60-10353: (Redirected from Documenta II ) 1959 art exhibition in Kassel, West Germany II. documenta was the second edition of documenta , a quinquennial contemporary art exhibition . It was held between 11 July and 1 October 1959 in Kassel , West Germany. The artistic director was Arnold Bode in collaboration with art historian Werner Haftmann . Participants [ edit ] A René Acht Henri-Georges Adam Hans Aeschbacher Afro ( Afro Basaldella ) Gerhard Altenbourg Karel Appel Mordecai Ardon Kenneth Armitage Hans Arp B Francis Bacon Vojin Bakić Eduard Bargheer Heinz Battke Eugen Batz Willi Baumeister Jean Bazaine William Baziotes André Beaudin Gustav Kurt Beck Max Beckmann Hans Bellmer Anna-Eva Bergman Hubert Berke Gaston Bertrand Max Bill Renato Birolli Julius Bissier Roger Bissière André Bloc Norman Bluhm Umberto Boccioni Walter Bodmer Anne Bonnet Constantin Brâncuși Georges Braque Theo Braun Victor Brauner James Brooks Peter Brüning Carl Buchheister Alberto Burri Jan Burssens Reg Butler C Alexander Calder Alexander Camaro Massimo Campigli Giuseppe Capogrossi Carmelo Cappello Bruno Cassinari Sergio de Castro César Baldaccini Lynn Chadwick Marc Chagall Bernard Childs Eduardo Chillida Giorgio de Chirico Emil Cimiotti Antoni Clavé Henry Cliffe Otto Coester Pietro Consagra Constant Nieuwenhuys Corneille Guillaume Beverloo Antonio Corpora Pierre Courtin Harold B. Cousins Modest Cuixart D Karl Fred Dahmen Alan Davie Jean Degottex Jacques Charles Delahaye Robert Delaunay Paul Delvaux André Derain Jean Deyrolle Eugène Dodeigne Piero Dorazio Gianni Dova Jean Dubuffet Bernard Dufour E Theo Eble Max Ernst Maurice Estève Merlyn Oliver Evans F Joseph Fassbender Jean Fautrier Pericle Fazzini Franz Fedier Luis Feito Herbert Ferber Lucio Fontana Nino Franchina Sam Francis Helen Frankenthaler Othon Friesz G Naum Gabo Winfried Gaul Rupprecht Geiger Claude Georges Jacques Germain Alberto Giacometti Émile Gilioli Werner Gilles Roger-Edgar Gillet Michael Goldberg Bruno Goller Julio González Arshile Gorky Adolph Gottlieb Karl Otto Götz Otto Greis HAP Grieshaber Juan Gris Marcel Gromaire Philip Guston H Terry Haass Roel D’Haese Étienne Hajdú Otto Herbert Hajek Simon Hantaï Fritz Harnest Grace Hartigan Hans Hartung Karl Hartung Rudolf Hausner Stanley William Hayter Bernhard Heiliger Werner Heldt Barbara Hepworth Auguste Herbin Peter Herkenrath Ernst Hermanns Anton Heyboer Roger Hilton Gerhard Hoehme Rudolf Hoflehner Hans Hofmann I Yūichi Inoue Rolf Iseli J Robert Jacobsen Franz M. Jansen Guido Jendritzko Asger Jorn K Wassily Kandinsky Tadeusz Kantor Zoltán Kemény Eugène de Kermadec Ernst Ludwig Kirchner Heinrich Kirchner Paul Klee Franz Kline Fritz Koenig Max Kohler Oskar Kokoschka Willem de Kooning Norbert Kricke Rudolf Kügler L Wifredo Lam Octave Landuyt André Lanskoy Peter Lanyon Berto Lardera Ibram Lassaw Ger Lataster Henri Laurens Jan Lebenstein Le Corbusier Fernand Léger Heinz Leinfellner Jean Le Moal Osvaldo Licini Walter Linck Jacques Lipchitz Morice Lipsi Seymour Lipton Lucebert Jean Lurçat M Alberto Magnelli René Magritte Kazimir Malevich Alfred Manessier Giacomo Manzù Franz Marc Conrad Marca-Relli Gerhard Marcks Adam Marczyński André Marfaing Marino Marini Albert Marquet André Masson Umberto Mastroianni Ewald Mataré Georges Mathieu Henri Matisse Roberto Matta Bernard Meadows Matschinsky-Denninghoff Georg Meistermann Marc Mendelson Ludwig Merwart Hans Mettel Henri Michaux Leone Minassian Luciano Minguzzi Mirko Basaldella Joan Miró Joan Mitchell Piet Mondrian Henry Moore Giorgio Morandi Mattia Moreni Ennio Morlotti Richard Mortensen Robert Motherwell Max von Mühlenen Robert Müller Willi Müller-Hufschmid Edo Murtić Zoran Mušič N Ernst Wilhelm Nay Renee Nele Endre Nemes Rolf Nesch Barnett Newman Ben Nicholson Isamu Noguchi Sidney Nolan Emil Nolde O Richard Oelze Christian d’Orgeix Fayga Ostrower P Eduardo Paolozzi Victor Pasmore Alicia Penalba Achille Perilli Antoine Pevsner Jean Piaubert Pablo Picasso Édouard Pignon Arthur Luiz Piza Hans Platschek Serge Poliakoff Jackson Pollock Arnaldo Pomodoro Giò Pomodoro Piotr Potworowski Richard Pousette-Dart Mario Prassinos R Robert Rauschenberg Paul Rebeyrolle Germaine Richier Fritz Riedl Jean-Paul Riopelle Günter Ferdinand Ris Otto Ritschl Kurt Roesch Gerburg Rohde Hans Rompel Theodore Roszak Mark Rothko Georges Rouault S Rolf Sackenheim Giuseppe Santomaso Antonio Saura Emilio Scanavino Karl