ART1-137Xx Engl. 27.8

n the US. and Netherlands, Hungary, Italy, Brazil group showsinGermanyand the widelyinone-manand exhibited has a numberofbooks.PeterKrueger Denver, Colorado, andhaspublished America, wasavisitingprofessor in capitals ofEurope andinNorth hastravelledandstudiedinthe He Dr. Irene LehrArtAuctions,Berlin. of and astheGermanrepresentative Cologneasanauthorandartist, in Since thenhehaslivedandworked in thecityasanartistuntil1989. an electricalengineer, andremained the SeventiesheworkedinBerlinas in1948.In Peter Kruegerwasborn Peter Krueger, Cologne

Photo: Arno Jansen, Cologne MUSEUMS AUCTIONS ART FAIRS ART ASSOCIATIONS ART CRITICS ART HISTORIANS COLLECTORS GALLERIES ARTISTS Art Bridge Peter Krueger

Art Bridge New York – Cologne – New York 50 YEARSOF TRANSATLANTIC DIALOGUE –NewYork Cologne – New York Art Bridge Peter Krueger Photos: PeterKrueger, AbeFrajndlich national level. sense, ifartistoflourish,andaresolvecontinueworkingcreativelyataninter - and cultural contexts thataccompanythem,isofthefirstimportance.Sotooacritical termsoftheproductionandbrokeringworks,economicstrategies Atlantic, in The freshinputofyoungartistsandyouthful,independentdealerseithersidethe market andtostrikeabalancebetweentheartisticeconomicaspects. becomes areality, itisimportanttoconsolidatetheinnovative microstructuresoftheart andmillenniumgetsunderway,As thenewcentury andtheglobalinformationsociety overthelastfiftyyears. impact onarthistory Established CologneandNewYork artists,dealersandmuseumstaffhavehadadecisive creating anetworkofopenreferences,relationships,commentariesandcontrasts. they adopt,thearrangementoftextandimagesissimilarlyarrangedonseverallevels, inthisvolumerangefreelytheircontentandthepositions If theessaysandinterviews available. ways ofreadingofficialarthistory broadly basedsystemofproduction,supply, marketingand text.Thismakesalternative stories ofmuseumart.Intheirplacearethemultiple dimensions ofamuchmore implies isa correction oftheusualarthistorical perspective, withitsclear-cut success not onlycomplementbutsometimesevencontradicteachother. Whatthiskaleidoscope attempttoassessitevenifthevariousperspectives New York –CologneNewYork, an snapshots, covering thepastfourdecades,areanapproachtocelebratedArtBridge dynamism oftheartmarketinCologneandNewYork. Thesepersonalviewsandcritical curators, exhibitionorganisersandmuseumdirectorsexplorethedevelopment essaysandmemoirsinthisbook,critics,artists,dealers,collectors, In theinterviews, driven mediauniverse. artists, artdealersandexhibitioncuratorshasbeentransformedinthenewmarket- the marketforcesthatruleartandexhibitionworlds,inturnthinkingof and Seventies.DuringtheEightiesNineties,twocitiesweresimilarlyaffectedby activated onan artistic levelbyFluxus,PopArtandDada-inspiredworkoftheSixties art worldinAmerica,EuropeandAsia.Relationsbetweenthetwocitieswereinitially Over thelasthalfcentury, CologneandNewYork havehadadecisiveinfluenceonthe andfuture status potential. and examinesthecreativeeconomicsystemwecallart,intermsofitspresent historical relations andtiesthatexistbetweentheCologneNewYork artmarkets, “Art BridgeCologne–NewYork –Cologne”reviewstheartistic,economicandart crossroads inEurope. But thishasinnowaydiminishedCologne’s signi ficance asoneofthekeycultural with significanteconomicchangeinwesternandeasternEurope,aboomBerlin. international art scene. Theperiodsince1989hasbeenan important onehistorically, pole, a major European toNewYork,counterweight whichremainsthefocusof national artmarket.Together withitsRhineandRuhrcatchment,Cologneisamagnetic century, ColognehasbecomeamajorplayerontheEuropeanandinter justhalfa - of the changesthatbeganwarilyhavebecomedynamic,andglobalinscale.Inspace Things havebeenchanginginartastheyotherareasinternationally, and NewYork – Cologne – New York Art Bridge

Peter Krueger

Art Bridge New York – Cologne – New York

50 YEARS OF TRANSATLANTIC DIALOGUE

MUSEUM LUDWIG COLOGNE Edition: Peter Krueger

1 2

3 4

Each of the four motifs appears in an edition of 200, signed by the artist and numbered from 1 to 200. The lithographs are hand-printed in two colours on a Mailänder press at the Quensen workshop. The paper is handmade deckled Rives paper, 250 g/qm, format 10.03 by 8.85 inches (25.5 by 22.5 cm). The special edition of Art Bridge New York – Cologne – New York contains two graphic works, one each by Peter Krueger and Bernd Schwarzer. The price of these together with the book is 248 Euros (480 Deutschmarks) or $228. The lithographs may only be purchased together with the book. Distributed by: Art Office Peter Krueger, Cologne tel. +49/221/25 44 47 fax +49/221/25 44 47 Artcase (dialogue of cultures) Edition Gallas GmbH · Licence by Expo 2000, Hannover (World Exhibition) © by Dr. Klaus Gallas/EA Quensen and authors (see enclosed separate leaflet in the book Art Bridge New York – Cologne – New York) Published by: Ernst Wasmuth Verlag, Tübingen · Berlin

