The last, unfinished work of Piet Mondrian (1872-194), the Victory Boogie Woogie was acquired in 1998 by the Dutch government and is on permanent loan at the Gemeentemuseum Den Haag. This work is considered one of the highlights of abstract 20th-century art. It had not been investigated properly before. In 2006 a study was therefore initiated with two purposes, namely research into the genesis of the work while studying the current condition. Besides the painting itself, historical sources and the restoration history were taken into account. The purpose of this publication is to shed light on all aspects of this masterpiece, thus contributing to a better understanding of this art work and a better understanding of the artist.00.

What links are there between Piet Mondrian’s unfinished work Victory Boogie Woogie (1942–4) and post-war Japanese and Japanese-style architectural photography? As far back as the mid-1950s, critics and photographers were inclined to link Mondrian’s painting with modern Japanese architecture and some historians were to go so far as to assert that Mondrian himself had been influenced by traditional Japanese architecture.Powerful associations such as these contributed to the coming together of Western and Japanese architectural modernity. They also underpinned the survival of Japonisme in architecture, or put another way, of the neo-Japonisme that emerged after the Second World War. However, while this kinship between Mondrian’s abstraction and the aesthetic of Japanese architecture is little apparent in architecture, it does show in architectural photography. This book, which takes a sidelong look at Mondrian, examines the works of the foremost among Japanese and American architectural photographers in an effort to interpret the dynamics of how the world of architecture was Japanized between 1945 and 1985.

Piet Mondrian hat die Entwicklung der Malerei von der Figuration zur Abstraktion maßgebend geprägt. Anlässlich seines 150. Geburtstags widmet sich Mondrian Evolution seinem vielgestaltigen Werk und seiner künstlerischen Entwicklung. Zunächst in der Tradition der niederländischen Landschaftsmalerei des späten 19. Jahrhunderts arbeitend, gewannen bald Symbolismus und Kubismus große Bedeutung für ihn. Erst seit Anfang der 1920er Jahre konzentrierte sich der Künstler auf eine komplett gegenstandslose Bildsprache, die sich auf die rechtwinklige Anordnung von schwarzen Linien mit Flächen in Weiß und den drei Grundfarben Blau, Rot und Gelb konzentriert. In einzelnen Kapiteln wird dieser Weg anhand von Motiven wie Windmühlen, Dünen und das Meer, sich im Wasser spiegelnden Bauernhöfen und Pflanzen in verschiedenen Formen der Abstraktion nachverfolgt.

Introduction: spectatorship after abstract art -- Concrete art, and invention -- Time-objects -- Subjective instability -- The instituting subject -- Conclusion

In the years after World War II, artists in Argentina and Brazil experimented with geo-metric abstraction and engaged in lively debates about the role of the artwork in society. Some of these artists used novel synthetic materials, creating objects that offered an alternative to established traditions in painting—proposing that these objects become part of everyday, concrete reality. Combining art historical and scientific analysis, experts from the Getty Conservation Institute and Getty Research Institute are collaborating with the Colección Patricia Phelps de Cisneros, a world-renowned collection of Latin American art, to research the formal strategies and material decisions of these artists working in the concrete and neo-concrete vein. Making Art Concrete presents works by Lygia Clark, Willys de Castro, Judith Lauand, Raúl Lozza, Hélio Oiticica, and Rhod Rothfuss, among others, with spectacu-lar new photography. The photographs, along with information about the now-invisible processes that determine the appearance of these works, are key to interpreting the artists’ technical choices as well as the objects themselves. Indeed, this volume sheds further light on the social, political, and cultural underpinnings of the artists’ propositions, making a compelling addition to the field of postwar Latin American art.

Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies. Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes. Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.

