FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 190 “Film series HOW SHOULD WE THEN LIVE? PART 1, THE ROMAN AGE” Featured artist is Katharina Grosse

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How Shall We Then Live?—Francis Schaeffer

Episode One: The Roman Age
Key Terms:
A. “Presupposition” Those foundational ideas or concepts that are:

  1. assumed to be true or self-evident.
  2. form the basis of one’s explanation of the world, man and God.
  3. The “first” or “beginning” ideas or propositions that are the “Given.”
  4. The glasses through which you interpret life.

B. “Human autonomy”

  1. The foundational presupposition of all humanistic philosophy, religion, ethics, politics, etc.
  2. It is the assumption that man starting from himself, by himself, with himself without any information from the Bible can come to a correct understanding of himself, the world around him, and God. Thus he can establish truth, justice, morals, meaning, significance, dignity and beauty. “Man is the measure of all things” is the motto of humanism.

C. “Absolutes” vs. “Relativism”

    1. “Absolutes” are those standards by which we judge truth, justice, morals and beauty to distinguish truth from non-truth, justice from injustice, good from evil and beauty from ugliness.

 

    1. Absolute standards are:
      1. Eternal: always valid
      2. Universal: everywhere valid
      3. Objective: not subjective, i.e. not dependent on man’s existence of approval.
      4. For all men: not for a particular group within humanity such as a nation.
      5. Obligatory: nor optional
      6. Necessary: not arbitrary
    2. Absolutes are based on the law of antithesis: Within the universe that exists, “a” cannot be both “a” and “non-a” at the same time.
      1. Being vs. non-being
      2. True versus false
      3. Right vs. wrong
      4. Justice vs. injustice
      5. Good vs. evil
      6. Beauty vs. ugliness

 

  1. For example, the moral law, “Do not murder” is an absolute in the sense that it is valid at all times everywhere for all men with no exceptions.
  2. Civil law is nothing more than codified moral law – which is nothing more than someone’s theology. This is why civil laws change when a society changes it morals – because it changed its theology.
  3. When we ask for the “basis” of truth, justice, morals and beauty, we asking for the justification and demonstration of the valid grounds of those things. On what basis do we say that something is wrong or false, etc.? Why is it is wrong?
  4. The basis of truth, justice, morals and beauty is either rooted in absolutes or in relativism.
  5. Relativism is the concept that there are no absolutes by which we can judge between truth and non-truth, justice and injustice, morality and immorality, and beauty and ugliness. Of course, this concept is self-refuting because it is says the absolutes are false. Thus it sets itself up as the absolute standard by which to judge the truth-values of absolutes.
  6. A society exists only as long as it’s concepts of morality and civil laws are based upon ethical absolutes.
  7. It is logically impossible to have ethical absolutes without utilizing the concept of the personal/infinite God of the Bible and the laws given in the Bible. He alone can be the infinite reference point that gives meaning to all the particulars.
  8. Pagan societies such as Rome tried to base their civil laws on the relativism inherent in finite deities, totalitarianism, elitism, and arbitrary jurisprudence. They collapse in the end because these things cannot form a sufficient base for truth, justice, morals and beauty.
  9. Western society produced such good things as capitalism, civil rights, and human rights because of its historic Christian presuppositions.
  10. When the West turned away from Christianity, it lost its absolute basis for its civil laws. It has tried to base its laws on the arbitrary jurisprudence of judges. The primary example is the arbitrary jurisprudence practiced by the Supreme Court in which eight men arbitrary declared unborn children as non-citizens and thus not covered by the constitutional rights of life, liberty and the pursuit of happiness. The ruling ignored all legal precedents and brushed aside the Christian absolute of the sanctity of life. This has led to wholesale slaughter of millions of little babies. What is even more important is that the legal precedent has now been established that the judges may arbitrarily decide that any group of humans are non-citizens and strip them of their constitutional rights as well. In this way, Christians could be excluded from constitutional freedoms and be put to death without violating the law.
  11. The West will fall just like Rome because it no longer has an infinite basis for its particular laws.

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HowShouldWeThenLive Episode 4

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Image result for Katharina Grosse

Today’s featured artist is Katharina Grossee

Katharina Grosse: Painting with Color | ART21 “Exclusive”

Published on Apr 17, 2015

Episode #218: Shown in her studio and at Johann König Gallery (both in Berlin), artist Katharina Grosse discusses her use of color when painting on three-dimensional and flat surfaces. “I like this anarchic potential of color,” says Grosse, who paints very rapidly with an industrial spray gun. Grosse explains that despite an early interest in language and reading, she was attracted to painting because of its non-linear qualities. She elaborates further saying that painting “compresses time, shortening the process of thinking and acting.” Among the works featured is an exhibition of the artist’s paintings on paper at Johann König Gallery in Berlin.

