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This monograph—published to coincide with the Bauhaus exhibition at the MoMA (November 8, 2009-January 25, 2010)—celebrates the work of twenty women artists who created feverishly in all the teaching, workshop, and production branches of the Bauhaus—women who should have been included in the major art histories of the twentieth century long ago, but whose names, masterpieces, and extraordinary lives have only gradually become known to us. Recognized figures such as Anni Albers—the first textile artist to be exhibited at the MoMA—and Marianne Brandt—whose elegant geometric tableware have become classic Alessi designs—are showcased alongside previously unknown artists such as Gertrud Grunow, who taught "Harmonizing Science"; Helene Börner, who led the textile workshop; and Ilse Fehling, a sculptor and the most sought-after set and costume designer of her generation. Founded in 1919, the Bauhaus and most of its students were poor and lacking in just about everything. What it did have, however, was an abundance of enthusiasm, talent, and innovative creativity. Furthermore, over half of those seeking to enroll at the school were women. This tornado of the "fairer sex" was initially seen as a threat, and the weaving mill was quickly turned into a separate "women’s facility." Nevertheless, over the years the mill became a hotbed of groundbreaking production, whose impact far surpassed national borders, as demonstrated by the international acclaim of photographers Lucia Moholy, Florence Henri, and Grete Stern.

No other figure embodies revolutionary politics and radical chic quite like Ulrike Meinhof, who formed, with Andreas Baader and Gudrun Ensslin, the Red Army Faction (RAF), also known as the Baader–Meinhof Gang, notorious for its bombings and kidnappings of the wealthy in the 1970s. But in the years leading up to her leap into the fray, Meinhof was known throughout Europe as a respected journalist, who informed and entertained her loyal readers with monthly magazine columns.What impels someone to abandon middle-class privilege for the sake of revolution? In the 1960s, Meinhof began to see the world in increasingly stark terms: the United States was emerging as an unstoppable superpower, massacring a tiny country overseas despite increasingly popular dissent at home; and Germany appeared to be run by former Nazis. Never before translated into English, Meinhof's writings show a woman increasingly engaged in the major political events and social currents of her time. In her introduction, Karin Bauer tells Meinhof's mesmerizing life story and her political coming-of-age; Nobel Prize–winning author Elfriede Jelinek provides a thoughtful reflection on Meinhof's tragic failure to be heard; and Meinhof ’s daughter—a relentless critic of her mother and of the Left—contributes an afterword that shows how Meinhof's ghost still haunts us today.

No other figure embodies revolutionary politics and radical chic quite like Ulrike Meinhof, who formed, with Andreas Baader and Gudrun Ensslin, the Red Army Faction (RAF), also known as the Baader–Meinhof Gang, notorious for its bombings and kidnappings of the wealthy in the 1970s. But in the years leading up to her leap into the fray, Meinhof was known throughout Europe as a respected journalist, who informed and entertained her loyal readers with monthly magazine columns.What impels someone to abandon middle-class privilege for the sake of revolution? In the 1960s, Meinhof began to see the world in increasingly stark terms: the United States was emerging as an unstoppable superpower, massacring a tiny country overseas despite increasingly popular dissent at home; and Germany appeared to be run by former Nazis. Never before translated into English, Meinhof's writings show a woman increasingly engaged in the major political events and social currents of her time. In her introduction, Karin Bauer tells Meinhof's mesmerizing life story and her political coming-of-age; Nobel Prize–winning author Elfriede Jelinek provides a thoughtful reflection on Meinhof's tragic failure to be heard; and Meinhof ’s daughter—a relentless critic of her mother and of the Left—contributes an afterword that shows how Meinhof's ghost still haunts us today.

No Two Alike documents an exhibition curated by Ulrike Meyer Stump as part of Cincinnati's 2018 FotoFocus Biennial, with its general theme "Open Archive." The exhibition restages the historic encounter between Karl Blossfeldt’s plant photographs and Francis Bruguière’s light designs held at the Warren Gallery in London in 1929 and juxtaposes it with the Photograms and Negatives series by contemporary artist Thomas Ruff. The combination of Blossfeldt's biomorphism and Bruguière's abstraction offers clues for the understanding of British modernism, and offers insight into the role photography and photobooks played in the British avant-garde. Throughout his career, Thomas Ruff has expressed great interest in the history of photography and has repeatedly shown a special affinity with Blossfeldt (particularly in his Negatives series); Bruguière's abstract light compositions, on the other hand, have strong formal ties to Ruff's photograms. "No two alike" expresses the three artists' mutual interest in the variant as a creative principle, also advancing the idea that each of these bodies of work presents a variant of the other.