Edited by: Peter Krueger, Cologne

Typesetting and layout: BARTEN & BARTEN – Die Agentur GmbH, Simone Schütze, Cologne; Thomas Senft, Cologne; Angelike Schaedle, Cologne; Peter Krueger, Cologne

Graphic supervision: Markus Haupenthal, RHEINgrafisch, Bonn

Lithography: Ceynowa GmbH, Cologne; asmuth satz & druck, Cologne

Printed and bound by: asmuth satz & druck, Cologne

ISBN: 3-8030-3302-0

Printed in Germany

6 New York - Cologne - New York Cologne - New York - Cologne

FOREWORD To essay a comparison between exhibitions have transferred from Cologne and New York may at first MOMA or the Guggenheim to the glance appear presumptuous. The Museum Ludwig. Dealers such as one is the fourth largest city in Michael Werner, Max Hetzler, Germany, an economic centre in the Rudolf Zwirner, Paul Maenz, Monika west of the federal republic, closely Sprüth or Rudolf Kicken have had involved in processes of exchange galleries or close associates in New with our neighbours in France and York. Cologne has long been directly the Benelux countries – a city with a involved with the shifts in New York two-thousand-year history and a trends. New York artists have settled charismatic, lively present. The other in Cologne, and Art Cologne has is the biggest city on the US east been a major German fair for inter- coast, the pulsating heart of national contemporary art. America, the economic centre of In this book, Peter Krueger assesses the globe, the seat of the United the intimate relations of two cities Nations, and for decades the capital in the field of art. It is an important of contemporary art. Considered thing to have done at this time, aright, New York is beyond com- showing as it does what has been pare. Nothing quite equals it. achieved in recent decades and at Peter Krueger has nonetheless the same time calling upon us to attempted to see the two cities in make renewed efforts, so that this relation to each other, and readers shall not be a mere review of the of this book will find that there is past but a progress report. The N sufficient ground for the attempt. financial latitude available to the In contemporary art, both cities play arts is becoming more constricted E a leading role, afford the kind of wherever we look, but that circum- climate that artists value, and pos- stance should not allow us to ques- W sess institutions that both challenge tion the ongoing New York – and support the art scene. Ever Cologne – New York relationship. since Peter Ludwig began collecting Pop Art in the Sixties and inspired Y others with his interests, Cologne O has been developing numerous and diverse ties with New York art insti- R tutions. A network has come into being, linking galleries and artists, Norbert Burger K collectors and museums. Major Former Lord Mayor, Cologne

7 Peter Krueger, Cologne / New York

12 Art Bridge New York New York - Cologne - New York

In art, too, the equilibrium has Over the past fifty years, Cologne contradictory perspectives. This dent dealers either side of the been shifting, at first cautiously, and New York have had a decisive implies correcting the customary Atlantic can introduce in order to then dynamically, and finally on a influence on the art world in Amer- viewpoint of art history, and dividing deliberate critically on the produc- global scale. Within half a century, ica, Europe and Asia. In the Sixties up the unambiguous success story tion of work, the trade in art, and Cologne has evolved into a capital and Seventies, through Dada, of art in the museums into a many- economic and cultural strategies of the European and international Fluxus and Pop Art, relations dimensional multiplicity of produc- and presentation, and creatively art market. However its weight is between the two locations were tion, communication, marketing, advance them on an international to be assessed at the present mo - still powered by factors primarily and textual complement. In this level. ment, Cologne – with its regional artistic and cultural. In the Eighties way, the official history of art is cultural context of the Rhineland and Nineties, both cities similarly shown to contain alternative read- Peter Krueger and Ruhr – is an appealing coun- experienced the new world of art ings. The content and standpoints terweight to the focal point of the and exhibitions governed increas- of the contributions to this book international art scene, New York. ingly by economic imperatives, the already add up to a spectrum of Now, at the close of a historic world that has had a shaping voices, and, to complement that, decade which has seen western influence on the artists, dealers and the lay-out of text and image is Europe brought together in a single exhibition curators of today. In the multi-layered, a network of cross- economic market and the countries interviews and articles collected in references, relations, commentaries of eastern Europe integrated, this book, critics, artists, dealers, and contrasts. The established Cologne – despite the Berlin boom collectors, curators and museum artists, dealers and museum person- – is one of the key cultural cross- directors examine the evolution and nel of Cologne and New York have roads in Europe. dynamics of the art market in achieved great things and have “Art Bridge New York – Cologne – Cologne and New York, in personal helped write half a century of art New York” explores and illuminates fragments and in critical insights history. the reciprocal influences, ties and drawn from the past three and a As we enter the global information relations between the Cologne and half decades. society of the 21st century, it is New York art markets, in terms of The international art market, the art important to reinforce the innovative their artists, economies, and art bridge existing between New York microstructures of the art market histories, in order to broaden re - and Cologne, can only be grasped in and to locate a balance in artistic flection upon the creative and eco- an experimental spirit, by taking an and economic activity. Attention nomic system of art in a spirit both abstract view, in essays, from a va- belongs on the fresh impulses that contemporary and forward-looking. riety of complementary of mutually young artists and young indepen-

