#artandtext — Public Fediverse posts

Michael Hofstetter: Die Schwelle, 1997. Lenbachhaus, Munich. Critique in: Dreher, Thomas: Art, Entertainment & Fiktion. Drei Beispiele. In: Kunstforum Bd. 202/2010, p.92-97. PDF in: URL: https://dreher.netzliteratur.net/8_KonzeptuelleAspekte_ArtEntertainmentFiktion.pdf
#michaelhofstetter #Lenbachhaus #Munich #Muenchen #installationartwork #contextart #artandtext #textonwalls

Michael Hofstetter: Die Schwelle, 1997. Lenbachhaus, Munich. Critique in: Dreher, Thomas: Art, Entertainment & Fiktion. Drei Beispiele. In: Kunstforum Bd. 202/2010, p.92-97. PDF in: URL: https://dreher.netzliteratur.net/8_KonzeptuelleAspekte_ArtEntertainmentFiktion.pdf
#michaelhofstetter #Lenbachhaus #Munich #Muenchen #installationartwork #contextart #artandtext #textonwalls

The storm’s lashing rain blurs the window behind Portia and Nerissa, their embroidered sleeves catching the dim light. Their tense postures suggest a secret shared—or a truth about to break.

What does the mirror’s reflection reveal that the figures do not?

#ClevelandMuseumofArt #VictorianIllustration #ArtAndText
https://clevelandart.org/art/1942.1409

The storm’s lashing rain blurs the window behind Portia and Nerissa, their embroidered sleeves catching the dim light. Their tense postures suggest a secret shared—or a truth about to break.

What does the mirror’s reflection reveal that the figures do not?

#ClevelandMuseumofArt #VictorianIllustration #ArtAndText
https://clevelandart.org/art/1942.1409

The storm’s lashing rain blurs the window behind Portia and Nerissa, their embroidered sleeves catching the dim light. Their tense postures suggest a secret shared—or a truth about to break.

What does the mirror’s reflection reveal that the figures do not?

#ClevelandMuseumofArt #VictorianIllustration #ArtAndText
https://clevelandart.org/art/1942.1409

The storm’s lashing rain blurs the window behind Portia and Nerissa, their embroidered sleeves catching the dim light. Their tense postures suggest a secret shared—or a truth about to break.

What does the mirror’s reflection reveal that the figures do not?

#ClevelandMuseumofArt #VictorianIllustration #ArtAndText
https://clevelandart.org/art/1942.1409

The patterned umbrella dominates, its floral motifs bleeding into the storm’s swirling ink. Portia’s determined grip suggests defiance against both weather and narrative constraints—why does the window frame feel like a stage? #ClevelandMuseumofArt #VictorianIllustration #ArtAndText
https://clevelandart.org/art/1942.1409

The patterned umbrella dominates, its floral motifs bleeding into the storm’s swirling ink. Portia’s determined grip suggests defiance against both weather and narrative constraints—why does the window frame feel like a stage? #ClevelandMuseumofArt #VictorianIllustration #ArtAndText
https://clevelandart.org/art/1942.1409

The patterned umbrella dominates, its floral motifs bleeding into the storm’s swirling ink. Portia’s determined grip suggests defiance against both weather and narrative constraints—why does the window frame feel like a stage? #ClevelandMuseumofArt #VictorianIllustration #ArtAndText
https://clevelandart.org/art/1942.1409

The patterned umbrella dominates, its floral motifs bleeding into the storm’s swirling ink. Portia’s determined grip suggests defiance against both weather and narrative constraints—why does the window frame feel like a stage? #ClevelandMuseumofArt #VictorianIllustration #ArtAndText
https://clevelandart.org/art/1942.1409

The patterned umbrella dominates, its floral motifs bleeding into the storm’s swirling ink. Portia’s determined grip suggests defiance against both weather and narrative constraints—why does the window frame feel like a stage? #ClevelandMuseumofArt #VictorianIllustration #ArtAndText
https://clevelandart.org/art/1942.1409

Roy Ascott: La Plissure du Texte, ARTEX (The Artist´s Electronic Exchange Program), I.P. Sharp Associates Computer Timesharing Network, 1983. More informations: Dreher, Thomas: Der Beobachter als Akteur in Happenings und umweltsensitiven Installationen, chapter II.3 Textproduktion durch Kollaboration im Datennetz. Internet: https://dreher.netzliteratur.net/4_Medienkunst_Text.html #royascott #thomasdreher #netart #collaborativeart #digitalliterature #artandtext #digitalart #digitalartist #collaborativewriting #internetart

Roy Ascott: La Plissure du Texte, ARTEX (The Artist´s Electronic Exchange Program), I.P. Sharp Associates Computer Timesharing Network, 1983. More informations: Dreher, Thomas: Der Beobachter als Akteur in Happenings und umweltsensitiven Installationen, chapter II.3 Textproduktion durch Kollaboration im Datennetz. Internet: https://dreher.netzliteratur.net/4_Medienkunst_Text.html #royascott #thomasdreher #netart #collaborativeart #digitalliterature #artandtext #digitalart #digitalartist #collaborativewriting #internetart

Allan Kaprow: Words, Installation, Smolin Gallery, New York 1962 (photos: Robert Mc Elroy/Licensed by VAGA, New York). More informations in: Dreher, Thomas: Allan Kaprow versus Robert Morris. Ansätze zu einer Kunstgeschichte als Mediengeschichte. Internet: https://dreher.netzliteratur.net/1_Kaprow_vs_Morris.html
#allankaprow #installationart #installationartist #installationartists #participationart #participationartist #participationartists #artandtext