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Magdalena Abakanowicz
Magdalena Abakanowicz
Published: 2011/04/13
Channel: susiefilms
Wokół kolekcji. Magdalena Abakanowicz
Wokół kolekcji. Magdalena Abakanowicz
Published: 2008/12/22
Channel: Muzeum Sztuki Nowoczesnej w Warszawie
Magdalena Abakanowicz
Magdalena Abakanowicz
Published: 2012/12/31
Channel: Sue Dodd
Magdalena ABAKANOWICZ w Tarnowie
Magdalena ABAKANOWICZ w Tarnowie
Published: 2012/06/12
Channel: Bogusław Hynek
Magdalena Abakanowicz in Berlin 2015 – An introduction by David Elliott
Magdalena Abakanowicz in Berlin 2015 – An introduction by David Elliott
Published: 2016/04/07
Channel: ZAK | BRANICKA
Women Artists and Postwar Abstraction | HOW TO SEE the art movement with MoMA curator Starr Figura
Women Artists and Postwar Abstraction | HOW TO SEE the art movement with MoMA curator Starr Figura
Published: 2017/05/22
Channel: The Museum of Modern Art
Magdalena Abakanowicz | Co to je?
Magdalena Abakanowicz | Co to je?
Published: 2011/05/12
Channel: Muzeum umění Olomouc
Magdalena Abakanowicz | Jak na to?
Magdalena Abakanowicz | Jak na to?
Published: 2011/05/12
Channel: Muzeum umění Olomouc
Magdalena Abakanowicz: Crowd and Individual / Fondazione Giorgio Cini
Magdalena Abakanowicz: Crowd and Individual / Fondazione Giorgio Cini
Published: 2015/06/19
Channel: VernissageTV
Ślady istnienia - MAGDALENA ABAKANOWICZ
Ślady istnienia - MAGDALENA ABAKANOWICZ
Published: 2017/09/06
Channel: DOKIS TV
MAGDALENA ABAKANOWICZ -- RETROSPEKTYWA
MAGDALENA ABAKANOWICZ -- RETROSPEKTYWA
Published: 2013/06/13
Channel: Centrum Rzeźby Polskiej w Oronsku
13 MAR 2012 BELGIAN COAST  WESTENDE "BEAUFORT04" STRAND ST LAUREINS  MAGDALENA ABAKANOWICZ
13 MAR 2012 BELGIAN COAST WESTENDE "BEAUFORT04" STRAND ST LAUREINS MAGDALENA ABAKANOWICZ
Published: 2012/03/14
Channel: Serge Bellemans
Magdalena ABAKANOWICZ w Tarnowie
Magdalena ABAKANOWICZ w Tarnowie
Published: 2014/02/28
Channel: Centrum Sztuki Mościce
Magdalena Abakanowicz - Muzeum Narodowe w Krakowie
Magdalena Abakanowicz - Muzeum Narodowe w Krakowie
Published: 2012/08/01
Channel: PolandArtTV
Magdalena Abakanowicz
Magdalena Abakanowicz
Published: 2016/03/30
Channel: Emily Strauss
WKRACZAMY W ŚWIAT JUTY, ŻYWICY, DREWNA I STALI CZYLI MAGDALENA ABAKANOWICZ W OROŃSKU.
WKRACZAMY W ŚWIAT JUTY, ŻYWICY, DREWNA I STALI CZYLI MAGDALENA ABAKANOWICZ W OROŃSKU.
Published: 2013/11/04
Channel: maszpralka
NIEROZPOZNANI 2
NIEROZPOZNANI 2
Published: 2015/12/18
Channel: bojanek
Burlap Figures - Lesson Plan
Burlap Figures - Lesson Plan
Published: 2010/10/03
Channel: Blick Art Materials
Magdalena Abakanowicz, Polish artist behind headless sculptures in Grant Park, dies at age 86
Magdalena Abakanowicz, Polish artist behind headless sculptures in Grant Park, dies at age 86
Published: 2017/04/22
Channel: Go News
Magdalena Abakanowicz, Polish artist behind headless sculptures in Grant Park, dies at age 86
Magdalena Abakanowicz, Polish artist behind headless sculptures in Grant Park, dies at age 86
Published: 2017/04/21
Channel: Today news
Magdalena Abakanowicz - Nierozpoznani - Poznan
Magdalena Abakanowicz - Nierozpoznani - Poznan
Published: 2006/10/03
Channel: xszymon
Critical Review: Bronze Bodies by Magdalena Abakanowicz
Critical Review: Bronze Bodies by Magdalena Abakanowicz
Published: 2013/11/09
Channel: David Wright
Agora Chicago (Magdalena Abakanowicz)
Agora Chicago (Magdalena Abakanowicz)
Published: 2010/03/22
Channel: Kao Ra Zen
Artysci Wroclawia - Magdalena Abakanowicz
Artysci Wroclawia - Magdalena Abakanowicz
Published: 2012/01/10
Channel: zsp12szk20
Magdalena Abakanowicz, Sculptor of Brooding Forms, Dies at 86
Magdalena Abakanowicz, Sculptor of Brooding Forms, Dies at 86