13 Peter Ludwig particularly the Forties, and to some earlier been (which the title of his shared interests and knew each components in the collection (the ways of thinking they had origin - 1950 doctoral thesis described as other well, they set off to visit some Russian avant-garde, Pop Art, ated a distinctively American centre “The expression of a generation’s galleries together. That day, Wolf- Picasso). of art in the process. Leaving aside spirit of life”). What counted now gang Hahn made his suggestion to all of Abstract Expressionism's dog- was the growing importance of the exhibit the collection currently on The year 1976 was a good one for mas of the sublime, it is evident media, of mass consumption, of view in Aachen in Cologne, in the both the Ludwigs and the city of that with Robert Rauschenberg and automobiles, of pulsating life, of the Wallraf Richartz Museum. Hahn Cologne, for that year saw the Jasper Johns initially a new era in stars and starlets in the big city was the head of restoration at the foundation of the Museum Ludwig, art began, in which the relation of firmament. For the Ludwigs, to museum, and gladly offered his with an impressive gift of more art to life corresponded to the experience this new art was over- services on behalf of the Ludwig than three hundred works of Pop sense of reality of those artists who whelming: true to their mission, Collection. The idea bore fruit, Art and other recent art by such were shortly to achieve global fame which at that date they followed since Ludwig seized upon it with all artists as Georg Baselitz, Hanne with Pop Art. intuitively but had not yet explicitly that enthusiasm which was one of Darboven, Lucio Fontana, Nancy formulated or indeed institutional- his distinctive characteristics. Graves, Donald Judd, Yves Klein, Sol Regular visits to the US afforded ized, they perceived the significance Lewitt, Robert Morris, Louise Nevel- ever new opportunities to make of this art and within a few years On 12 January 1969 another exhibi- son, A. R. Penck, Gerhard Richter, contacts amongst the dealers, they assembled a collection of Pop tion opened at Aachen’s Suermondt Niki de Saint Phalle, Daniel Spoerri, museum staff, artists and art critics Art that now ranks as one of the Museum, titled ‘Aktuelle Kunst’ Jean Tinguely or Wols. of New York. Together the Ludwigs foremost in the world. They made (contemporary art) and numbering went to the leading galleries that their acquisitions with a clear sense ninety of the works in the collec- As Peter Ludwig put it: “Looking were exhibiting the prominent that they were not doing so for tion, and on 8 February of the back, our Cologne venture was the names in Pop Art. Sidney Janis, their own private benefit but in same year the Wallraf Richartz turning point. It put the Ludwig Illeana Sonnabend and Leo Castelli order to fulfil that mission and Museum’s ‘Art of the Sixties’ show Collection on the international map. were their especial partners; the make these spectacular forms of opened. All of the exhibitions in We became the focus of a broad last of these is considered to have expression known in Germany. which new acquisitions by Peter debate, and the pro and contra discovered Robert Rauschenberg, and Irene Ludwig were on view camps alike made what we had and, a little later, Jasper Johns. In The first step on this last road was attracted the kinds of crowds that done and were doing more and the lively New York of the early taken with the exhibition ‘Zeitbild museums dream of now: the Wall- more well-known [...] In 1976 we Sixties, Peter Ludwig was fascinated Provokation Kunst’ (images of the raf Richartz Museum’s show drew a sealed the gift by contract and by the immediacy with which the age provocation art) that opened total of 417,000. established the Museum Ludwig. In new art was reacting to the life of in June 1968 at the Suermondt 1986 the immense new building prosperity. The work of Rauschen- Museum in Aachen. There the first As far back as 1 March 1969 the between the cathedral and the berg, Johns, Andy Warhol, Roy Pop Art holdings in the Ludwig Neue Rheinzeitung ran an article Rhine was opened, giving a spec- Lichtenstein, James Rosenquist, Collection were shown to the Ger- titled ‘Cologne needs a new muse- tacular home to two museums and Robert Indiana, Claes Oldenburg, man public for the first time. um of modern art’, in which chief a philharmonic hall. The opponents Jim Dine, Tom Wesselman and arts officer Kurt Hackenberg was fell silent, and Cologne, with its art others was still relatively affordable A few months later, in autumn of quoted as follows: “Since the Wall- galleries and the numerous artists at that date. The first work Peter the same year, when Ludwig was raf Richartz Museum is bursting at who live there, is one of the world’s Ludwig bought, at Sidney Janis’s, again in New York, his now leg- the seams, I should like a museum great cities of art.” was a veritable epitome of Pop Art: endary meeting with Wolfgang of 20th century art to be built, Tom Wesselman’s ‘Landscape Hahn occurred, which led on to close to the railway station if at all Global action of the order Peter and No. 2’, 1964. the first gift to Cologne’s Wallraf possible.” The Museum Ludwig in Irene Ludwig aimed at requires Richartz Museum, though neither Cologne was not only indubitably global thinking. They wanted the To Peter Ludwig’s mind, this art could have guessed as much at the the first museum to be founded on support of multicultural dialogues mirrored the age, and was just as time. The Cologne collector and the initiative of Peter and Irene Lud- to improve social relations across much an expression of the prevail- restorer and the Aachen patron wig, but it remains the institution and beyond national frontiers, and ing spirit as Picasso’s work had met at the Hilton, and, since they that houses the most important in creating their foundation the

20 Ludwigs were institutionalizing their aspirations for the future on the secure basis of what they had accomplished to date. The Ludwig Foundation is a gathering of ideas and ideals and constitutes a kind of legacy to assure the continuation of a mental attitude that was expressed in actions.

