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1000 tulosta hakusanalla Doris Lessing
The mystery of life puzzles all of us. Marianne Meyer had her first out-of-body experience at age two. Not being able to make herself understood led to a seeker's life. The confusing n o t h i n g called time drifts us relentless toward the end. As long as the brain makes connections we can leap back and forth in time. From infancy to middle age and back, the author scavenges tidbits from those times and transfers them to the presence. Shortly after moving from Frankfurt to L. A., Marianne met her great-grandfather on a higher level of consciousness. She was told he had migrated to USA, took on the last name Victor and lived in the Carmel area. He had left his homeland after creating the child of love on Christmas 1901. Wilhelmina Meckes was married in a hurry, in vindication of honor, and on October 5, Maria H rr was born as a credited 7 month child. A few years ago, Marianne learned about her mother's family relationship with the Carmel resident Doris Day Both their grandmothers descended from J. J. Mann and M. E. Nollert and grew up in Neckarh userhof, a tiny village near Heidelberg. The synchronicity of both her parents' relatives living in Carmel Mrs. Meyer views as an appeal to go forward with searching for her father's family members. She still has a clear vision of her incorporeal ancestor. Will she find a picture of him in photo albums of a Victor family living in or near Carmel?
Eigentlich hatte Doris genau das erreicht, was sie haben wollte. Sie war mit einem freundlichen, reichen, alten Mann verheiratet. Es machte ihr Spa , sich bieder zu kleiden und zu frisieren. Alles war perfekt. Dann allerdings wird sie mit ihrer totgeschwiegenen famili ren Vergangenheit konfrontiert. Schon am n chsten Tag muss sie sich widerwillig auf neue Lebensumst nde einstellen. Ihre neue "Freundin" Resi hat ziemlich unangenehme Vorstellungen bez glich Doris Zukunft. Neben den beiden Kommissaren, die mit ihren Ermittlungsarbeiten wieder nur einen kleinen Teil des Buches f llen, gibt es ein kurzes Widersehen mit ein paar Hauptfiguren aus bereits ver ffentlichten Romanen aus der "Ein Fall f r Smidt und Rednich"-Serie. Falls jemand die dazugeh rigen B cher nicht gelesen hat, ist das kein Problem. Nach wie vor wird f r die beiden Kommissare nebst ihrem Computerfreak Hottel kein roman bergreifender Handlungsstrang entwickelt.
Das Buch stellt eine W rdigung des k nstlerischen Schaffens von Doris Knapp dar. Ich lernte sie vor etwa 20 Jahren in einer Galerie f r zeitgen ssische Kunst kennen, f r die ich zu der Zeit t tig war. Seitdem habe ich ihre Arbeit begleitet, die von Freundschaft und gegenseitiger Empathie getragen war. Ich schrieb in einem Kartalog,"dass Bez ge da sind zwischen hnlichen Erfahrungen an unterschiedlichen Orten und dass Erinnerungen zerlaufen wie Farben, dass unsere inneren Bilder am Geflecht der Erinnerungen orientiert sind." Bild und Wort - Ber hrungen zwischen bildender Kunst und Sprache Das Wort erscheint st rker verbunden mit dem Realen, Greifbaren, ist Notation, festgelegte Bedeutung. Andererseits hat das Wort eine Konnotation. Es enth lt Gef hle, Wertungen, die sich je nach Sprecher oder Leser unterscheiden. Auch die Sprache ist also Tr ger des Emotionalen, Unbestimmten, l st Anmutungen aus und gleicht somit dem Bild, das durch Farbe und Form Gestalt gewinnt. Wird der Lyriker von einem Bild ber hrt, so sucht er dieses Erlebnis in Worte zu fassen. Das mag n her oder entfernter von dem sein, was der bildende K nstler bewusst oder unbewusst gestaltet hat. Im gl cklichen Fall kommt es zum Dialog, einer Erweiterung des bildhaften Gedankens, ohne dass eine bereinstimmung angestrebt wird.
