Antje von Graevenitz

Antje von Graevenitz
Born (1940-08-26) August 26, 1940
Hamburg, Germany
Nationality German
Education PhD (1973)
Known for general art history, history of 20th- and 21st-century art
Spouse(s) Martin Adrichem

Antje (-Maria) von Graevenitz, born Ludwig (August 26, 1940, Hamburg) is a German art historian and art critic.

Education and career

Since 1970, Antje von Graevenitz has lived in Amsterdam. As a professor of general art history, specialized in the history of 20th- and 21st-century art, she taught at the University of Amsterdam (as a lecturer 1977-1989) and Cologne ( as a professor 1989-2005). In her research she is mainly focused on ephemeral art (performances and Fluxus) and interdisciplinary and anthropological topics (art in relation to rites of passage, philosophy, music, theatre or dance). Some of her publications are dedicated to Marcel Duchamp, Joseph Beuys and Nam June Paik. Parallel to studying librarianship (diploma in 1964), she read art history, archeology and ethnology at Hamburg and Munich, where in 1973 she obtained her PhD with a dissertation about the Dutch ornament in the lobate-style (‚kwab’) of the baroque period, investigated with reference to the works of the family of silversmiths van Vianen and Lutma.

From 1971 onwards she began writing art reviews and essays for the Süddeutsche Zeitung as well as for international journals. She has worked as part of the editorial teams of Museumjournaal, Vrij Nederland, Kunstschrift OKB, Wonen TABK, Archis and the Wallraf-Richartz Jahrbuch. She went on to lecture in modern art history at the University of Amsterdam (1977-1989), and was visiting professor at the Rijksuniversity Groningen and the Academy in Hamburg. Subsequently she occupied the chair of general art history and 20th- and 21st-century art history at the University of Cologne from 1989 to 2005). As cultural advisor she worked for both the Dutch government and for the municipality of Amsterdam. Furthermore, she functioned as a member of the board for Stichting de Appel in Amsterdam, for the Academy of Art in Arnhem, for Stichting Stamina in Amsterdam, as chairwoman of the board of the Art Collection of Groningen and as the president of the Dutch section of the AICA. She also was engaged as scientific advisor of the Rijksakademie in Amsterdam, the Institute of Modern Art in Nürnberg, the Kunstmuseum Liechtenstein in Vaduz and in the Central Archive of the International Art Market (ZADIK) in Cologne. In 1993, she was a member of the selection-committee for the chief-curator of documenta X in Kassel.

Personal life

Antje von Graevenitz was married (1967-1983) to the late Gerhard von Graevenitz (with 2 children), who was an artist of kinetic objects. Since 2001 she is married to Martin Adrichem.

Works (selection)