The aims and tasks of the foundation are defined in its charter, which is formulated with later generations in mind who will not have had the pleasure of knowing the founders personally and will not have experienced the period in which the intellectual forces that created the enterprise flourished. Much that is already taken for granted now, only a very few years after the death of Peter Ludwig, was utopian in the early Eighties. Global digital communication, now so easy to use, might be named here; it makes rapid contact possible and might in principle ease exchange amongst nations, not only in the economic sector but in the arts as well.

But a hands-on, altogether non- digital involvement with one’s own and with other cultures remains a key precondition for the development of mutual understanding. In promoting better international Irene Ludwig, Museum Ludwig Cologne Jasper Johns, New York understanding and greater tolerance, art is one possible route to be taken, and today it is more important than ever that options for engagement and information be available that go beyond hasty consumerism and dumbing-down.

The chief task of the foundation is the systematic continuation of international commitment in the manner

21 Marc Scheps, former director, Museum Ludwig Cologne

40 Kathinka Dittrich van Weringh, former chief arts officer of the city of Cologne

The Sixties, now the stuff of legend, live in the city. No one can say art or in their willingness to support gave Cologne the reputation of exactly how many there are, since it. The tolerant atmosphere of the being a metropolis of the avant- further artists of reputation are for- city must surely be the principal rea- garde in art and music. Over the ever finding themselves attracted son why Cologne has always been decades that have followed, the by the name the city has made for a magnet to restless, nonconformist city has energetically developed its itself. As for the collectors, who spirits. The roots of that tolerance astounding cultural potential and have been a distinguishing feature are many and various: the mix of opportunities. One of the various of Cologne’s art life for centuries, peoples in the Rhineland, the consequences of Cologne’s identity they too are still very much a pres- undogmatic stance of Rhenish as a charismatic arts location that ence, as the ‘Köln sammelt’ Catholicism, and the civic pride of promotes encounter and exchange (Cologne Collectors) exhibition most the people of Cologne, who threw has been the influx of artists both impressively demonstrated. Perma- out their princely overlords at an young and recognised into the city, nent loans and gifts, on a larger early date, preferring to trust to a trend which continues to this day. or lesser scale, such as acquire a their own mettle. It was in such a The large number of galleries, particular significance at times when climate that the cultural diversity of beyond anything comparable in public funds are tight, have consoli- Cologne originated and throve, any other German city, as well as dated this presence. The gift of the and, since it is this that constitutes the well-nigh explosive growth in Ludwigs’ Picasso collection was the special appeal of the city, it is the number of independent theatre (merely, as it were) one more mile- most important that it be preserved. companies, rock groups, film mak- stone along the road of a lengthy ers and authors, all confirm that tradition. status. Investments by the city of Cologne The combined efforts of dealers, and the state of North Rhine-West- artists and collectors made Cologne phalia, the extensive opening of arts a leading centre of contemporary enterprise to dialogue with the art after the Second World War. In world of the arts outside, and the terms both of quality and of quan- involvement of the cultural infra- tity, Cologne evolved into a prime structure, have had beneficial mu - gallery location. It thus seems tual influences. Thus it is that the almost logical that the art market- name of Cologne stands as a syn- place should have been devised onym for artistic energy, experiment there. Despite strong competition, and success for many who are Art Cologne still plays an extremely acquainted with contemporary art important part among similar ven- or wish to be. Few other German tures. This would scarcely be possi- cities are quite so energetic and ble were it not for the artists who unconstrained in their dealings with

41 ambitiously inclusive venture to date was that of the Walker Art Center in Minneapolis, whose 1992 exhibition ‘Photography in Contemporary German Art, 1960 to the Present’ went on to the Guggenheim Muse- um in New York and, in an altered ventured on the ‘Project/Projekt’ with its exhibition of ‘Avant-Garde and supplemented form, to the installation in 1995. Photography in Germany 1919- Museum Ludwig. This exhibition 1939’, which showcased classics of put on display the most compre- While the public presentation of the German photography and travelled hensive overview to date of the great classics of American photo - to Minneapolis, Chicago and the German art scene, featuring a total graphy in Cologne’s galleries and International Center of Photography of eighteen German artists, five of museums has been highly visible to in New York. In 1982 the Metro - them from Cologne. date, the flow of information in the politan Museum of Art’s ‘Form and other direction has been paltry. It Emotion in Photographs’ exhibition Yet despite all of these ventures, may be taken for granted that clas- included seven Germans among the it would be wrong to suggest sic German photographers such as fifty-three on show. In 1986 the that the basis on which New York August Sander, Albert Renger- San Francisco Museum of Modern and Cologne artists entered upon Patzsch or Hugo Erfurth are in evi- Art returned to the field with exchanges was an equal one. dence on the American market and ‘Behind the Eyes – Eight German Though Cologne is the centre of art in public collections in the US, but Artists’, among the eight being photography in Germany; though there can be no talk of a specifically Bernhard Johannes Blume and the Museum Ludwig’s photographic New York-Cologne scene. The San Jürgen Klauke. This exhibition too collection, the Agfa Photo-Histora- Francisco Museum of Modern Art travelled to New York, to the ma and the August Sander Archives seized the initiative at an early stage Lorence Monk Gallery. The most constitute three major institutional resources; and though numerous galleries are now taking an interest in photography, collectors are dis- covering the field, and Cologne artists are gradually making a name

52 for themselves in the US – though all of this is laudable, there can still be no talk of an equal footing. The fact is that New York has been the capital of photography for almost half a century, and is set to remain the generator of energy and move- ment for Europe, for Germany, and for Cologne, for the forseeable future.

