Norman Ackroyd: A Shetland Notebook Press Activity: • •
Book review confirmed in the up-and-coming issue of Country Life magazine Press release will be going out to relevant titles (May) : BBC Lifestyle, Country and Townhouse, Country Homes & Interiors, Time Literary Supplement, National Trust Magazine, Telegraph, Country Living and London Review of Books
RA Channels: • • •
Norman Ackroyd to voice/curate dedicated email campaign to launch his book: Main RA database and Friends database (300,000 contacts) Contextual blog series about Norman Ackroyd and the process of creating the book Possible interview/short film (Seeded out across RA social media channels)
Radical Geometry: Modern Art of South America May: • • •
Exhibition creative approved One minute teaser film which will launch the ticket on-sale date Enhanced presence across the RA site
June: • •
Exhibition launch email: Main and Friends database (300,000 contacts) Pre-exhibition email sent to ticket buyers with catalogue up-sell
July: • • • • •
Outdoor media campaign launch with presence across London Underground Art house and independent cinema advertising Paid for advertising in arts press titles, national press and specific interest magazines Seeding of the trailer video to increase reach and engagement across social media channels Dedicated retail email with catalogue up-sell
Anselm Kiefer
PROVISIONAL CONTENTS
President’s Foreword Sponsor’s Preface Acknowledgements
1
Introduction and Biographical Overview of Anselm Kiefer KATHLEEN SORIANO
3,000 words, 8 comparative figures
2
The Role of the Artist in the Twenty-first Century SIMON SCHAMA
7,000 words, 500 words of notes, 10 comparative figures
3
The Arborealism of Anselm Kiefer CHRISTIAN WEIKOP
8,000 words, 500 words of notes, 10 comparative figures
4
Anselm Kiefer: ‘In the Beginning is the End and in the End is the Beginning’ REV RICHARD DAVEY
7,000 words, 500 words of notes, 10 comparative figures Catalogue plates for c. 80 works Endnotes Select Bibliography List of Lenders to the Exhibition Photographic Acknowledgements Index
a founding member of the Green Party.16 But even though Kiefer is a great admirer of his work, he did not necessarily agree with his politics, especially with respect to Direct Democracy, and told him so.17 Furthermore, Beuys in many ways maintained a def nition of the performative as homeopathic or even exorcistic, and while these notions may have some points of contact with Kiefer’s work, the latter’s art seems less redemptive, and more individualistic than socially participatory. At various points in his career Kiefer’s individualism has caused a sensation. The showcasing of his work, alongside that of Baselitz at the Venice Biennale led to a critical storm. Dark mythological and historical themes and the wood as both subject and material dominated the German pavilion, which stood out as a kind of arboreal tabernacle, leading critics such as Werner Spies (later a great champion of the artist) to accuse Kiefer of providing the spectator with ‘an overdose of the Teutonic.’18 Baselitz’s contribution to the Biennale, less in number than Kiefer’s, included his f rst sculpture Model for a Sculpture (1979-80), a crudely painted f gure that like some horror version of Pinocchio seemed to emerge organically from the roughly hacked mass of limewood blocks. The f gure’s stif y raised right arm was suggestive of the Nazi ‘Sieg Heil’ salute, and it has been observed that Baselitz’s sculpture bore a ‘striking resemblance’ to Kiefer’s Heroic Symbols paintings and the Occupations project, ‘albeit in a fundamentally dif erent form’.19 More recently, Baselitz’s remix painting Back to School Days (2005) while referring to Louis Ferdinand von Rayski’s canvas W ermsdorf W ood (1859) could equally be seen in terms of colour scheme, composition, and subject, as drawing Kiefer’s Ice and Blood (1971) and Varus (1976) into the mix. Romantic notions of organic form seem important to both Baselitz and Kiefer. These ideas can be traced back to the writings of Johann Gottfried von Herder and Goethe, f nding a visual corollary in early nineteenth-century paintings and prints by artists such as Friedrich, Karl Friedrich Schinkel and Carl Wilhelm Kolbe. Kiefer has commented that the vertical trunks of Man in the Forest and Head in the Forest, Head in the Clouds (1971, cat.) are ‘like pillars of a cathedral’20 and in Varus (f g.) the upper branches intersect to form a natural canopy. The strong verticality of multiple tree trunks is a motif or formal device that has preoccupied the artist throughout his career, and it can be referred back to Goethe’s inf uential ‘On German Architecture’ (1772). In this essay, the young Goethe eulogised about the Gothic character of Strasbourg cathedral rising ‘like a sublimely towering, widespreading tree …with its thousand branches, millions of twigs and leaves more numerous than the sands of the sea’.21 Such lines certainly had a deep impact on August von Kreling whose Erwin von Steinbach im W aldesdom (1849) depicts the architect of the Strasbourg Münster
