Werner Herzog

Posted in Art, Exhibitions and Installations, Photographs, Film, and Video

Four Minds on Herzog: A Conversation with Glenn Phillips

Glenn Phillips in Werner Herzog's Hearsay of the Soul
Curator Glenn Phillips, photographed inside Werner Herzog’s installation Hearsay of the Soul

“You’re only rewarded by any encounter with an artwork if you get something out of it.” How to approach Werner Herzog. More»

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Posted in Art, Exhibitions and Installations, Photographs, Film, and Video

Four Minds on Herzog: A Conversation with Nancy Perloff

Nancy Perloff in Werner Herzog's Hearsay of the Soul
Curator Nancy Perloff, photographed inside Werner Herzog's installation Hearsay of the Soul

“The end is a kind of apotheosis. Maybe that sounds too romantic or spiritual. But the single most remarkable thing is that you lose all sense of time.” More»

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Posted in Art, Exhibitions and Installations, Photographs, Film, and Video

Four Minds on Herzog: A Conversation with Anne Woollett

Anne Woollett
Curator Anne Woolett, photographed inside the installation Hearsay of the Soul

The deep appeal of the imagined landscape. More»

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Posted in Art, Exhibitions and Installations, Photographs, Film, and Video

Four Minds on Herzog: A Conversation with Paul Young

Paul Young
Paul Young photographed within Hearsay of the Soul at the Getty Center. "It feels very personal, and that’s what makes it interesting," he says.

“I think he sees Hearsay of the Soul as a poem, and doesn’t want to make a documentary—that was a very deliberate choice. It feels very personal, and that’s what makes it interesting.” More»

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Posted in Exhibitions and Installations, Photographs, Film, and Video, Voices

Getty Voices: Directing Landscape

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Music and landscape combine to create a powerful “separate reality” in Werner Herzog’s work. More»

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Posted in Conservation, Getty Conservation Institute, Publications

Werner Herzog, Jean Clottes, and the Origins of Art

Rock art in Leliekloof, Eastern Cape, South Africa. Processions of people are typical of dancing scenes associated with altered states of consciousness. The sheep and dogs indicate that the paintings are less than 2,000 years old. Photo: Janette Deacon

I’ve long admired the films of Werner Herzog, so I was delighted to discover that his new film Cave of Forgotten Dreams, made in 3-D, is about the prehistoric paintings at Chauvet, in the Ardeche region of southeastern France. I… More»

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      #ProvenancePeek: July 31

      Every art object has a story—not only of how it was made, but of how it changed hands over time until it found its current home. That story is provenance.

      This small panel by Dutch master Gerrit Dou (photographed only in black and white) is now in the collection of the Sterling and Francine Clark Art Institute. It was sold to American collector Robert Sterling Clark, an heir to the Singer sewing machine fortune, in the summer of 1922.

      How do we know this? Archival sleuthing! A peek into the handwritten stock books of M. Knoedler & Co. (book 7, page 10, row 40, to be exact) records the Dou in “July 1922” (right page, margin). Turning to the sales books, which lists dates and prices, we again find the painting under the heading “New York July 1922,” with its inventory number 14892. A tiny “31” in superscript above Clark’s name indicates the date the sale was recorded.

      M. Knoedler was one of the most influential dealers in the history of art, selling European paintings to collectors whose collections formed the genesis of great U.S. museums. The Knoedler stock books have recently been digitized and transformed into a searchable database, which anyone can query for free.

      Girl at a Window, 1623–75, Gerrit Dou. Oil on panel, 10 9/16 x 7 ½ in. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts


      #ProvenancePeek is a monthly series by research assistant Kelly Davis peeking into #onthisday provenance finds from the M. Knoedler & Co. archives at the Getty Research Institute.

      07/31/15

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