Published: 2017/04/22
Channel: Today news
Magdalena Abakanowicz by Barbara Rose
Magdalena Abakanowicz by Barbara Rose
Published: 2017/05/31
Channel: Channel Ayu Tenan
Letem světem výstavou "Magdalena Abakanowicz | Život a dílo"
Letem světem výstavou "Magdalena Abakanowicz | Život a dílo"
Published: 2011/08/19
Channel: Muzeum umění Olomouc
Magdalena Abakanowicz Ten Seated Figures YSP May 2013mp4
Magdalena Abakanowicz Ten Seated Figures YSP May 2013mp4
Published: 2013/05/09
Channel: erasedculture
MAGDALENA ABAKANOWICZ - POTNIA THERON  WYSTAWA W PGS W SOPOCIE 2012 (zdjęcia i montaż Miłosz Thiede)
MAGDALENA ABAKANOWICZ - POTNIA THERON WYSTAWA W PGS W SOPOCIE 2012 (zdjęcia i montaż Miłosz Thiede)
Published: 2013/07/05
Channel: miloproj
Ślady Istnienia Magdalena Abakanowicz  Wrocław Dworzec PKP
Ślady Istnienia Magdalena Abakanowicz Wrocław Dworzec PKP
Published: 2017/06/28
Channel: StarTV
Abakanowicz, Magdalena
Abakanowicz, Magdalena
Published: 2016/06/06
Channel: My Channels
CRUST-AGE
CRUST-AGE
Published: 2008/09/11
Channel: Artus Társulat
Magdalena Abakanowicz
Magdalena Abakanowicz
Published: 2015/05/27
Channel: Weronika J
Critical Review: Bronze Bodies by Magdalena Abakanowicz
Critical Review: Bronze Bodies by Magdalena Abakanowicz
Published: 2013/11/09
Channel: David Wright
Od Tiziana po Warhola: Magdalena Abakanowicz—12 sedících postav
Od Tiziana po Warhola: Magdalena Abakanowicz—12 sedících postav
Published: 2012/12/07
Channel: Muzeum umění Olomouc
Abakanowicz? Abakanowicz!
Abakanowicz? Abakanowicz!
Published: 2017/04/26
Channel: Andrzej Chomczyk
El IVAM acoge obras de escultora polaca Magdalena Abakanowicz,
El IVAM acoge obras de escultora polaca Magdalena Abakanowicz,
Published: 2008/07/24
Channel: AGENCIA EFE
Nierozpoznani - 112 figur żeliwnych
Nierozpoznani - 112 figur żeliwnych
Published: 2013/05/14
Channel: Marcin Wiecek
MAGDALENA ABAKANOWICZ - 2 CORTEN ARMOURS - Beaufort 04 - video:Patrick Baele
MAGDALENA ABAKANOWICZ - 2 CORTEN ARMOURS - Beaufort 04 - video:Patrick Baele
Published: 2013/01/31
Channel: Patrick Baele
QIK - Magdalena Abakanowicz
QIK - Magdalena Abakanowicz
Published: 2009/06/21
Channel: tomcorsan
Magdalena Abakanowicz - İnsanlık Serüveni
Magdalena Abakanowicz - İnsanlık Serüveni
Published: 2015/12/15
Channel: Akbank Sanat
Magdalena Abakanowicz TUR
Magdalena Abakanowicz TUR
Published: 2012/11/19
Channel: Centrum Rzeźby Polskiej w Oronsku
Tecson & Herrera BCS22 Magdalena Abakanowicz
Tecson & Herrera BCS22 Magdalena Abakanowicz
Published: 2017/02/23
Channel: dePauLT_zero
Prace Magdaleny Abakanowicz w Galerii Winda
Prace Magdaleny Abakanowicz w Galerii Winda
Published: 2014/05/16
Channel: iTV Kielce
Magdalena Abakanowicz - licytacja charytatywna obrazu
Magdalena Abakanowicz - licytacja charytatywna obrazu
Published: 2015/04/23
Channel: Michał Łenczyński
ABAKANOWICZ w BWA
ABAKANOWICZ w BWA
Published: 2017/05/30
Channel: TELEWIZJA KOPERNIK kopernik.tv
Bronze Crowd 1990-91 Magdalena Abakanowicz 1930 Nasher Sculpture Center Dallas
Bronze Crowd 1990-91 Magdalena Abakanowicz 1930 Nasher Sculpture Center Dallas
Published: 2014/03/26
Channel: Fribourg2012
"Agora" in Grant Park Chicago
"Agora" in Grant Park Chicago
Published: 2008/07/02
Channel: Jonah McLeod
How to pronounce Abakanowicz (Polish/Poland) - PronounceNames.com
How to pronounce Abakanowicz (Polish/Poland) - PronounceNames.com
Published: 2014/06/05
Channel: Pronounce Names
ATM II - Magdalena Abakanowicz - Depoimento Antonio Abdalla
ATM II - Magdalena Abakanowicz - Depoimento Antonio Abdalla
Published: 2016/12/22
Channel: Passado Composto Século XX
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WIKIPEDIA ARTICLE