Hundertmark Gallery, Cologne

53 N N N E E E W W W

Y Y Y O O O R R R K K K Peter Krueger

56 N N N E E E W W W

Y Y Y O O O R R R K K K

Walter Dahn, Cologne American Fine Arts John Gibson Mary Boone 22 Wooster, New York, 568 Broadway @ Prince, 745 Fifth Ave, 4th Fl, NY 10012 New York, New York, Tel 212.941.0401 NY 10012 NY 10151 Fax 212.274.8706 Tel 212.925.1192 Tel 212.752.2929 Fax 212.925.1274 Fax 212.752.3939 Apex Art C.P. Tel 212.759.0606 291 Church, New York, Hal Katzen Fax 212.759.1235 NY 10013 459 Washington, New York, Tel 212.431.5270 NY 10013 Marian Goodman Fax 212.431.4447 Fax 212. 925.9777 24 W 57, 4th fl, New York, Fax 212. 925.9777 NY 10019 Artists Space Gallery Tel 212.977.7160 38 Greene, 3rd fl, New York, Anton Kern Fax 212.581.5187 NY 10013 558 Broadway, 2nd fl, Tel 212.226.3970 New York, Museum of Modern Art Fax 212.966.1434 NY 10012 11 W 53, New York, Tel 212.965.1706 NY 10019 Luhring Augustine Fax 212.965.1714 Tel 212.708.9400 531 W 24 New York, Fax 212.708.9889 NY 10011 Noho Gallery Tel 212.206.9100 168 Mercer, New York, Pace / Mac Gill Fax 212.206.9055 NY 10012 32 E 57, 9th fl, New York, Tel 212.219.2210 NY 10022 Deitch Projects Tel 212.759.7999 76 Grand, New York, Pace / Wildenstein Fax 212.759.8964 NY 10013 142 Greene, New York, Tel 212.343.7300 NY 10012 Pace / Prints Fax 212.343.2954 Tel 212.431.9224 32 E 57, 3rd fl, New York, Fax 212.431.9280 NY 10022 Deitch Projects Tel 212.421.3237 18 Wooster, New York, Parkett Editions Fax 212.832.5162 NY 10013 155 Avenue of the Americas, Tel 212.343.7300 2nd fl, New York, Pace / Wildenstein Fax 212.343.2954 NY 10013 32 E 57, 2nd Fl, New York, Tel 212.673.2660 NY 10022 The Drawing Center Fax 212.271.0704 Tel 212.421.3292 35 Wooster, New York, Fax 212.421.0835 NY 10013 The Work Space Tel 212.219.2166 96 Spring, 8th fl, New York, Visual Arts Museum Fax 212.966.2976 NY 10012 209 E 23, New York, Tel 212.219.2790 NY 10010 Sandra Gering Fax 212.925.0690 Tel 212.592.2145 476 Broome, 2nd fl, Fax 212.592.2095 New York, David Zwirner NY 10013 43 Greene, New York, Whitney Museum of Tel 212.226.8195 NY 10013 American Art Fax 212.226.7186 Tel 212.966.9074 120 Park Ave at 42nd St, Fax 212.966.4952 New York, NY 10017 Tel 917.663.2453 Fax 917.663.5770 SELECTED GALLERIES NYC

