The J. Paul Getty Trust Communications Department Reproduction Permission 1200 Getty Center Drive, Suite 400 Los Angeles, CA 90049-1681 Tel 310-440-7360 Fax 310-440-7722 January 11, 2017 Re: Reproduction Permission Dear Media User, Thank you for your recent request for image(s) from the J. Paul Getty Trust and its operating programs (collectively "Getty"). This is a one-time permission for use of the image(s) for the article in your publication and/or for the article/listing on your Web site, and for these purposes only. Unless otherwise noted, image(s) included in Web articles and listings may be archived in their original context in perpetuity. Any further usage will require an additional permission. Image(s) are to be used in their entirety and are not to be cropped, altered or manipulated in any way. All image(s) are either the property of the Getty or are licensed to the Getty for the uses set forth herein. All copyright and collection credits must appear on the same or facing page(s) as the image(s). If noted, identified photographer(s) must be credited. Please refer to the next page(s) for proper notation of image caption(s) and credit(s). Images prepared for web use should use 72dpi resolution. Please let us know if you have any questions or need additional materials. We would appreciate one copy of the publication or article and/or notification of the URL address in which the image(s) appear for our files. Once again, thank you for your interest in the Getty. Sincerely, Julie Jaskol Communications Department The J. Paul Getty Trust Attachments
Harald Szeemann: Museum of Obsessions [1] Wrapped Kunsthalle, Bern, Switzerland, 1967 68, Christo and Jeanne-Claude. Part of 12 Environments: 50 Years of the Kunsthalle Bern at Kunsthalle Bern, 1968. The building was wrapped from July 18 25, 1968. The Getty Research Institute, 2011.M.30. Photo: Balthasar Burkhard. Christo [2] Front and back of Harald Szeemann s address list for his visit to New York, 1968. The Getty Research Institute, 2011.M.30
[3] Oase No. 7 (Oasis No. 7), Haus-Rucker-Co (Laurids Ortner, Manfred Ortner, Klaus Pinter, and Günter Zamp Kelp), 1972. Part of documenta 5: Questioning Reality Image Worlds Today at Museum Fridericianum, 1972. The Getty Research Institute, 2011.M.30. Photo: Balthasar Burkhard [4] Calling German Names, performed by James Lee Byars at documenta 5: Questioning Reality Image Worlds Today at Museum Fridericianum, 1972. The Getty Research Institute, 2011.M.30. Photo: Balthasar Burkhard. The Estate of James Lee Byars
[5] Harald Szeemann (seated) on the last night of documenta 5: Questioning Reality Image Worlds Today at Museum Fridericianum, 1972. The Getty Research Institute, 2011.M.30. Photo: Balthasar Burkhard [6] Office stamps from Harald Szeemann s archive, Maggia, Switzerland, ca. 1970 1974. The Getty Research Institute, 2011.M.30. From Adrian Notz and Una Szeemann, eds., Harald Szeemann: Obsession Dada (Zurich, 2016), vol. 3, p. 40. Composite photo concept and design: Studio Coco, Corina Künzli
[7] Postcards from Harald Szeemann s collection of pataphysics material. The Getty Research Institute, 2011.M.30 [8] From left, dancers Totimo, Suzanne Perrottet, Katja Wulff, Maja Lederer, Betty Baaron Samoa, and Rudolf von Laban at Monte Verità in Ascona, Switzerland, 1914. The Getty Research Institute, 2011.M.30. Photo: Johann Adam Meisenbach. Courtesy of Meinhard Meisenbach.
[9] Furniture designed by Karl Gräser, ca. 1910. The Getty Research Institute, 2011.M.30 wall near the window are two low chairs and a bed made from intertwined tree branches. [10] Enzyklopädie im Wald (Encyclopedia in the Forest), Armand Schulthess, 1952 1972. The Getty Research Institute, 2011.M.30. Photo: Ingeborg Lüscher
[11] Poster for the exhibition Der Hang zum Gesamtkunstwerk: Europäische Utopien seit 1800 (Tendency toward the Gesamtkunstwerk: European Utopias since 1800) at Kunsthaus Zürich, Markus Raetz and Albin Uldry, designers, 1983. The Getty Research Institute, 2011.M.30. 2018 Artists Rights Society (ARS), New York / ProLitteris, Zurich [Artists Rights Society permission information:] Permission is contingent upon the artwork not being cropped, detailed, overprinted or altered; the work being fully credited; and the inclusion of the appropriate copyright notice (listed above) adjacent to all reproductions. Permission is for use in the context of the article only, no cover use is permitted without prior authorization. Online images must have low resolution no greater than 72 dots per inch, with neither the length nor the height of the image being greater than 4 inches, for a total of 1,200 pixels per inch. Any other uses (including, but not limited to advertisements, web display, brochures, etc) are subject to the review and approval of ARS and may be subject to licensing fees.
[12] Model of Gabriele D Annunzio s Il Vittoriale degli Italiani (The Shrine of Italian Victories) installed in Der Hang zum Gesamtkunstwerk: Europäische Utopien seit 1800 (Tendency toward the Gesamtkunstwerk: European Utopias since 1800) at Kunsthaus Zürich, 1983. Peter Bissegger, designer; Verena Eggmann, photographer. Photo: the Getty Research Institute, 2011.M.30. Verena Eggmann, courtesy of Bernd Steiner (Verena Eggmann Papers, Zentralbibliothek Zürich) [13] Harald Szeemann lecturing in front of Werk Nr. 003 (undated) by Emma Kunz, n.d. The Getty Research Institute, 2011.M.30. Artwork courtesy Emma Kunz Zentrum. Anton C. Meier