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Magdalena Abakanowicz
Magdalena Abakanowicz crop 3x4.jpg
M. Abakanowicz in her art room. photo: J.Pijarowski
Born (1930-06-20)June 20, 1930
Falenty, Poland
Died April 20, 2017(2017-04-20) (aged 86)
Warsaw, Poland
Nationality Polish
Education Warsaw Academy of Fine Arts
Known for sculpture, fiber art
Awards Herder Prize (1979)
Leonardo da Vinci World Award of Arts (1999)

Magdalena Abakanowicz (June 20, 1930 – April 20, 2017) was a Polish sculptor and fiber artist. She is notable for her use of textiles as a sculptural medium. She is widely regarded as one of Poland's most internationally-acclaimed artists. She was a professor at the Academy of Fine Arts in Poznań, Poland from 1965 to 1990 and a visiting professor at University of California, Los Angeles in 1984.

Early life[edit]

Magdalena Abakanowicz was born to a noble landowner family in Falenty. Her mother descended from old Polish nobility. Her father came from a Polonized Tatar family, which traced its origins to Abaqa Khan (a 13th-century Mongol chieftain). Her father's family fled Russia to the newly independent Poland after the October Revolution.[1]

The Russian invasion of 1920 forced her family to flee their home, after which they moved to the city of Gdańsk. When she was nine Nazi Germany invaded and occupied Poland. Her family endured the war years living on the outskirts of Warsaw. After the war and resulting Soviet occupation, the family moved to the small city of Tczew near Gdańsk, in northern Poland, where they hoped to start a new life.