82 Leo Castelli 303 Gallery Klemens Gasser & Tanja Friedrich Petzel 59 East 79, New York, 525 W 22, New York, Grunert 535 West 22nd Street, NY 10021 NY 10011 524 W 19, New York, New York, Tel 212.249.4470 Tel 212.255.1121 NY 10011 NY 10011 Fax 212.249.5220 Fax 212.255.0024 Tel 212.807.9494 Tel 212. 680. 9467 Fax 212.807.6594 Fax 212. 680. 9473 Richard L. Feigen & Co. Marianne Boesky 34 E 69, New York, 535 W 22nd, New York, Barbara Gladstone Metro Pictures NY 10021 NY 10011 515 W 24, New York, 519 W 24, New York, Tel 212.628.0700 Tel 212.680.9889 NY 10011 NY 10011 Fax 212.249.4574 Fax 212.680.9897 Tel 212.206.9300 Tel 212.206.7100 Fax 212.206.9301 Fax 212.337.0070 Gagosian Bonakdar Jancou 980 Madison at 76, New York, 521 W 21, 2nd fl, New York, Greene Naftali Andrea Rosen NY 10021 NY 10011 526 W 26, 8th fl, New York, 525 W 24, New York, Tel 212.744.2313 Tel 212.414.4144 NY 10001 NY 10011 Fax 212.772.7962 Fax 212.414.1535 Tel 212.463.7770 Tel 212.627.6000 Fax 212.627.5450 Goethe-Institut New York Gavin Brown's Enterprise Pat Hearn 1014 Fifth Ave at 82nd, 436 W 15, New York, 530 W 22, New York, Holly Solomon New York, NY 10013 NY 10011 222 W 23, # 425, New York, NY 10028 Tel 212.627.5258 Tel 212.727.7366 NY 10011 Tel 212.439.8700 Fax 212.627.5261 Fax 212.727.7467 Tel 212.924.1191 Fax 212.439.8705 Fax 212.924.8545 Paula Cooper Casey Kaplan Guggenheim Museum 534 / 521 W 21, New York, 416 W 14, New York, Sonnabend Gallery 1071 Fifth Ave at 89th, NY 10011 NY 10014 536 W 22, New York, New York, Tel 212.255.1105 Tel 212.645.7335 NY 10011 NY 10128 Fax 212.255.5156 Fax 212.645.7835 Tel 212.627.1018 Tel 212.423.3500 Fax 212.627.0489 Fax 212.941.8410 DIA Center for the Arts The Kitchen Gallery 545 W 22, btw 10th and 11th, 512 W 19, New York, Stark Gallery Metropolitan Museum of Art New York, NY 10011 555 W 25, New York, Fifth Ave at 82nd, New York, NY 10011 Tel 212.255.5793 NY 10001 NY 10028 Tel 212.989.5566 Fax 212.645.4258 Tel 212.807.1051 Tel 212.879.5500 Fax 212.989.4055 Fax 212.472.2764 Luhring Augustine P.S.1 Contemporary Feigen Contemporary 531 W 24, New York, Art Center Michael Werner 535 W 20, 1st fl, New York, NY 10011 22-25 Jackson Ave, 4 E 77, New York, NY 10011 Tel 212.206.9100 Long Island City, NY 10021 Tel 212.929.0500 Fax 212.206.9055 NY 11101 Tel 212.988.1623 Fax 212.929.0065 Tel 718.784.2084 Fax 212.988.1774 Matthew Marks Fax 718.482.9454 Gagosian 523 W 24, New York, Whitney Museum of 555 W 24, New York, NY 10011 American Art NY 10019 Tel 212.243.0200 945 Madison Ave at 75th, Tel 212.741.1111 Fax 212.243.0047 New York, Fax 212.741.9611 NY 10021 Tel 212.570.3676 Fax 212.570.1807

83 Axel Brand, Cologne DIGITAL

The marketplace

On the one hand there are these alter- by his deputy Dietmar Löhrl of Mön- his future programme. Whether a new native art activities, on the other ART chengladbach. The committee that direction is discernible on the Cologne COLOGNE, after Basle the second approves space at ART COLOGNE, with gallery scene for what remains (as I largest art fair in Europe in terms of the Karsten Greve as its spokesman, inclu - write) of the Nineties, he cannot say. numbers of galleries represented and des a stronger presence of newcomer As for the young galleries, Buchholz for financially, in offering four stipends (the the area it covers. In 1997, following galleries than before (such as Monika one is confident that they will make stipend for visual artists is named after outspoken criticism of the outsize scale, Sprüth, Ulrich Fiedler and Michael their mark in the marketplace and that the sometime director of the workshop which was anything but visitor-friendly, Janssen), in order to assure a more their prospects are good. schools, Friedrich Vordemberge), is rela- the fair management decided against youthful profile. tively modest. In an interview with the Hall 5 with its newcomer galleries. In Assured values magazine Kunstforum, former arts the past year as I write, many of these At the fair, the Walther König book- officer Peter Nestler conceded that the galleries opted instead for the rival fair stand in the foyer always attracts a lot At present Penck, Baselitz & Co., fetch- makers of social policy needed to give ART FORUM BERLIN, and those who of interest. König can of course have no ing prices equivalent to the annual in - more attention to the “independent remained were unable to maintain the complaints about the numbers that come of the average salaried employee, scene”. Most Cologne artists live in existing standards. At the same time, frequent his downtown store in Alber- are still making the running in the art circumstances of considerable economic the number of participating galleries tusstrasse, but the fact is that his target market, because they represent assured and social insecurity. They eke out a was cut by about 35% from the record readership of artbook-buyers is no - values. Other galleries concentrate on living with part-time jobs or working on figure of 395 set in 1995: in 1997, only where present in such concentrated the medium price range. With the mar- programmes organized under job centre some 230 galleries were allotted space. form as at art fairs or major museum ket having collapsed, the art public is schemes, or else they are supported From that point on, it was no longer events. Next to him is Klaus Staeck, pio- feeling insecure, and so the willingness within their marital or family structures. the Federal Association of German neering the trend in pitching affordable to opt for innovative art amongst mid- For the fact is that only a fraction of Galleries (BVDG) that organized the fair editions and multiples at the low-budget range galleries has been displaced by a Cologne’s galleries regularly exhibit local and bore the sole responsibility, but collector. Given the low fortunes of the fear of being left in possession of the artists. Most of them are interested less KölnMesse, Cologne’s overall trade fair art market, which were clearly visible as unsaleable. Only five to ten per cent of in the regional avant-garde than in authority. As long as ART COLOGNE they approached, Daniel Buchholz (the the turnover of these galleries is whatever makes the international run- was a fair organized by an association, youngest gallery dealer in Cologne in accounted for by a local clientele any- ning, and for this reason a number of galleries refused space could take legal the Eighties) switched to editions and way. It’s an open secret that the profile autonomously-organized art ventures in action under laws governing competi- small art objects in good time. But of the clientele determines the aesthetic non-museum venues have arisen along- tion and cartels. But as a trade fair, ART Buchholz is wholly committed to the profile of a gallery’s programme; thus side the regular galleries for purposes of COLOGNE no longer has a monopoly; gallery trade, and isn’t content with Krings-Ernst and Alex Lachmann have mediation, ventures such as the ‘Ulti- ART FRANKFURT too is organized by unambitious ventures: in his new pre - specialized in Russian artists, or Gisela mate Academy’ co-founded by Al the trade fair authorities in that city. mises in Neven Dumont Strasse, he is Westernhagen in Berlin artists, whom Hansen. giving young artists such as Carsten she is trying to establish amongst a The change in the organizational struc- Höller a platform. In the longer term, Rhineland collector public over a longer ture was accompanied by a fresh start Buchholz hopes to work together with term. One artist who exhibits at Dorit in the personnel of the Association, as artists such as Tillmans, General Idea Jacobs is sculptor Birgitta Weimer, long-serving chairman Gerhard F. Reinz and Ken Lum. Art from the US, he whose work draws deeply on studies in of Cologne departed and was replaced admits, will play a relatively small role in ethnology and anthropology.