Fig.4 Varus, 1976 Oil and acrylic on burlap , 200 x 270.5 cm. Van Abbemuseum, Eindhoven
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Fig.5 Tree with Panzer tank, 1977 Oil and lead on canvas, 282 x 210 cm. Mary Boone Gallery, New York
contemplating Gothic form under a natural vault of trees (f g.). As in the work of Friedrich, here trees again serve as iconic symbols of German pride and patriotic feeling. Later, a metaphor used repeatedly during the Kaiserreich and then during National Socialism was that of a forest of dif erent trees encapsulating the togetherness of all German lineages. The individual tree with its many boughs that had grown out of one trunk (Stamm) attested that all stemmed from the same root. Kiefer’s work reveals his awareness of these ethnocentric patriotic appreciations of the arboreal and he critiques them. This is particularly evident in a number of paintings he produced in 1977 that focus on
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Anselm Kiefer Pre-Awareness: •
RA Mag promotes the Tim Marlow and Kiefer talk (Live streamed)
Promotional Partnerships: • • • • • • •
Times : Media Partner Eurostar : Ticket Offer and contra advertising Shortlist: Editorial and paid for advertising Harper’s Bazaar: Evening preview event Vanity Fair: Full page contra address Ticket Offers: Art Review and Art Monthly Waterstones: Possible curators event
Media: • •
Paid for advertising: Guardian, Time Out, Metro, ES, Telegraph, Tate, Artfund, Art forum and Arts Newspaper (5 Days prior to opening) Outdoor Media: 4 sheets, 48 sheets across London and SE (2 weeks prior to opening)
RA Channels: • • •
Dedicated email to both Friends and main database (Catalogue featured) Intro video with curator and Kiefer in conversation (Live streamed on website) Social media activity (Pinterest, Facebook and twitter)
Press: • •
Press view 23 September Press trip to Kiefer Studio
Rubens and His Legacy: In order to generate interest and deliver stature for the brand and the exhibition we would look to implement a comprehensive advanced advertising campaign to position this exhibition in art world. The RA would be looking to deliver an impactful launch campaign, with heavy outdoor media activity and a sustained presence throughout the exhibition.
April – Aug (Pre-awareness): • • • •
Comprehensive audience research commencing in April Exhibition creative signed off (Jun/Jul) Long lead press releases go out Groups strategy commences, with advertising in Groups publications
Sept: • •
Tickets go on sale and web presence enhanced Coming soon leaflet/marketing materials present in gallery
Oct – Dec: • • •
Christmas campaign : Tickets + catalogue, Catalogue + membership packages Travel and tourism strategy Press trip to Antwerp
Jan: • • • •
Outdoor campaign launches: Heavy presence on London underground and and train networks National press advertising campaign launches Online media presence: High impact takeovers Media partner activity starts: Telegraph
Tess Jaray: Press: •
Press release going out to relevant publications
RA Channels: • •
Tess to curate dedicated email campaign to launch her book: Main RA and Friends database Blog series/Interview/short film about Tess Jaray to add context to the book
Giovanni Battista Moroni: May - Aug: •
Creative in development (June)
Sept: • • • •
Long lead arts and specialist press advertising goes live Enhanced presence on RA website Potential to create a video to support the exhibition showing a variety of the works Curator blog and additional content
Oct: • • • •
Underground advertising goes live National Press and targeted advertising in What’s On Guides/Sections to commence at launch Google Search activity to run throughout exhibition, alongside additional online advertising Promotional partnerships and offers go live at launch (i.e. reader offers with loyalty clubs)
Le Corbusier’s Chapel at Ronchamp Press: •
Freelance press consultant working on generating interest for this title
RA Channels: • • •
Launch emails to all RA databases (Marketing, retail, Friends) Blogs, promotion across RA website Social media campaign to generate awareness of the title
Red and Green Baby, 1962
Print from portfolio A Perspective on Floors, 1966
Print from portfolio Shoe Box, 1968 Print from portfolio Life Class, 1968
Watercolour sketch (detail) for Foga billboard advertisment, 1981 Torso, 1978
Stand In, 1991-2
Refrigerator, 2002
For One Night Only, 2003