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Pictures Generation - Wiederbelebt = Pictures Generation Redux

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Pictures Generation - Wiederbelebt = Pictures Generation Redux Pictures Generation - wiederbelebt = Pictures generation redux Autor(en): Kaiser, Philipp / Flett, Ishbel Objekttyp: Article Zeitschrift: Parkett : the Parkett series with contemporary artists = Die Parkett- Reihe mit Gegenwartskünstlern Band (Jahr): - (2010) Heft 87: Collaborations Annette Kelm, Katharina Fritsch, Cerith Wyn Evans, Kelley Walker PDF erstellt am: 30.09.2021 Persistenter Link: http://doi.org/10.5169/seals-679726 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. 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Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Pictures Generation - PH7T/PP KA/S£P wiederbelebt «Die Ansicht, Douglas Crimp habe 1977 mit einer Ausstellung die Kar- riere einiger Künstler gemacht, ist gänzlich und historisch falsch»'', stellte nahezu zwanzig Jahre später der renommierte Kritiker Crimp /acA Go/dstem, MGM, 7 975, selber fest. Dass jedoch dieses 7<5-wm-/z7m, co/or, sowwd, 2'/ kleine feine Projekt in einem alter- 76wm 777m, TTzrôe, nativen Ausstellungsraum in New CP7/OTO: COT/Rresy GAL££/£ ZMMEL York gut dreissig Jahre später nicht ßGC/7//OLZ, A:ÖLN/ߣßL/Nj nur namengebend für eine viel dis- kutierte Ausstellung im Metropoli- tan Museum of Art wird^', sondern die Lehrräume des Whitney Inde- nalisierte Rolle von Theorie und für eine ganze Generation, die pendent Study Program verlassen Feminismus. Es wurde deutlich, «Pictures Generation», hätte wohl und Eingang in den universitären dass der Prozess der Historisierung zuletzt Douglas Crimp gedacht. Alltag gefunden. alles andere als abgeschlossen ist. Während das Wissen um die mit Aus diesen Gründen mag einiges Doch erst einmal der Reihe nach. der Pictures Generation assoziierte an der wunderbaren und verdienst- Als lose formierte Gruppe um Appropriation in Europa noch bis vollen Ausstellung im Metropoli- den New Yorker Artists Space ist die vor Kurzem ins Umfeld kritischer tan Museum erstaunen. Zunächst Pictures Generation vermutlich die Kunstgeschichte gehörte, hat in einmal fällt Crimps Name erst auf letzte avantgardistische Bewegung den USA die postmoderne Theo- Seite 28 des umfassenden und ak- des 20. Jahrhunderts, die sich in rie bereits in den 70er- und frühen ribisch recherchierten Katalogs, kritischer Weise mit dem Erbe der 80er-Jahren, verbreitet von October, der ausschliesslich von Douglas Konzeptkunst, dem Minimalismus Art/mm und Art in America (mit Eklund, dem Kurator der Photo- und der Pop-Art auseinandersetzte Crimp, Craig Owens, Hal Foster, graphie-Abteilung, verfasst wurde. und Repräsentation und Appro- Benjamin Buchloh und anderen), Für hitzige, mitunter feindselige priation zu den Stichwörtern der Debatten sorgten neben dem ge- Stunde werden liess." Wie Michael PH/I/PP ÄA /S£P ist Kurator am Mu- setzten Zeitrahmen (1974-1984), Lobel schreibt, verfällt die Kunst- seum of Contemporary Art, Los Angeles, und dem «Verschwinden» des in geschichte hier erneut dem Mus- und arbeitet zurzeit unter anderem an der der historischen «Pictures»-Aus- ter, ein Ereignis zu einem histori- ersten US-amerikanischen Jack-Goldstein- Stellung präsenten Künstlers Philip sehen Wendepunkt zu stilisieren Retrospektive. Smith, vor allem auch die margi- und die Geburt einer Bewegung 197 PARKETT 87 2010 lediglich in einem punktuellen betrachtet zu werden."' Bekannt- Weise die Eigenschaften der Pz'c- respektive einem linearen Zeitmo- lieh sind nur fünf Künstler ausge- untersucht und festgehalten, dell zu beschreiben."'* Da einige stellt worden: Troy Brauntuch, Jack dass sich die neue Künstlergenera- der Werke, die in der historischen Goldstein, Sherrie Levine, Robert tion mit erinnerten, imaginierten «Pictures»-Ausstellung zu sehen Longo und Philip Smith. Es lohnt und psychologisierten Bildern, mit waren - und jetzt im Metropolitan sich, auf den von Douglas Crimp Signifikationsprozessen und einer Museum ausgestellt sind -, vor 1977 verfassten Beitrag im Begleitheft, neuen Narrativität beschäftigt, so entstanden waren, wird die Bedeu- der weit weniger rezipiert wurde als scheint es, als ob in der zweiten tung der «Pictures»-Ausstellung die zwei Jahre später auf Rosalind Fassung das Bild als