Katharina Grosse is a painter who often employs electrifying sprayed acrylic colors to create large-scale sculptural environments and smaller wall works. By uniting a fluid perception of landscape with the ordered hierarchy of painting, Grosse treats both architecture and the natural world as an armature for expressive compositions of dreamy abandon, humorous juxtaposition, and futuristic flair. By building up layers of color with an expressive immediacy, she enables her work to become a material record of its own making and, perhaps, an inscription of her thoughts.

Learn more about the artist at:
http://www.art21.org/artists/katharin…

CREDITS: Producer: Ian Forster. Consulting Producers: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Claus Deubel & Mark Walley. Sound: Oliver Lumpe & Angela Walley. Editor: Morgan Riles. Artwork Courtesy: Katharina Grosse, Johann König Gallery and Nasher Sculpture Center. Archival Images Courtesy: Katharina Grosse. Theme Music: Peter Foley.

ART21 “Exclusive” is supported, in part, by 21c Museum Hotel and by individual contributors

Image result for Katharina Grosse

Katharina Grosse

From Wikipedia, the free encyclopedia
Katharina Grosse
Born 1961 October 02 (Age 55)
Freiburg/Breisgau, Germany
Nationality German
Education Academy of Fine Arts Münster

Kunstakademie Düsseldorf

Website www.katharinagrosse.com

Katharina Grosse (born 2 October 1961) is a German artist.

Life and education[edit]

Grosse was born in 1961 in Freiburg/Breisgau, Germany.

She studied at the art academies in Münster and Düsseldorf, taught at the Art Academy Berlin-Weissensee from 2000 to 2010, and has been a professor of painting at the Düsseldorf Art Academy since 2010.[1][self-published source]

Grosse lives and works in Berlin.

Public commissions (selected)[edit]

  • Untitled, Greater Toronto Airports Authority (2003)[2]
  • Seven Days Time, Kunstmuseum Bonn (2011)[3]
  • Blue Orange, Vara Bahnhof, Sweden (2012 design)[4]
  • Just Two Of Us, MetroTech Commons, Public Art Fund, New York (2013)[5]
  • Untitled, Ehrenhof Düsseldorf (2014)
  • Untitled, The Cologne Public Transport Company – KVB, stop Chlodwigplatz, Cologne (2015)
  • Untitled, Marie-Elisabeth-Lüders-Haus, Berlin (commissioned by Federal Republic of Germany for House of Representatives) (2015)
  • Untitled, Washington University, St. Louis, MO, USA (commissioned by the Gary M. Sumers Recreation Center) (2016)[6]
  • Rockaway!, for MoMA PS1, Fort Tilden, NY (2016)[7]

Collections[edit]

Grosse’s work is held in the following permament collections:

Awards[edit]

  • Villa Romana Prize, Florence, Italy (1992)
  • Schmidt-Rottluff Stipend, Germany (1993)
  • Stiftung Kunstfonds Bonn, Germany (1995)
  • The Chinati Foundation’s Artist in Residence program, Marfa, TX, USA (1999 )
  • Artist in Residence at Elam School of Fine Art program, Auckland, New Zealand (2001)
  • Andy Warhol Residency Award, Headlands Foundation, San Francisco, CA, USA (2002)
  • Fred Thieler Award, Berlin (2003)
  • Oskar-Schlemmer-Award, Great State Prize for Visual Arts of Baden-Wuerttemberg (2014)
  • Otto-Ritschl-Kunstpreis (2015)

Publications (catalogues)[edit]