Doris Salcedo
HATJE CANTZ
2023
sidottu
FINDING A FORM FOR THE TRAUMAS OF LOSS AND VIOLENCE Experiences of violence and loss take shape in the work of internationally acclaimed Colombian artist Doris Salcedo. Although her sculptures and installations are often based on concrete events, feelings of grief, alienation and loss of home take on a universally valid, heartfelt expression in her works. Different materials such as stone and concrete, wooden furniture, grass, petals, hair or pieces of clothing are transformed and charged with meaning. Rarely do indi vidual pain and collective grief find such a touching form or has their social overcoming been formulated so forcefully. Created in close collaboration with the artist, the cata logue offers a comprehensive survey over Salcedo’s work from 1986 to 2022.
Doris Dörrie
Königshausen Neumann
2023
pokkari
Doris Stauffer
Scheidegger und Spiess AG, Verlag
2022
pokkari
Doris Stauffer
Scheidegger und Spiess AG, Verlag
2017
nidottu
Doris Stauffer, born 1934 in a small village in Switzerland, was educated as a photographer at Zurich School of Art and Design in the 1950s. Soon she also turned to other forms of art and also began to teach art herself, seeking for new, unconventional ways and methods in art education. In 1971 she was among the founders of a new (and still existing) school of experimental art and design in Zurich. Throughout her life she has also engaged in promoting a feminism that explores new fields and topics, rather than merely aim to reform the existing society and its conventions. This new book for the first time features comprehensively Doris Stauffer's personality, her artistic and educational work and her political engagement. A wealth of images and original documents is complemented by texts contextualising Stauffer's work historically, politically, and within history of 20th century art. Essays by Andrea Thal, Kay Turner and Mara Zust.
Doris Betz
Arnoldsche
2017
nidottu
Doris Betz (b. 1960) is devoted to exploring linear form in her work. In her drawings she fathoms the depths of the potential of the line and the possibilities of the material silver, which she then contorts, turns, rolls and turns again, finally lacquering, oxidising or patinating with a flame to create the final jewel. Unforeseen fragile-looking and poetic formations emerge as Betz overlaps, knots and layers her material, rendering visible her jewellery's relationship to the vegetal language of natural forms - a source of inspiration for the artist. This book presents a selection of her jewellery works together with drawings from 2009 to 2016 for the very first time.With essays by: Monika Fahn, Pravu Mazumdar, Ira Mazzoni and Olga Zobel.
Doris Bank
Arnoldsche
2021
sidottu
The works in porcelain and colourful shades of stoneware by Doris Banks might be modest and reduced in form, colour, and decoration yet they still possess a remarkable impact and presence. All the objects are one-offs - modelled, formed, pressed, folded, glazed, and decorated by hand. As a result, the natural character of the material remains vivid. With a minimalist aesthetic beholden to Asia, the ceramic artist’s works are characterised by a virtuoso play of form and surface that allows a tactile experience of textures on the exterior surface. This monograph is an in-depth appraisal not only of these works but also of an artist who despite her early death achieved remarkable things in studio ceramics. Text in English and German.
Doris drar av Pija Lindenbaum är en charmig och humoristisk bilderbok om en ung flicka vid namn Doris som ger sig ut på ett fantasifullt äventyr med sin leksaks-elefant. Medan de vandrar genom staden möter de alla möjliga intressanta karaktärer och situationer. Med sina lekfulla illustrationer och engagerande berättande är Doris drar en underbar bok som uppmuntrar barn att omfamna sin kreativitet och ge sig ut på egna fantasifulla äventyr.
Doris er en pige. Boris er en dreng. Ellers er de helt ens. De laver fis med mormor og morfar!Lettal: 11Lix: 4Bogen tilhører serien Lydret.Der findes frit tilgængelige opgaver til bogen på www.turbine-undervisning.dk.
Doris Humphrey
Routledge
1998
nidottu
In honour of Doris Humphrey's centennial, which was celebrated worldwide in 1995, this issue explores her legacy to the world of dance and her place in history. The varied aspects of her work are covered including choreography, teaching approach, Labanotation scores, reconstruction/recreations, and composition. In order to convey a sense of movement into the next century, the articles are presented in "chronological" order, beginning with that of Ernestine Stodelle, who worked with Humphrey during the 1920's and ending with an examination of Mindlin's 1995 experience learning Humphrey's work from Stodelle.