102 PHOTOGRAPHY

The outlook for the future

If Cologne, as we have seen, was a major centre of painting in the Eighties, the Rhineland has been emerging as a vibrant location for media art. Wulf Her- zogenrath, former director of the Art Association, with his penchant for photography and video art; Reinhold Mißel- feel like the prophet in his own country. beck, head of the photographic division Manfred Schneckenburger, who has of the Museum Ludwig; and Klaus twice chaired the documenta and is Honnef in nearby Bonn, have all cam- based in Cologne, has a professorial paigned like true pioneers for the chair in Münster. Siegfried Gohr, for- acceptance of the photographic arts, as merly head of the Museum Ludwig and has of course the Pope of photography, organizer of the ‘Bilderstreit’ exhibition life of Cologne but more generally, L. Fritz Gruber, without whose commit- in 1989, now lives in Karlsruhe, and is between the concept of culture familiar ment we might well not be taking the shortly to take up his duties as director to the educated middle classes and that approach to August Sander, Man Ray, of the Jean Arp Museum at Rolandseck. implied in the audience targeting prac- Chargesheimer, Bernd and Hilla Becher tised by the popular mass media, a or Mapplethorpe that we do. Not only Those who would understand Gohr’s conflict of a kind not yet seen in the in the three or four Cologne galleries refusal back then to exhibit Ludwig’s US. The sensational character of this specializing in photographic art, but East German acquisitions rather than conflict gives it headline potential, also in the rest, vintage prints are leaving them in storage would do well which means that the artistic provoca- steadily becoming established alongside to make the trip to Aachen, to the Lud- tion it constitutes is a welcome one; gouaches and acrylic painting. The wig Forum of International Art, where but in the debate about its potential to Cologne photographic scene not only the juxtaposition with a Warhol or Mel heighten awareness there is no concern has its ‘photokina’ biennial, its exhibi- Ramos shows the biedermeier stiffness with content, as there was in the Sixties, tions and its mixed media events, but of socialist realism, even when touched but only with the modes of its media now has a slot every autumn for a pho- up with the more venturesome expres- presentation. The surfeit of visual ima - tographic programme of events. These sive skills of a Tübke, Heisig or Ebers- ges in the arts, the media, and banal forums have made it possible for pho- bach, to possess a merely historical everyday life inevitably conveys a sense tographers such as Benjamin Katz and significance. of complaisance and caprice, and thus Wim Cox to make a name for them- ultimately a certain weariness, not least selves, not only in art work but also as Still, when a lecturer is appointed at the of art. The young generation of artists sensitive portrait photographers. At the media academy, the decision is merci - such as Thomas Rentmeister, Lothar Mediapark, a foundation created by the fully not taken solely on the basis of Hampel, Dan Asher or Yvonne Parent Sparkasse (a bank) will be devoted ratings for TV chat shows, say; the are attempting to avoid this by sound- entirely to photographic archive work. appointment of Valie Export to a chair ing out new aesthetic directions, steer- in performance art is a guarantee that ing between top-heavy conceptualism It would be absurd, foolish in the the next generation produced by the on the one hand and culinary sensuous- extreme, and altogether counter-pro- college will not merely specialize in ness on the other. Dealer Luis Campaña ductive, if the further development that storms in teacups. says that in Cologne there are propor- we can now see coming were to result tionally more young artists of this order in a political stand-off on the culture Without wishing to endorse a plodding- than in other cities, but adds that they scene between the media and the visual ly German style of profundity and tradi- often find themselves pushing forward arts. Highly skilled art mediators are not tionalism, it does seem possible to say into an exhibition vacuum, because the exactly wooed in Cologne, though; that we are witnessing a steadily more city “simply goes on reproducing and quite the contrary, they are made to acute conflict, not only in the cultural cloning itself”. Campaña feels the best