Germany in the 1970s: Murderous bomb attacks, the threat of terrorism and the fear of the enemy inside are rocking the very foundations of the still-fragile German democracy. The radicalized children of the Nazi generation led by Andreas Baader (Moritz Bleibtreu), Ulrike Meinhof (Martina Gedeck) and Gudrun Ensslin (Johanna Wokalek) are fighting a violent war against what they perceive as the new face of fascism: American imperialism supported by the German establishment, many of whom have a Nazi

Germany in the 1970s: Murderous bomb attacks, the threat of terrorism and the fear of the enemy inside are rocking the very foundations of the still-fragile German democracy. The radicalized children of the Nazi generation led by Andreas Baader (Moritz Bleibtreu), Ulrike Meinhof (Martina Gedeck) and Gudrun Ensslin (Johanna Wokalek) are fighting a violent war against what they perceive as the new face of fascism: American imperialism supported by the German establishment, many of whom have a Nazi

Renowned author Ulrike Schuerkens presents an in-depth exploration of social transformations and developments. Combining an international approach with up-to-date research, the book: Has dedicated chapters on contemporary topics including technology, new media, war and terror, political culture and inequality Includes an analysis of societal structures – inequality, globalization, transnationalism Contains learning features including: discussion questions, annotated further reading, chapter summaries, and pointers to online resources to assist with study A must buy for students taking modules in social change, social inequality, social theory, and globalization.

224 Seiten Buch ist neu, aus priv. Vorbesitz, ungelesen. Gebundenes Buch mit Original-Schutzumschlag. -----Inhalt:. Vierzig Jahre RAF-Syndrom Am 14. Mai 1970 verhalfen ein Mann und vier Frauen darunter Gudrun Ensslin und Ulrike Meinhof in West-Berlin mit Waffengewalt dem Strafgefangenen Andreas Baader zur Flucht. Es war die Geburtsstunde der Roten Armee Fraktion. Bis zu ihrem letzten Anschlag im Jahr 1993 versetzte die RAF die Republik immer wieder in Angst und Schrecken. Nach wie vor ist ein großer Teil der RAF-Taten nicht aufgeklärt; weiterhin halten neue Erkenntnisse Justiz, Politik und Gesellschaft in Atem. Kompakt und spannend erzählt SPIEGEL-Autor Michael Sontheimer die Geschichte der Roten Armee Fraktion, und er versucht zu erklären, warum immer wieder intelligente junge Deutsche einen brutalen Kampf gegen den Staat aufnahmen. Ein Buch für all jene, die sich dem Phänomen RAF zum ersten Mal nähern, aber auch für diejenigen, die glauben, bereits alles über die Terrorgruppe zu wissen. ISBN: 9783421044709 Wir senden umgehend mit beiliegender MwSt.Rechnung. Sprache: Deutsch Gewicht in Gramm: 399 Gebundene Ausgabe, Größe: 14.3 x 2.5 x 22.4 cm

Pace catalogue features: Terry Adkins; Rasheed Araeen; Kevin Beasley;Sergio Camargo; Jonathas de Andrade; Koji Enokura; Ellen Gallagher ;Robert Irwin; Rashid Johnson; Sol LeWitt; Glenn Ligon; and Laura Lima Turiya Magadlela Steve McQueen Ulrike Müller Oscar Murillo Wangechi Mutu Louise Nevelson Lorraine O'Grady Adam Pendleton Pope.L Robert Rauschenberg Ad Reinhardt Fred Sandback Sui Jianguo Jack Tworkov Carrie Mae Weems Jack Whitten