Schaper Edwin Scharff Oskar Schlemmer Gérard Ernest Schneider Nicolas Schöffer Bernard Schultze Emil Schumacher Kurt Schwitters Toti Scialoja William Scott André Dunoyer de Segonzac Gustav Seitz Jaroslaw Serpan Michel Seuphor Ben Shahn Josef Šíma Gustave Singier Mario Sironi David Smith K.R.H. Sonderborg Pierre Soulages Luigi Spazzapan Ferdinand Springer Toni Stadler Nicolas de Staël François Stahly Theodoros Stamos Clyfford Still Gabrijel Stupica Kumi Sugai Graham Sutherland Arpad Szenès T Shinkichi Tajiri Pierre Tal-Coat Rufino Tamayo Yves Tanguy Dorothea Tanning Antoni Tàpies Yūkei Tejima Fred Thieler Mark Tobey Bradley Walker Tomlin Hann Trier Heinz Trökes Drago Tršar Giulio Turcato Ann Twardowicz Jack Tworkov U Raoul Ubac Hans Uhlmann V Louis Van Lint Victor Vasarely Emilio Vedova Geer van Velde Alberto Viani Maria Helena Vieira da Silva Jacques Villon Friedrich Vordemberge-Gildewart W Gerhard Wendland Hans Werdehausen Theodor Werner Gerhard Wind Fritz Winter Karl Anton Wolf Wols Fritz Wotruba Woty Werner Bryan Wynter Y Taihô Yamazaki Z Ossip Zadkine Mac Zimmermann Unica Zürn v t e documenta documenta 1955 II. documenta 1959 documenta III 1964 4. documenta 1968 documenta 5 1972 documenta 6 1977 documenta 7 1982 documenta 8 1987 DOCUMENTA IX 1992 documenta X 1997 Documenta11 2002 documenta 12 2007 dOCUMENTA (13) 2012 documenta 14 2017 documenta fifteen 2022 References [ edit ] ^ Ausstellungskatalog: II. documenta ’59. Kunst nach 1945; Katalog: Band 1: Malerei; Band 2: Skulptur; Band 3: Druckgrafik; Textband. Kassel/Köln 1959 Authority control databases [REDACTED] International VIAF National Germany Retrieved from " https://en.wikipedia.org/w/index.php?title=II._documenta&oldid=1247039560 " Categories : Documenta 1959 in West Germany 1959 in art Hidden categories: Articles with short description Short description
120-505: A better family life and more room to work, Chadwick left London in 1947, eventually settling in the hamlet of Upper Coberley, near Cheltenham . Here he converted outbuildings into a working studio in which he worked on his designs and his first sculptures. In September 1958, Chadwick bought Lypiatt Park , a historic manor house in Gloucestershire. The building is Neo-Gothic in style, with outbuildings and extensions having been added to
180-556: A bit of contrast and colour'. The long series of standing, sitting, and reclining couples on which Chadwick worked between 1968 and 1990 offer infinitesimal adjustments in the male and female figures' relation to each other—the elusive "attitude" which, for Chadwick, was a sculpture's whole expressive point. In 1973 Chadwick had begun to clothe his figures in pleated drapery – figures often were winged, with billowing cloaks, such as in Pair of Walking Figures – Jubilee 1977 . This continued in
240-457: A critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration. Documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum . The documenta-Halle
300-465: A firm, tactile "body". Chadwick built his sculptures using geometric space frames, to which he referred as "drawing in steel rods". He produced sculptures in iron, bronze and steel, which developed from mobiles to insect forms, animal forms and groups of male and female figures. In 1954 having discovered the medium of "Stolit", an industrial stone compound of gypsum and iron filings which could be applied wet before setting, and when dry, chased to achieve
360-618: A foundry at Lypiatt to cast jewellery and small bronzes.) In 1956, Chadwick was chosen by the British Council as one of the lead sculptors to represent Britain at the XXVIII Venice Biennale. He was awarded the International Sculpture Prize, becoming the surprise winner and surpassing the favourite Alberto Giacometti , as well as César Baldaccini and Germaine Richier , and making him the youngest ever recipient of
420-575: A large fixed sculpture for the garden of the Regatta Restaurant, Stabile (Cypress), made from copper sheets and brass rods. This work was significant in that it demonstrated Chadwick's transition from designer to sculptor. In April 1951 Chadwick received a commission from the Arts Council of Great Britain for a large sculpture, The Fisheater , also for the Festival of Britain. This was exhibited at