Under Soviet control, the Polish government officially adopted Socialist realism as the only acceptable art form which should be pursued by artists. Originally conceived by Joseph Stalin in the 1930s, Socialist realism, in nature, had to be 'national in form' and 'socialist in content'.[2] Other art forms being practiced at the time in the West, such as Modernism, were culturally outlawed and heavily censored in all Eastern bloc nations, including Poland.[citation needed]

Abakanowicz completed part of her high school education in Tczew from 1945 to 1947, after which she went to Gdynia for two additional years of art school at the Liceum Sztuk Plastycznych in that city. After her graduation from the Liceum in 1949, Abakanowicz attended the Academy of Fine Arts in Sopot (now in Gdańsk).[3] In 1950, Abakanowicz moved back to Warsaw to begin her studies at the Academy of Fine Arts there,[3] the leading art school in Poland.[4]

Her years at the university, 1950–1954, coincided with some of the harshest assaults made on art by the Soviet leadership. By utilizing the doctrine of 'Socialist realism', all art forms in Soviet occupied nations were forced to adhere to strict guidelines and limitations that subordinated the arts to the needs and demands of the State. Realist artistic depictions based on the national 19th-century academic tradition were the only form of artistic expression advocated by in Poland at the time.[5] The Warsaw Academy of Fine Arts, being the most important artistic institution in Poland, came under special scrutiny from the Ministry of Art and Culture, which administered all major decisions in the field at the time.[6]

Abakanowicz found the climate at the Academy to be highly “rigid” and overly “conservative”. She recalled:

I liked to draw, seeking the form by placing lines, one next to the other. The professor would come with an eraser in his hand and rub out every unnecessary line on my drawing, leaving a thin, dry contour. I hated him for it.[6]

While studying at the University she was required to take several textile design classes, learning the art of weaving, screen printing, and fiber design from instructors such as Anna Sledziewska, Eleonora Plutymska, and Maria Urbanowicz. These instructors and skills would greatly influence Abakanowicz's work, as well as that of other prominent Polish artists of the time.[7]

First artworks[edit]

Nierozpoznani ("The Unrecognised Ones") (2002) in the Cytadela park, Poznań, Poland (whole installation)

Following her education at the Academy, Abakanowicz began to produce her first artistic works. Due to the fact that she spent most of her academic life moving from place to place, much of her earlier artwork was lost or damaged, with only a few, delicate plant drawings surviving. Between 1956 and 1959, she produced some of her earliest known works; a series of large gouaches and watercolors on paper and sewn-together linen sheets. These works, described as being 'biomorphic” in composition, depicted imaginary plants, birds, exotic fish, and seashells, among other biomorphic shapes and forms.[7] Joanna Inglot wrote in The Figurative Sculpture of Magdalena Abakanowicz about these early works: “[they] pointed to Abakanowicz’s early fascination with the natural world and its processes of germination, growth, blooming, and sprouting. They seem to capture the very energy of life, a quality that would become a constant feature of her art.”[7] Abakanowicz said:

My gouaches were as large as the wall permitted. Depressed by years of study, I was fighting back by making my gouaches for myself. For so long it had been repeated that I could not do it; my response had to be on a big scale. I wanted to take a walk among imaginary plants.[8]

It was also during this time that Poland began to lift some of the heavy political pressures imposed by the Soviet Union, mainly due to the death of Soviet leader Joseph Stalin in 1953. In 1956, under the new party leadership of Władysław Gomułka, Poland experienced a dramatic social and cultural shift. The shift resulted in the liberalization of the forms and content of art, with the Stalinistic methods of art form being openly criticized by the Gomulka government.

A major freedom granted to Polish artists was the permission to travel to several Western cities, such as Paris, Venice, Munich, and New York City, to experience artistic developments outside the Eastern bloc. This liberalization of the arts in Poland and injection of other art forms into the Polish art world greatly influenced Abakanowicz's early works, as she began to consider much of her early work as being “ too flamboyant and lacking in structure."[8] Constructivism began to influence her work in the late 1950s as she adopted more a more geometric and structured approach. Never fully accepting Constructivism, she searched for her own “artistic language and for a way to make her art more tactile, intuitive, and personal.”[9] As a result, she soon adopted weaving as another avenue of artistic exploration.