Benda: Chamber Music and Songs, Composer Georg Benda, Artist Elena Bertuzzi soprano, Paolo Borgonovo tenor, Ulrike Slowik violin, Ensemble Arcomelo, Michele Benuzzi harpsichord & director, Format 6 CD, Many listeners will be unfamiliar with the name Georg Anton Benda, but in his day this Bohemian Kapellmeister enjoyed international fame - chiefly on account of his opera Ariadne auf Naxos, a product of the melodrama that Benda was instrumental in developing and which influenced, among others, Wol

Lost Generation Ulrike Anton - CD 9003643989641

What would happen if we could stroll through the revolutionary history of the 20th century and, without any fear of the possible responses, ask the main protagonists - from Lenin to Che Guevara, from Alexandra Kollontai to Ulrike Meinhof - seemingly naïve questions about love? Although all important political and social changes of the 20th century included heated debates on the role of love, it seems that in the 21st century of new technologies of the self (Grindr, Tinder, online dating, etc.) we are faced with a hyperinflation of sex, not love. By going back to the sexual revolution of the October Revolution and its subsequent repression, to Che's dilemma between love and revolutionary commitment and to the period of '68 (from communes to terrorism) and its commodification in late capitalism, the Croatian philosopher Srecko Horvat gives a possible answer to the question of why it is that the most radical revolutionaries like Lenin or Che were scared of the radicality of love. What is so radical about a seemingly conservative notion of love and why is it anything but conservative? This short book is a modest contribution to the current upheavals around the world - from Tahrir to Taksim, from Occupy Wall Street to Hong Kong, from Athens to Sarajevo - in which the question of love is curiously, surprisingly, absent.

When New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity national, political, personal, and sexual music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn’s study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference including that embodied in Germany’s difficult history rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music’s role in each. The study also examines queer strategies like kitsch and camp and explores the movement’s charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.

Book by Abigail Irvine, M. S. Murdock, Flint Dille, Robert Sheckley, Jerry Oltion, Ulrike O'Reilly

Seiten; Rotbuch 24 - 1. Auf. 1971 : Ulrike Marie Meinhof - tb - 9-52-5-L4 TH-9P3H-TE82 Sprache: Deutsch Gewicht in Gramm: 500

270 S. Karton-Broschur, 21 cm. Schönes Exemplar ohne Gebrauchsspuren. - Hrsg. von Ulrike Feld und Wolfgang Behrens. - Wort und Musik; Salzburger Akademische Beiträge; 71. sk [Versand in die BRD mit Deutscher Post / Aus der Schweiz NUR Kreditkartenzahlung, keine Banküberweisung] Sprache: Deutsch. - Gewicht in Gramm: 600. - Musik, Theater, Tanz. - Stichworte: Wagner, Richard; Oper; Rezeption; Mythos; Motiv, deutsche Musik, Musikgeschichte, Musikwissenschaft, Komponisten, Tonkunst, Gesang, Rheingold, Walküre, Ring, Tannhäuser, Lohengrin, Tristan, Bayreuth. -

Seiten; Ulrike Helmer - 1. Auf. 1993 : Gerda Weiler - tb - 9-51-2-L3 1N-2BNO-GNKG Sprache: Deutsch Gewicht in Gramm: 1

A loving photographic portrait of Marblehead, Massachusetts, by renowned photographer Ulrike Welsch, a longtime resident of the town.

This early example of a spiritual diary incorporating the visions of a female mystic offers a glimpse of religious women's daily life and spiritual practices. Agnes Blannbekin was from an Austrian farming family, but as a Beguine lived an urban life: Ulrike Weithaus refers to her experiences as 'street mysticism'. Blannbekin's spiritual life revolved around the liturgical cycles of the church year, but also embraced the opportunities and vagaries of city life. Her visions comment on memorable events such as a popular bishop's visit to town during which people were trampled to death; the consequences of a rape committed by a priest; thefts of the Eucharist and the work of witches. Christ, for Blannbekin, is not only bridegroom, but also shopkeeper, apothecary, and axe-wielding soldier, and it was her vision of swallowing Christ's foreskin which led to the eventual censorship of her works. Life and Revelations has only recently been rediscovered by Austrian scholar Peter Dinzelbacher, and this translation is based on his critical edition.

Illustrated throughout and bound in a new hardcover, Ulrike Becks-Malorny's study of Kandinsky should provide a useful companion to all levels of study.