480-520: A large outdoor sculpture alongside nine other sculptors including David Smith and Alexander Calder . The result was Two Winged Figures 1962, his first steel sculpture, which was made at the Italsider steel works in Genoa. Chadwick and Smith became good friends during this period, and remained so until Smith's early death in 1965. In a catalogue essay on an exhibition of Chadwick's sculptures and drawings at
540-544: A new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal. At documenta (13) in 2012 about a fifth of the works were unveiled in places like Kabul, Afghanistan and Banff, Canada. There are also
600-517: A number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum and the Karlsaue park. To handle the number of artworks at documenta IX , five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue. For documenta (13) , French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in
660-449: A sculptor. Transferring his experience as an architectural draughtsman through to his sculptural technique, he began to weld in a unique and innovative way. He had started to develop a technique that fused solid form with the plastic energy of his earlier works, creating an "armature" of welded steel rods and a method of composition that played on the expressive potential of the framework and "skeletons" of his figures, while also constructing
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#1733084795559720-761: A statement urging the artistic team to remove the drawings until they can be "appropriately contextualized"; scholars from the Archives of Women’s Struggles in Algeria stated: "[ Presence des Femmes ] was in solidarity by the Algerian women with the Palestinian people, in denouncing the crimes committed by the Israeli State. We would like this document, like many other texts or artworks in the world, to be placed in its historical and political context." In November 2023, Documenta receives
780-470: Is different from Wikidata Use dmy dates from June 2022 Documenta Documenta (often stylized documenta ) is an exhibition of contemporary art which takes place every five years in Kassel , Germany. Documenta was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time. It
840-521: Is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days". Documenta is not a selling exhibition. Documenta , an invented word, reflects the intention of the exhibition (in particular of the first Documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it
900-482: Is said to have delighted in the properties that steel afforded; no matter how dull the weather some facet of the sculptures would catch and reflect the light. Chadwick was invited back to the Venice Biennale that same year, for which he created two monumental figures, playfully entitled Back To Venice, 1988. Also in 1988, he was made an Honorary Fellow of Bath Spa University College , Bath. In 1991, he introduced
960-501: The Battersea Park Open Air Sculpture Exhibition that year In Spring 1950, British architects, artists and designers were making plans for the celebrations surrounding the 1951 Festival of Britain . Jane Drew commissioned Chadwick to make a large-scale hanging mobile for the tower of her Riverside Restaurant on London's South Bank site, Tower Mobile. Architect Misha Black then commissioned Chadwick to make
1020-527: The Bauhaus . Art professor and designer Arnold Bode from Kassel was the initiator of the first Documenta. Originally planned as a secondary event to accompany the Bundesgartenschau , this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art"—that is, art made after 1945—instead, Bode wanted to show the public works which had been known as " Entartete Kunst " in Germany during
1080-474: The documenta (13) , for example, art critic Jerry Saltz identified more than a third of the artists represented by Marian Goodman Gallery in the show. Documenta's decision to feature some of its shows outside of Germany, in peripheral contexts has sparked numerous critical discussions that reaches an apogee around documenta14 which partly took place in Athens, Greece in 2017. Various critics raised concerns about
1140-654: The 1960s, Chadwick's work, which had been situated by critics within the aesthetic of post-war sensibility, fell victim to changing fashions during the rise of Pop Art. However, he continued to receive a steady flow of public commissions and private sales – particularly in Italy, Denmark and Belgium. Chadwick was invited to participate in the Sculpture in the City exhibition at the fourth Festival of Two Worlds at Spoleto, Italy in July 1962, to create