In her first one-person exhibit at the Kordegarda Gallery in Warsaw in the spring of 1960, she included a series of four weavings along with a collection of gouaches and watercolors. Though her first exhibit received minimal critical notice, it helped advance her position within the Polish textile and fiber design movement and resulted in her inclusion into the first Biennale Internationale de le Tapisserie in Lausanne, Switzerland, in 1962. The event opened the way to her international success.[9]

Opus[edit]

Abakans[edit]

Space of Unknown Growth (Europos Parkas Lithuania)

The 1960s saw some of the most important works produced during Abakanowicz's career. In 1967, she began producing gigantic three-dimensional fiber works called Abakans. These works would secure her place in the art world as one of the great artists of the time and influence all of the subsequent work she created .[10]

Each Abakan is made out of woven material using Abakanowicz's own technique. The material used for many of these pieces was found, often collecting sisal ropes from harbors, untwining them into threads and dying them.[10] Hung from the ceiling, Abakans reach sizes as large as thirteen feet with sometimes only a few inch clearance from the ground.

Humanoid sculptures[edit]

During the 1970s, and into the 1980s, Abakanowicz changed medium and scale; she began a series of figurative and non-figurative sculptures made out of pieces of coarse sackcloth which she sewed and pieced together and bonded with synthetic resins. These works became more representational than previous sculptures but still retain a degree of abstraction and ambiguity. In 1974-1975 she produced sculptures called Alterations, which were twelve hollowed-out headless human figures sitting in a row. From 1973–1975 she produced a series of enormous, solid forms reminiscent of human heads without faces called Heads. From 1976-1980 she produced a piece call Backs, which was a series of eighty slightly differing sculptures of the human trunk.

In 1986-87 she created a series of fifty standing figures called The Crowd I. She also began to once again work around organic structures, such as her Embryology series, which consisted of several dozen soft egg-like lumps varying in size. These were dispersed round an exhibition room at the Vienna Biennial in 1980.

These humanoid works of the 1970s and 1980s were centered around human culture and nature as a whole and its condition and position in modern society. The multiplicity of the human forms represents confusion and anonymity, analyzing an individual's presence in a mass of humanity.[11] These works have close connections to Abakanowicz's life living in a Communist regime which repressed individual creativity and intellect in favor of the collective interest. These works also contrast with her earlier Abakan series, which were individually powerful pieces, whereas the figurative sculptures lost their individuality in favor of multiplicity.

In the late 1980s to 1990s Abakanowicz began to use metals, such as bronze, for her sculptures, as well as wood, stone, and clay. She continued the subject matter of the human condition but changed her medium; her burlap and resin figurative sculptures were now being made out of bronze, such as Bronze Crowd (1990–91) and Puellae (1992). She stated in a speech given at the Academy of Fine Arts in Łódź:

In consequence, the expression of art saturated with history, deformed by modernity, diverging from the direction of art in the free world. Perhaps the experience of the crowd, waiting passively in line, but ready to trample, destroy or adore on command like a headless creature, became the core of my analysis. And maybe it was a fascination with the scale of the human body. Or a desire to determine the minimal amount necessary to express the whole.[12]

War Games[edit]

One of Abakanowicz's most unusual works is titled War Games, which is a cycle of monumental structures made up of huge trunks of old trees, with their branches and bark removed. Partly bandaged with rags and hugged by steel hoops, these sculptures are placed on lattice metal stands. Like the name of the cycle implies, these sculptures have a very militaristic feel to them, as they have been compared to artillery vehicles.[11] During the 1990s Abakanowicz was also commissioned to design a model of an ecologically-oriented city. She also choreographed dance.

Agora[edit]

Abakanowicz's final round of work includes a project called Agora, which is a permanent installation located at the southern end of Chicago's Grant Park, next to the Roosevelt Road Metra station. It consists of 106 cast iron figures, each about nine feet tall. All the figures are similar in shape, but different in details. The artist and her three assistants created models for each figure by hand, and the casting took place from 2004 to 2006. The surface of each figure resembles a tree bark or wrinkled skin. The work creates a feeling of crowdedness, hence the name "agora". Furthermore, all the bodies end at the torso, giving them an eerie, anonymous look.