RITUALS

PHILOSOPHY

FLUXUS

JOSEPH BEUYS

MARCEL DUCHAMP

GENERAL SUBJECTS

FILM

EXHIBITIONS CURATED

References

  1. ↑ Antje, von Graevenitz. "Das niederländische Ohrmuschel-Ornament. Phänomen und Entwicklung, dargestellt an den Werken und Entwürfen der Goldschmiedefamilien van Vianen und Lutma". Retrieved 31 August 2012.
  2. ↑ Disch, Maddalena (2010). Che fare? Arte povera: Die historischen Jahre. Kehrer Verlag Heidelberg. pp. 29–41. ISBN 978-3868281651.
  3. ↑ Von Wiese, Stephan (2008). Joan Miro: Snail Woman Flower Star. Prestel USA. pp. 106–119. ISBN 3791340484.
  4. ↑ Geyer, Paul (2003). Proteus im Spiegel: Kritische Theorie des Subjekts im 20. Jahrhundert. Königshausen & Neumann. pp. 571–582. ISBN 978-3826026331.
  5. ↑ Lavin, Irving (1990). World Art: Themes of Unity in Diversity. Pennsylvania State Univ Pr. pp. 585–592. ISBN 978-0271006079.
  6. ↑ Schmied, Wieland (1988). Zeichen des Glaubens, Geist der Avantgarde. Religiöse Tendenzen in der Kunst des 20. Jahrhunderts. Klett-Cotta, Stgt. pp. 211–218. ISBN 978-3884480151.
  7. ↑ Szeemann, Harald (1978). Monte Verita. Berg der Wahrheit. Lokale Anthropologie als Beitrag zur Wiederentdeckung einer neuzeitlichen sakralen Topographie. Electa Editrice. pp. 85–98. ASIN B001XPJ2O6.
  8. ↑ Schieder, Martin (2006). In die Freiheit geworfen: Positionen zur deutsch-französischen Kunstgeschichte nach 1945. Oldenbourg Akademieverlag. pp. 229–254. ISBN 978-3050041827.
  9. ↑ Buschmann, Renate (2007). Fotos schreiben Kunstgeschichte. Dumont Buchverlag. pp. 67–86. ISBN 978-3832190583.
  10. ↑ Gaehtgens, Thomas W. (1993). Künstlerischer Austausch. Artistic Exchange: Artistic Exchange - Proceedings of the XXVIIIth International Congress of the History of Arts: 3 Bde. Akademie Verlag GmbH. pp. 223–233. ISBN 978-3050022963.
  11. ↑ Müller, Ulrich (2012). Joseph Beuys Parallelprozesse: Archäologie einer künstlerischen Praxis. Hirmer. pp. 68–81. ISBN 978-3777460116.
  12. ↑ Vöhler, Martin (2009). Grenzen der Katharsis in den modernen Künsten: Transformationen des aristotelischen Modells seit Bernays, Nietzsche und Freud. Gruyter, Walter De Gmbh. pp. 255–292. ISBN 978-3110206241.
  13. ↑ Mesch, Claudia (2007). Joseph Beuys: The Reader. The MIT Press. pp. 29–49. ISBN 978-0262633512.
  14. ↑ de Decker, Joseph and Anny (1987). Joseph Beuys: Eurasienstab. Antwerp: Galerie Anny de Decker. pp. 57–62. ISBN 978-9068480047.
  15. ↑ Förg, Gabriele (1984). Unsere Wagner: Joseph Beuys, Heiner Muller, Karlheinz Stockhausen, Hans Jurgen Syberberg : Essays. Fischer Taschenbuch Verlag. pp. 11–49. ISBN 978-3596236046.
  16. ↑ Banz, Stefan (2010). Marcel Duchamp and the Forestay waterfall : symposium, concert, intervention, exhibitions. Zurich. pp. 216–231. ISBN 9783037641569.
  17. ↑ Von Graevenitz, Antje (1989). Marcel Duchamp (Avant Garde Critical Studies 2). Rodopi Bv Editions. pp. 63–96. ISBN 978-9051830637.
  18. ↑ Hibbard, Allen (2010). Bowles / Beats / Tangier. Collaborative Media International. pp. 139–146. ISBN 978-0982440926.
  19. ↑ Krieger, Verena (2008). Kunstgeschichte und Gegenwartskunst: Vom Nutzen und Nachteil der Zeitgenossenschaft. Böhlau. pp. 117–142. ISBN 978-3412202569.
  20. ↑ Damus, Martin (1997). Die Zähmung der Avantgarde: Zur Rezeption der Moderne in den 50er Jahren. Stroemfeld. pp. 117–142. ISBN 978-3878776246.
  21. ↑ Groblewski, Michael (1993). Kultfigur und Mythenbildung: Das Bild vom Künstler und sein Werk in der zeitgenössischen Kunst. Akademieverlag. pp. 69–91. ISBN 978-3050023656.
  22. ↑ Schlemmer, Oskar (1988). Oskar Schlemmer: Wand-Bild, Bild-Wand : 1. Oktober-27. November 1988, Stadtische Kunsthalle Mannheim. Die Kunsthalle. pp. 9–16. ISBN 978-3891650554.
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