1200-546: The 1980s, where works such as High Wind exaggerated the effects of wind. Clothed sitting couples also began to appear on benches, as Chadwick began to explore how far he could push his method towards naturalism . In 1985, he was created Officier [of the] Ordre des Arts et des Lettres , for which he would later become Commandeur des Arts et des Lettres in 1993. In 1988, he was appointed the Order of Andrés Bello – First Class, Venezuela Chadwick returned to working with steel for
1260-442: The 1982 edition. documenta IX' s team of curators consisted of Jan Hoet , Piero Luigi Tazzi, Denys Zacharopoulos and Bart de Baere. For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière ) as a part of the exhibition. The first non-European director
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#17330847955591320-619: The British Empire commissioned him to make a sculpture to commemorate the round trip flight across the Atlantic Ocean by the Airship R34 in 1919. Chadwick made a maquette , but complaints about the work caused the commission to be dropped. Chadwick is featured in the 1964 documentary film 5 British Sculptors (Work and Talk) by American film maker Warren Forma . Many of Chadwick's prints have been on exhibit at Tate Britain, London. During
1380-547: The Museum of Modern Art in Rio de Janeiro in January 1962, Herbert Read noted that Chadwick has consolidated his style and subject matter since winning the 1956 Sculpture Prize at Venice, saying ..."He is still preoccupied with states of attention or alertness in the human figure or the animal. His aim is to incorporate a moment of maximum intensity, and this he does by the most direct means –
1440-481: The Nazi era: Fauvism , Expressionism , Cubism , Blauer Reiter , Futurism and Pittura Metafisica . Therefore, abstract art , in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition. Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta ,
1500-591: The Tate Gallery from autumn 1951 through most of 1952. Working on this larger scale, Chadwick quickly became aware that the techniques required for welding iron, steel, brass and copper would need learning, so in the summer of 1950 he enrolled in a welding course at the British Oxygen Company 's Welding School at Cricklewood , north London. Chadwick felt that this would solve the problem of creating large pieces suitable for public arenas. In March 1951 he
1560-763: The centenary of his birth, a catalogue raisonné and a biography were published, four of his sculptures were shown in the Annenberg courtyard of the Royal Academy in London, and BlainSouthern staged exhibitions of his work in their commercial galleries in Berlin, London and New York. In 1942 he married Ann Secord with whom he had one son, Simon. In 1959, Chadwick married Frances Jamieson (d. 1964) and had two daughters, Sarah and Sophie. In June 1965 he married Éva Reiner and together they had one son, Daniel. Éva, who had come to Britain as
1620-871: The design of trade-fair stands. In March 1946, he won a £50 prize in a textile design competition, which led to a contract to produce more designs for Zika and Lida Ascher who had promoted the 's' removed competition and who owned a textile design firm. Around the same time, Chadwick was commissioned to make exhibition stands for the Aluminium Development Corporation. Chadwick constructed his first mobile around 1947 – which originated from ideas first proposed by Rodney Thomas. Very few of these works survive; they were made of wire, balsa wood and cut copper and brass shapes, often fish-like and sometimes coloured. Some were incorporated as decorative features in exhibition stands, while others found homes amongst Thomas and his circle. Later he developed ground supports for
1680-610: The end of the 1960s, Chadwick was working with complex groups of figures, notably the "Elektra" series. He also introduced polished facets to his bronze works, which would accentuate some part of the figure's anatomy, such as Three Elektras. Around 1968, Chadwick created works that used a matt patina over some of the bronze, but with faces or chests burnished to a high golden sheen, a technique already seen in works of sculptors including Armitage. This method appeared in Chadwick's Elektras and according to Chadwick stemmed from his desire 'to get
