Lectures

Guest lectures

Mona Schieren: Transcultural Entanglements at Coenties Slip – and in Lenore Tanwey’s and Agnes Martin’s friendship.
more about Mona Schieren
Dr. Mona Schieren is Co-director of the Institut für Kunst- und Musikwissenschaft at the University of the Arts, Bremen.

Her book Transcultural Translation in the Oeuvre of Agnes Martin. The Construction of Asianistic Aesthetics in American Art after 1945, Munich 2016 (German) was awarded with the CAA TERRA Foundation Translation Prize to be published in English. She is the author of “Every Moment Is a Moment of Learning. Lenore Tawney – New Bauhaus and Amerindian Impulses“ (Onlinejournal bauhaus imaginista). Supported by the Fonds für Forschung und Entwicklung HFK the Oeuvre of Tawney is part of her current research on bodypractices. She is a member of the DFG research network Entangled Histories of Art and Migration: Forms, Visibilities, Agents (2018-21).

More about Mona Schieren:
https://www.hfk-bremen.de/en/profiles/n/mona-schieren

Participant lectures

Helene Haarnagel: Agnes Martin – the influence of materiality in the minimal art
open abstract
How does the environment consisting of materials affect artistic creativity? This question will be explored in more detail in the course of the project. Materiality has long been overshadowed by spirituality and ideas. However, the spiritual and the material are interdependent – this aspect has been largely ignored in the visual arts. The artist’s origin (geographically) says a lot about the creative process, as will be shown by some examples. Aesthetics, understood as the perception of art and artistic design, has a special connection to materiality: art produces a specific sensuality, it stimulates new production processes and is the object of cultural de- and re-contextualisation. In addition to classical materials such as paper, plastic, wood, etc., immaterial things such as light, radiation or scent can also play a role.The aspects of materiality are to be examined more closely on the basis of various artists, including Agnes Martin.
Maddy Henkin: What’s Crafted: Shifting Receptions of Lenore Tawney’s Work

Andrea Strehl: About the aesthetics of (environmental) materials at Coenties Slip
open abstract
My profound interest for this specific topic is based on my decision to write my undergraduate degree about four selected artworks from Agnes Martin, Lenore Tawney, Ellsworth Kelly and Robert Indiana. These and other paintings, drawings and sculptures where made around 1958–61 at the Coenties Slip. My thesis investigates, how the old loft buildings and their surroundings had been the fruitful source of inspiration for the artworks. They process the relicts of the historical habour quarter and the life besides the Hudson River, in a way that the materiality is aesthetically staged. The focal topic «Materiality» during the International Summer School I want to go deeper into analyzing the way of working of the artists and the development of their personal way in innovative dealing with different materials. With the knowledge of various scientific researchers, we can reproduce the impact on parallel and new artistic approaches, in this time and later on in North America as well as in Europe.
Andrew Ward: ‘The Lines began as Points in Space’: Formlessness and Artistic Dialogue at Coenties Slip
open abstract
From 1957–67, Agnes Martin lived and worked in a warehouse studio in Coenties Slip. During this time, Martin not only developed the abstract grid for which she is best-known, but also formed important friendships with fellow artists at the Slip, and developed a hybrid philosophical and spiritual system that she would draw upon and elaborate throughout the remainder of her life. This paper focuses closely on Martin’s productive relationships with other artists at the Slip, particularly Lenore Tawney, to ask how close dialogue and intellectual collaboration may have facilitated the development of Martin’s philosophical system. Drawing upon archival sources and correspondence between the artists of the Slip, I suggest that community intricately informed Martin’s art and her deeply important philosophical outlook at a critical stage of her career.