  • Location, Location, Location. Contributions by Steffen Bodekker, Roman Kurzmeyer, Judy Millar, Retrograde Strategies Cooperative, Angela Schneider, Beat Wismer, Düsseldorf, 2002.
  • Katharina Grosse. Kunstverein Ruhr. Contribution by Peter Friese, Essen 2002.
  • Cool Puppen / Der weisse Saal trifft sich im Wald / Ich wüsste jetzt nichts. Ikon Gallery, Birmingham; Städtische Galerie im Lenbachhaus, München; Kunstmuseum St. Gallen, St. Gallen; Kunsthalle zu Kiel, Kiel. Contributions by Marion Ackermann, Beate Ermacora, Jonathan Watkins, Roland Wäspe, Wolfratshausen 2002.
  • Katharina Grosse. Fred Thieler Preis für Malerei 2003. Berlinische Galerie, Berlin. Contribution by Armin Zweite, Berlin 2003.
  • Infinite Logic Conference. Magasin 3 Stockholm Konsthall, Sweden. Contributions by Richard Julin, Lars Mikael Raattamaa, Stockholm 2004.
  • Double Floor Painting. Kunsthallen Brandts Klaedefabrik, Denmark. Contributions by Lene Burkard, Tor Nørretranders, Cecilie Bepler, Odense 2004.
  • Holey Residue. de Appel, Amsterdam. Contribution by Janneke Wesseling, Amsterdam 2006.
  • Picture Park. Queensland Art Gallery/Gallery of Modern Art. Contributions by Nicholas Chambers, Robert Leonard, Brisbane 2007.
  • The Poise of the Head und die anderen folgen. Kunstmuseum Bochum. Contributions by Hans Gunther Golinski and Katharina Grosse, Nuremberg 2007.
  • Atoms Outside Eggs. Museu de Arte Contemporânea (Fundação de Serralves), Porto. Contributions by Leonhard Emmerling, Ulrich Loock, Porto 2007.
  • Another Man Who Has Dropped his Paintbrush. Galleria Civica di Modena. Contributions by Arno Brandlhuber & Katharina Grosse, Milovan Farronato, Angela Vettese, Cologne 2008.
  • The Flowershow / SKROW NO REPAP. FRAC Auvergne, Clermont-Ferrand. Contribution by Jean-Charles Vergne, Cologne 2008.
  • Ich wünsche mir ein grosses Atelier im Zentrum der Stadt. Contributions by Georg Augustin, Laura Bieger, Andreas Denk, Ulrich Loock, Philip Ursprung, Baden, Switzerland 2009.
  • Shadowbox. Temporäre Kunsthalle Berlin. Contributions by Laura Bieger, Katja Blomberg, Uta Degner, Antje Dietze, Alexander Koch, Gerd G. Kopper, Cologne 2009.
  • Atoms Inside Balloons. The Renaissance Society at the University of Chicago, Chicago, ILL, USA. Contributions by David Hilbert, Nana Last and Hamza Walker, Chicago 2009.
  • Barbara und Katharina Grosse. Museum für Neue Kunst Freiburg. Contributions by Walter von Lucadou, Isabel Herda, Nuremberg 2010.
  • Transparent Eyeballs. Quadriennale 2010, Kunsthalle Düsseldorf. Contributions by Gregor Jansem, Annika Reich, Uwe Vetter, Düsseldorf 2011.
  • Eat child eat. Contribution by Ulrich Wilmes, Berlin, 2011.
  • One floor up more highly. MASS MoCA, MA, North Adams, USA. Contribution by Susan Cross, Massachusetts 2012.
  • Wunderblock, Nasher Sculpture Center, Dallas, TX, USA. Contributions by Jeremy Strick, Catherine Craft, Dallas 2013.
  • Katharina Grosse. Monograph. Contributions and published by Ulrich Loock, Annika Reich, Katharina Grosse, Cologne 2013.
  • Wer, ich? Wen, Du?. Kunsthaus Graz, Austria. Contributions by Peter Pakesch, Katrin Bucher Trantow, Adam Budak, Graz 2014.
  • Inside the Speaker. Museum Kunstpalast, Düsseldorf. Contributions by Dustin Breitenwischer, Philipp Kaiser, Ulrich Loock, Beat Wismer, Cologne 2014.
  • psychylustro. City of Philadelphia Mural Arts Program. Contributions by Douglas Ashford, Anthony Elms, Jane Golden, Daniel Marcus, Elizabeth Thomas, Cologne 2015.
  • Katharina Grosse: Seven Hours, Eight Voices, Three Trees. Museum Wiesbaden. Contributions by Ann Cotten, Dustin Breitenwischer, Jörg Daur, Alexander Klar, Sally McGrane, Teresa Präauer, Annika Reich, Monika Rinck, Cologne, 2015.
  • Katharina Grosse. Museum Frieder Burda. Contributions by Helmut Friedel and Katrin Dillkofer (both in German), Cologne, 2016.

See also[edit]

References[edit]

  1. Jump up^ Katharina Grosse. http://www.katharinagrosse.com. Retrieved 5 January 2017. Missing or empty |title= (help)
  2. Jump up^ “Toronto Airports Authority commissions art for new terminal building at Pearson Airport”California Aviation Alliance. Retrieved 5 January 2017.
  3. Jump up^ “KATHARINA GROSSE: IN SEVEN DAYS TIME”Kunstmuseum Bonn. Retrieved 5 January 2017.
  4. Jump up^ Julin, Richard. “Blue Orange – Katharina Grosse”Public Art Agency Sweden. Retrieved 5 January 2017.
  5. Jump up^ “Katharina Grosse: Just Two of Us”Public Art Fun. Retrieved 5 January 2017.
  6. Jump up^ “Installation by Katharina Grosse”Sam Fox School, Washington University in St. Louis. Retrieved 5 January 2017.
  7. Jump up^ “Rockaway! at Fort Tilden”MoMA PS1. Retrieved 5 January2017.

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