1740-578: The exhibition's international credentials. Since the fifth Documenta (1972), a new artistic director has been named for each Documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann , were unable to get along and stepped down. They were replaced by Manfred Schneckenburger , Edward F. Fry , Wulf Herzogenrath, Armin Zweite and Vittorio Fagone. Coosje van Bruggen helped select artists for documenta 7 ,
1800-597: The files and materials of the Documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer . In 1992, on the occasion of documenta IX , for the first time in the history of Documenta, more than half a million people traveled to Kassel. The 2002 edition of Documenta attracted 650,000 visitors, more than triple Kassel's population. In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of
1860-411: The first ever to turn a profit, featured a selection of pop art , minimal art and kinetic art . Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 Documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles. Also, it devoted a large section to the work of Adolf Wolfli ,
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1920-471: The first time since 1962 in 1989. Using this method, Chadwick produced a series of "beasts", which varied in size and were often monumental. These works in welded stainless-steel sheets would come to be the final stage of Chadwick's development of his unique technique. The series began with Rising Beast (1989), with titles that allude to specific primal states of action: Beast Alerted I (1990); Howling Beast I (1990); and Crouching Beast I (1990). Chadwick
1980-583: The great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy. Additionally, the 1987 Documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design. Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/1977, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced. Documenta11
2040-409: The house both in 1800 and in 1870. "This place was the same price as a three-bedroom house ... and nobody wanted it, so ... I borrowed the money and came here. It was sort of wonderful, making another room habitable every year". He set up a studio in the medieval chapel where he installed the blacksmith's anvil. Chadwick made it his project to restore the house and garden. In 1986 he purchased
2100-466: The inclusion of the Palestinian collective Question of Funding in the exhibition; and, lastly, the inclusion of a 1988 Palestinian liberation movement brochure by Burhan Karkoutly titled Presence des Femmes . Artist Hito Steyerl pulled her work from the exhibition in protest to the first two instances, with managing director Sabine Schormann's departure as a consequence. In response to the controversy spurred by Presence des Femmes , Documenta released
2160-555: The mobiles, transforming them into what he called "stabiles". At the same time, he was designing fabrics and furniture. Recalling this period, Chadwick said: I actually wanted to produce a sort of touchable object, a tangible object. I really wanted to do that rather than be involved with intangible things like architecture which was slightly intangible to me because it had meant, in my case, drawing after drawing after drawing for projects which were never realised. In my case, I wanted to do it to have some reality in front of me. Desiring
2220-536: The more innocent the artist, the more effectively he transmits the collective guilt. Here are images of flight, of ragged claws 'scuttling across the floors of silent seas', of excoriated flesh, frustrated sex, the geometry of fear. The success of the Biennale enormously enhanced Chadwick's reputation. Kenneth Armitage recalled that he swiftly transformed from a virtually unknown artist to an international name. Chadwick did not go to art school and had no formal training as
2280-507: The motif of a pair of female figures climbing and descending short flights of stairs, captured in contrary motion. This motif would also be combined with a single High Wind figure. The next year, in 1992, Chadwick was given his first British retrospective at the Yorkshire Sculpture Park . In 1995, he stopped working, claiming "There are only so many things to say and only so many ways to say them and I've done that now." Chadwick
