began as a formal Halloween costume ball that provided a safe space to gather and enjoy drag shows for the gay community each year; over the years, it grew into an annual Halloween tradition and an important fundraiser for the AIDS movement and other charities. During the 1970s, Zimmer was also known for hosting lavish parties at his Harrisburg home. In 1989, he moved to the German Village area of Columbus where he remained active in the community. During the 1990s, Zimmer continued to perform in and out of drag and commissioned costume designer Dick Frank to make elaborate outfits. Zimmer worked for Huntington National Bank for 39 years and was a member of the Harrisburg United Methodist Church, Veterans of Foreign Wars and the German Village Society
David Zimmer Christmas letter
No full textThis Christmas letter was written December 7, 2004, by David Zimmer. It features a small illustration of Santa Claus, a summary of Zimmer's year, and a clipping from the Village Crier recognizing his 75th birthday celebration.
David Zimmer (1929-2005) was born in Harrisburg, Ohio. He enlisted in the U.S. Army and served for two years during the Korean War at the Brooke Army Medical Center in San Antonio, where he performed in drag for wounded soldiers. After the war, he returned to Ohio. Zimmer performed as Dolly Divine, a name inspired by the song "Hello Dolly." In 1964, he established the Berwick Ball with Orn Huntington, another important early gay activist in Central Ohio. The Ball began as a formal Halloween costume ball that provided a safe space to gather and enjoy drag shows for the gay community each year; over the years, it grew into an annual Halloween tradition and an important fundraiser for the AIDS movement and other charities. During the 1970s, Zimmer was also known for hosting lavish parties at his Harrisburg home. In 1989, he moved to the German Village area of Columbus where he remained active in the community. During the 1990s, Zimmer continued to perform in and out of drag and commissioned costume designer Dick Frank to make elaborate outfits. Zimmer worked for Huntington National Bank for 39 years and was a member of the Harrisburg United Methodist Church, Veterans of Foreign Wars and the German Village Society
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