stereotypisierte unterminiert und unversehens die Krauss' Anfrage für October ent- Formel aufgefasst wurde, die dazu Frage gestellt: Was war denn 1974 standene revidierte Version, einen dient, verschiedene Schichten der und ist es folgerichtig, den Kurator Blick zu werfen, um das Terrain Repräsentation aufzudecken. Nach der «Pictures»-Ausstellung, deren abzustecken, dem sich eine ganze Crimp befindet sich hinter jedem Künstlerinnen und Künstler sich Generation zugehörig zu fühlen Bild ein weiteres Bild.'' In die nachhaltig mit Fragen von Origina- scheint."' War der erste Beitrag «Lücke» zwischen den beiden Auf- lität und Autorschaft auseinander- eine analytische und scharfsinnige sätzen ist nicht alleine der Künst- gesetzt haben, mit fast gewollter Beschreibung nahe an den Wer- 1er Philip Smith gefallen, dessen Nachlässigkeit nicht in der Einlei- ken, wurde in der zweiten Fassung Name in der zweiten Fassung zur tung des Kataloges zu erwähnen? - in Abgrenzung zu Michael Frieds Anmerkung degradiert wurde, Helene Winer, die damalige modernistischen Reflexionen zur auch die nicht-photographischen Direktorin des Artist Space, hatte Minimal Art - eine postmoderne Praktiken wie Malerei oder Zeich- Crimp eingeladen, eine Ausstel- Photographie aus der Taufe geho- nung bleiben nun unerwähnt, dies lung (inklusive Publikation) zu ben, die sich mit den unterschied- vermutlich, um das Profil dieser organisieren. Es war auch Winer, liehen künstlerischen Verfahren neuen Generation nicht mit der die ihm eine Liste vielversprechen- «Zitieren», «Exzerpieren», «Rah- am Whitney Museum stattgefun- der Künstler übergab, die es ihrer men» und «Inszenieren» auseinan- denen «New Image Painting»- Ansicht nach verdienten, ernsthaft dersetzt. Wurden zuerst in konziser Ausstellung (1978) zu verwässern, einer Ausstellung neuer figurativer Positionen. Mit diesen Ausführungen soll, um Missverständnissen vorzubeu- gen, nicht suggeriert werden, dass einzig Douglas Crimps Ausstellung und seine berühmten zwei Aufsätze das PictMrci-Phänomen hinlänglich erklären, im Gegenteil, sie sind nur die Spitze des Eisbergs. Seine Beiträge sowie die darauffolgen- "TAe Gonerö/Zon, 7 974-7954," Afew; ForA / Aw.s5ZoZZw7zg\san.sZcAz. (P/ZOPO: Af£77?OPOL/7A7V Mt/SPGM, ZVPW KOPK) 795 LOt//S£ LAWLEÂ, AÄRA2V&E.D .Bf DONALD MAÄÄOAf, SOSAiV ß.RtWDAG£, CNLÄ KL B/SHOP AT DA/N£ W£ÄB£Ä, 2 9S2, Mûc/t-ûnd-wAite pAo£ograpA, i9 '/^ x 27 */#"/ ScAwmrzaims-PAo/ogra^Aztf, 49,5 X 55,2 cm. (M/OTO.- COt/ÄT£Sr Of 77/£ AÄTYST AKD M£74?0 P/CTOfl£5j den Essays zur postmodernen Pho- tographie haben in aller Klarheit poststrukturalistische Theorie und aktuelles Kunstschaffen gepaart und sich an einem damals jungen, zeitgenössischen Gegenstand er- probt. Die Ausstellung, glaubt man Matt Mullican, ist kaum zu über- schätzen: «[Sie] wurde zu einem Wendepunkt... wir wussten, sie war wichtig. Nicht die Ausstellung selbst, Institute of the Arts in Valencia All- Arts-Ma/za-Buch nicht zuletzt ze- aber was sie repräsentierte, wir wa- gemeingut geworden. Nicht nur mentierte und die bei manchen ren Teil davon.»®' Die Ausweitung wissen wir, dass Winer und Jack Kritikern Missmut ausgelöst hat. eines Ereignisses zu einem Phäno- Goldstein liiert waren, wir wissen Zugegebenermassen kommt John men wirft die Frage der Zugehö- auch, dass sie 1974 gemeinsam Baldessari bei der Formation dieser rigkeit auf, es ist erstaunlich, dass, nach New York gezogen sind. Die Gruppe eine kaum zu überschät- soweit mir bekannt ist, von keinem CalArts Mafia, neben dem eigent- zende Rolle zu, doch gleichzeitig Kritiker oder Kunsthistoriker je- liehen Anführer Goldstein - James darf nicht unerwähnt bleiben, dass mais der erweiterte Gruppenkon- Welling, David Salle, Matt Mullican es die Errungenschaften des Femi- text der «Pictures Generation» in und Troy Brauntuch -, ist ihnen ge- nismus waren, die zur kritischen Frage gestellt wurde. folgt, wenngleich einige ihre Ate- Auseinandersetzung mit Repräsen- Doch weshalb soll sich die neue liers in Los Angeles behielten; sie tation geführt haben. Feminismus Generation bereits 1974 formiert wurden gewissermassen zum Kern war Anfang der 70er-Jahre der Kern haben? In diesem Jahr war Helene der sogenannten «Pictures Gene- aller Veränderungen, der über die Winer, die seit 1980 gemeinsam mit ration». Als Schüler von John Bai- Jahre schliesslich
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