2340-399: The park. A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys ; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann ; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria ; Spitzhacke (1982) by Claes Oldenburg ; Man walking to
2400-520: The prize. Following this critical esteem, Chadwick was talked of as the natural successor to Henry Moore as Britain's leading sculptor and artistic ambassador. Following the Biennale, this exhibition toured Vienna, Munich, Paris, Amsterdam and Brussels before arriving in London. In May 1957. Chadwick's first solo show in the United States took place at Saidenberg Gallery. Also in 1957, the Air League of
2460-572: The reduction of bodily attitudes to their magnetic lines of force"... During the 1960s, Chadwick began to work in a more abstract style, producing works such as King (1964), which were influenced by Easter Island figures, as well as a series of colourful "Pyramid" and "Split" sculptures – clean geometrical shapes made from Formica on wood. He also continued to create abstract human forms; male figures generally had blocky rectangular heads (as seen in 1960 piece The Watchers ), while females had heads formed of more delicate diamonds or pyramids. By
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2520-544: The resignation letter of the remaining curators María Inés Rodríguez, Simon Njami, Gong Yan and Kathrin Rhomberg, after the resignation of Bracha L. Ettinger and Ranjit Hoskote . The letter precises "In the current circumstances we do not believe that there is a space in Germany for an open exchange of ideas and the development of complex and nuanced artistic approaches that documenta artists and curators deserve." The first four documentas , organized by Arnold Bode, established
2580-515: The sky (1992) by Jonathan Borofsky ; and Fremde (1992) by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck ). The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from
2640-401: The surface Chadwick desired – sometimes textured, sometimes smooth. He did not use clay or other modelling materials. The discovery of his new technique would prove to be an enormous turning point in Chadwick's working method. By the late 1950s he started to cast in bronze. For a long time Chadwick was the sole technical force in the production of his work. (It was not until 1971 that he opened
2700-486: The surrounding land in Toadsmoor Valley and began to place his work there. In August 1949 one of Chadwick's small mobiles was placed in the window of Gimpel Fils , which promoted modern British art. The following year, he held his first one-man show there, which led to critical attention and several major commissions: two for the 1951 Festival of Britain complex, Tower and Cypress , and one, Green Finger , for
2760-423: The visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous. In 2012, documenta (13) had 904,992 visitors. In 2007, half of Documenta's budget of 19 million euros ($ 25.7 million) came from the city of Kassel, the state of Hessen and Germany's Kulturstiftung des Bundes . The rest came from sponsors, donors and ticket sales. Documenta 14’s budget
2820-500: The ways in which the institution's endorsement of Athens as a place of resistance and novelty entailed a patronizing Orientalist stance, linked to new forms of tourism and the enjoyment of underdeveloped sites of "crisis". In 2022, Documenta caused three separate anti-Semitism controversies: one revolving around the banner Peopleʼs Justice (2002) by the Indonesian collective Taring Padi that contained anti-Semitic imagery; another on
2880-405: The works are often elaborate and intellectually complex. However, the participants are often not publicised before the very opening of the exhibition. At documenta (13) , the official list of artists was not released until the day the show opened. Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In
2940-498: Was Okwui Enwezor for Documenta11 . The salary for the artistic director of Documenta is around €100,000 a year. 2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates ". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also
3000-482: Was a more realistic option. Accordingly, Chadwick became a trainee draughtsman, working first at the offices of architects Donald Hamilton and then Eugen Carl Kauffman, and finally for Rodney Thomas. Chadwick took great inspiration from Thomas, whose interest in contemporary European architecture and design had a significant effect on his development. His training in architectural drawing was the only formal education he received as an artist. He recalled: "What it taught me