Agora by Magdalena Abakanowicz, in the south end of Grant Park, Chicago, Illinois, at the intersection of Michigan Avenue and East Roosevelt Road. The entire installation is about 300 feet (91 m) long.

Awards[edit]

Doctorates and honors[edit]

  • Honoris Causa doctorate from the Royal College of Art, London, England (1974)
  • Honoris Causa doctorate from the Rhode Island School of Design, Providence, Rhode Island (1992)
  • Honorary member of the Academy of Arts, Berlin (1994)
  • Honorary member of the American Academy of Arts and Letters, New York City (1996)
  • Honorary member of the Sachsische Akademie der Kunste, Dresden, Germany (1998)
  • Honoris Causa doctorate from the Academy of Fine Arts, Łódź, Poland (1998)
  • Orden Pour le Mérite fur Wissenschaften und Künste, Berlin, Germany (2000)
  • Honorary Doctor of Fine Arts degree, Pratt Institute, New York (2000)
  • Honoris Causa doctorate from the Massachusetts College of Art, Boston, Massachusetts (2001)
  • Honoris Causa doctorate from the Academy of Fine Arts in Poznań, Poland (2002)
  • Honoris Causa doctorate from the School of the Art Institute of Chicago, Chicago, Illinois (2002)

Quotes[edit]

“My work comes from the experience of crowds, injustice, and aggression… I feel an affinity for art when it was made a form of existence, like when shamans worked in the territory between men and unknown powers… I try to bewitch the crowd.”

“I feel overawed by quantity where counting no longer makes sense. By unrepeatability within such a quantity. By creatures of nature gathered in herds, droves, species, in which each individual, while subservient to the mass, retains some distinguishing features. A crowd of people, birds, insects, or leaves is a mysterious assemblage of variants of certain prototype. A riddle of nature's abhorrence of exact repetition or inability to produce it. Just as the human hand cannot repeat its own gesture, I invoke this disturbing law, switching my own immobile herds into that rhythm.”[14]

"Art will remain the most astonishing activity of mankind born out of struggle between wisdom and madness, between dream and reality in our mind."[15]

See also[edit]

References[edit]

Notes

  1. ^ Inglot, p. 12.
  2. ^ Inglot, p. 31.
  3. ^ a b Grimes, Willliam (April 21, 2017). "Magdalena Abakanowicz, Sculptor of Brooding Forms, Dies at 86". New York Times. Retrieved 2017-08-13.
  4. ^ Inglot, p. 28. Inglot characterizes the Warsaw Academy of Fine Arts as "the most important training center for young artists" in Poland at that time.
  5. ^ Inglot, p. 32.
  6. ^ a b Inglot, p. 27.
  7. ^ a b c Inglot, p. 28.
  8. ^ a b Inglot, p. 34.
  9. ^ a b Inglot, p. 39.
  10. ^ a b Brenson, Michael, Magdalena Abakanowicz's Abakans, Art Journal. Volume 54. Issue: 1, 1995
  11. ^ a b Kitowska-Lysiak, Malgorzata, Magdalena Abakanowicz, Visual Arts Profile, Polish Culture, Art History Institute of the Catholic University of Lublin, 2004
  12. ^ Abakanowicz in Cracow, Warsaw Voice, 3 May 1998
  13. ^ "Leonardo da Vinci World Award of Arts 1999". Archived from the original on June 26, 2012. Retrieved August 14, 2013. 
  14. ^ Magdalena Abakanowicz, The World's Women On-Line!
  15. ^ Hillstrom, Laurie Collier; Hillstrom, Kevin (1999-01-01). Contemporary women artists. Detroit: St. James Press. ISBN 1558623728. 

Bibliography

External links[edit]

Museums

Works

Articles

Schools


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