Architectural Drawings as Investigating Devices explores how the changing modes of representation in architecture and urbanism relate to the transformation of how the addressees of architecture and urbanism are conceived. The book diagnoses the dominant epistemological debates in architecture and urbanism during the 20th and 21st centuries. It traces their transformations, paying special attention to Le Corbusier and Ludwig Mies van der Rohe’s preference for perspective representation, to the diagrams of Team 10 architects, to the critiques of functionalism, and the upgrade of the artefactual value of architectural drawings in Aldo Rossi, John Hejduk, Peter Eisenman, and Oswald Mathias Ungers, and, finally, to the reinvention of architectural programme through the event in Bernard Tschumi and the Office for Metropolitan Architecture (OMA). Particular emphasis is placed on the spirit of truth and clarity in modernist architecture, the relationship between the individual and the community in post-war era architecture, the decodification of design process as syntactic analogy and the paradigm of autonomy in the 1970s and 1980s architecture, the concern about the dynamic character of urban conditions and the potentialities hidden in architectural programme in the post-autonomy era. This book is based on extensive archival research in Canada, the USA and Europe, and will be of interest to architects, artists, researchers and students in architecture, architectural history, theory, cultural theory, philosophy and aesthetics.

The Getty Research Journal features the work of art historians, museum curators, and conservators from around the world as part of the Getty’s mission to promote critical thinking in the presentation, conservation, and interpretation of the world’s artistic legacy. Articles present original research related to the Getty’s collections, initiatives, and research projects. This issue features essays on the cross-cultural features of a small alabaster vessel in the “international style” of the ancient Mediterranean, French and Flemish influences in the Montebourg Psalter, a new identification for the so-called bust of Saint Cyricus, the effects of the Reformation on the art market in northern Europe, sketchbooks kept by the Portuguese painter João Glama Stroeberle containing comments from his teachers, the origins of the architectural history survey, Japanese ink aesthetics in non-ink media, the impact of the invention of adhesive tape in the 1930s on the artistic process of abstract painters, and the importance of ephemeral artifacts for the documentation of Carolee Schneemann’s performance works. Shorter texts include notices on an Egyptian ushabti from the tomb of Neferibresaneith, a bronze statuette newly identified as representing the Alexandrian god Hermanubis, and an etching by Félix Bracquemond commissioned by the Parisian gallery Arnold & Tripp.

The series Topics in Current Chemistry Collections presents critical reviews from the journal Topics in Current Chemistry organized in topical volumes. The scope of coverage is all areas of chemical science including the interfaces with related disciplines such as biology, medicine and materials science. The goal of each thematic volume is to give the non-specialist reader, whether in academia or industry, a comprehensive insight into an area where new research is emerging which is of interest to a larger scientific audience.Each review within the volume critically surveys one aspect of that topic and places it within the context of the volume as a whole. The most significant developments of the last 5 to 10 years are presented using selected examples to illustrate the principles discussed. The coverage is not intended to be an exhaustive summary of the field or include large quantities of data, but should rather be conceptual, concentrating on the methodological thinking that will allow the non-specialist reader to understand the information presented. Contributions also offer an outlook on potential future developments in the field.

There is a certain amount of unexpected boogie woogie in anyones life or business entitys fate. It is when the boogie woogie gets to be so serious that it is considered the ultimate; meaning, a continuous headache, heartache, or depressing stress that it swells your head in disbelief. ~~~ Symptoms of the Boogie Woogie Ultimate Blues ~~~ Your next door neighbor scoops your newspapers three mornings in a row, lie about it, but you have him on video. Your boss tells you that you are no longer needed at the office two days before Christmas. Your daughters boyfriend wrecked your car that she borrowed to run one errand that never got done. Your wife took $4,500 out of the joint checking account without informing you causing you to bounce three checks to very important creditors so embarrassing. The doctor called your house twice saying it was urgent that you come in an discuss options for the returned test results you are scared to death only to find out the laboratory mixed up your labs with someone elses. Your knees and wrists hurt for real. Your wife is talking about a divorce and leaving after having gone to the male strip joint three weekends in a row while you thought she was visiting her sick grandmother (she spent $3,000 of the $4,500 at the club). However, the most hurting of all is your best friend and dog died yesterday. The boogie woogie! Coping with the boogie woogie ultimate blues is a challenge, if you are not ready, you will be caught up Why? Because the boogie woogie just does not quit! The boogie woogie ultimate is the third in a series reflecting how people get caught up and it shares the fools, victims, and the curious folks point of view basically, an example of what others think and feel so when you get caught up; you will have a guide on what to do humorously and seriously. ------------------------------ BOOGIE WOOGIE III: The Ultimate