3060-708: Was an English sculptor and artist. Much of his work is semi-abstract sculpture in bronze or steel. His work is in the collections of MoMA in New York, the Tate in London and the Centre Georges Pompidou in Paris. Chadwick was born in the suburb of Barnes , in western London, and attended Merchant Taylors' School in Northwood . While there he expressed an interest in being an artist, though his art master suggested architecture
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#17330847955593120-421: Was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism . This first Documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky ). The more recent editions of the event feature artists based across the world, but much of the art is site-specific . Every Documenta
3180-415: Was appointed a Senior Royal Academician of the Royal Academy of Arts , London, in 2001. Chadwick died at Lypiatt Park in 2003, the same year in which he was given a major retrospective exhibition at Tate Britain. He is buried in amongst the pine trees near the seat where he used to sit and think, overlooking Toadsmoor Valley. He is survived by his wife Éva and his two sons and two daughters. In 2014,
3240-592: Was at 37 million euros ($ 40 million), spread between 2013 and 2018; by the end of 2017, its deficit was expected to reach 5.4 million euros. Overspending in Athens led to a liquidity shortfall of 7 million euros, forcing the shareholders of Documenta — the city of Kassel and the German state of Hesse — to step in with emergency loan guarantees worth 8 million euros. 51°18′49″N 9°29′51″E / 51.31361°N 9.49750°E / 51.31361; 9.49750 Lynn Chadwick Lynn Russell Chadwick , CBE RA (24 November 1914 – 25 April 2003)
3300-805: Was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for Documenta have included the Karlsaue park, Schloss Wilhelmshöhe , the Neue Galerie, the Ottoneum and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach Documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia and Lagos, in an attempt to take Documenta into
3360-476: Was extremely positive. The poet and art critic Herbert Read wrote the introduction to the catalogue for this show, called New Aspects of British Sculpture . He described Chadwick's work, in what was to become a long-held interpretation, situating it alongside quotes from T. S. Eliot 's The Waste Land against the backdrop of the Cold War : These new images belong to the iconography of despair, of defiance; and
3420-539: Was how to compose things, a formal exercise in composition, really, it has nothing to do with the building it represents". In April 1941, having previously been a conscientious objector , Chadwick volunteered to serve in the Fleet Air Arm , and in 1941–1944 he served as a pilot during the Second World War escorting Atlantic convoys . After the war, Chadwick returned to Rodney Thomas where he became involved in
3480-590: Was invited to exhibit with the American Abstract Artists Group in New York. In January 1952, Chadwick was asked to present to the selection committee of the XXVI Venice Biennale , resulting in his being one of eight young British sculptors who were invited to exhibit at the Biennale, including Robert Adams , Kenneth Armitage , Reg Butler , Geoffrey Clarke , Bernard Meadows , Eduardo Paolozzi and William Turnbull . The critical response
3540-473: Was organized around themes like migration, urbanization and the post-colonial experience, with documentary photography, film and video as well as works from far-flung locales holding the spotlight. In 2012, documenta (13) was described as "ardently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art". Documenta typically gives its artists at least two years to conceive and produce their projects, so
3600-470: Was relevant for the coinage of the term that the Latin word documentum could be separated into docere 'teach' and mens 'intellect', and therefore thought it to be a good word to describe the intention and the demand of Documenta. Each edition of Documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at
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