103 Seippel Gallery, Cologne

ART COLOGNE

nonetheless remain the exceptions, and time, in rapid succession, are copied, funds of Venezuela, all these systems doing so chooses not to adopt the the art lovers of New York are largely altered, distorted, blended or simply have an influence on the art that is cre- position of the expert at a superior content to wait till the artists of repute ignored, as if they were being reflected ated in these places and the way in vantage, is in a helpless predicament. make their way to New York. in a distorting mirror the image in which which the art world sees itself there. The language we use, which is mostly I myself, at all events, always felt im- is determined by quite other factors and If these structures of thought are sub- critical, finds itself without a support mensely inspired by my visits to studios, influences. It is always intriguing to ana- ject to change, so too is the positing system. If we attempt not to lapse into whether they were in unfamiliar or lyze which features are adop ted or of cultural criteria. I was indoctrinated the old deceptive clichés about art exotic locations or, more usually, within responded to, and which not. in an art world in which, historically being an international language (and the United States (in Minnea polis and speaking, only those artists could occu- the notion never would have been Albany and St. Louis and Philadelphia). And since I also grew up right here in py the highest rank who were unique, entertained at all if people had looked The lessons I have learned on my vari- New York, came to adulthood here, and and possessed of courage, and did not at the children’s drawings that appear ous journeys have proved useful in a learnt the language of the visual arts care what others thought, and felt on UNICEF posters), then we swiftly variety of ways. For one thing, young here, at some point I began to believe compelled to establish their own ideas realise that we are always provincial in up-and-coming artists are invisible, they that the conditions under which art is of what was acceptable in art and life, some sense, even if we live at one of are rarely exhibited abroad, their work produced, exhibited, consumed, dis- for the sake of those amongst us who the centres of art. If we contemplate is rarely reproduced, and they are rarely cussed and conserved were immutable, were open to new definitions of life, the alternatives—an Esperanto art the subject of discussion. Since young universal, carved in rock. art, and human relations. Ultimately it world, say, in which any shift in the up-and-coming artists are my field, I can is of no importance that no artist in the climate of aesthetic group thinking is only acquire my specialist knowledge of My journeys, by contrast, helped me history of art, to this day, has fully suc- registered simultaneously all around interesting new work by boarding a realise that in fact they were eminently ceeded in achieving this; what we the world—then that is just as discon- plane and flying off somewhere. Often subject to change, and were dependent believe to be the case, or want to certing. Nowadays, information can be the influences on the work of young on circumstances. In Japan I found an believe, or once believed, will suffice communicated at extraordinary speed. artists have not been so fully absorbed art scene with few collectors, a scene for the purposes of this discussion. Email or a fax are accessible for most and synthesized as in that of estab- that was funded by a gallery payments people, and the international courier lished artists who have been in the busi- system (i.e. artists paying to be exhibit- Anyone who makes the attempt to services make overnight despatch a ness for some time; and I invariably find ed), which would outrage a New York observe, to understand the contexts reality almost everywhere on earth. it fascinating to observe how the ideas, artist but in Tokyo represented the best and connections, and at length to Internet artlines will further extend this. trends or fashions that currently preoc- available solution. From state funding of assess the art that has been created, in In the days of my own youth, we all cupy the art of New York and the mate- art in Canada to the shabby scale of obedience to various criteria, for the believed that we were the world, that rial of its art magazines at any given support in Argentina to the inflated art consumption of the public, and in global brotherhood was the answer,

112 Markus Lüpertz Hans Hofmann

Sander Gallery, Darmstadt Haas & Fuchs Gallery, Berlin Art Cologne 1996 Art Cologne, 1997

ART COLOGNE

and in terms of whatever remains of my own value as a visitor to the studio poor college students, they seemed competition to none; they offer real that belief, the present circumstances lies in the different perspectives and scarcely aware that the wine was free; help to both artists and galleries. So I seem altogether good; and one princi- seemingly misguided interpretations we for our part were only there soon felt perfectly at ease regarding the ple I still uphold is that the unimpeded which (being a visitor from outside) I because the drinks were on the house art world through what a cynical friend flow of free speech and information, probably communicate. Since these between six and eight p.m. The more called “Bill-coloured spectacles” and of opinion and counter-opinion, is an moments of inside viewing are of a outward-going amongst us had had seeing it as one big friendly party, since absolutely positive phenomenon, espe- most intense order when I visit non- student jobs at prestigious galleries and everyone was so nice to me. But then, cially in a world such as ours that has so European centres of art, I wonder what were beginning to know the faces of no one had any reason not to be nice. little of a positive nature to offer. I shall find in Germany, whose art world the key players, but I wasn’t so ambi- It wasn’t till years later that I learnt is so intimately connected with New tious and was content simply to read which were the sharks in the aquarium, To complain of the new condition York . about it all. It was only because I read and then I learnt it only by hearsay. strikes me as pointless or churlish, since the art magazines that I was familiar the ongoing changes are largely for the In the days when I was an undergra - with the names. I read Artforum, not as Familiarity does not invariably breed good, and progressive in character, and, duate reading art history, art seemed comment but as divine revelation. It contempt, but it does pretty swiftly accompanied as they are by broader so mysterious to me, so superior, so never occurred to me to question that demythologize a situation. I recall the transformations in our commercial and impenetrable. I took it all very seriously. each and every author was chosen per- story a girlfriend told of a loft party in technological culture, inevitable. Resist - For me, art not only signified a choice sonally by God to reveal mystical truths, Soho in the late Seventies. When she ance to the process may nonetheless of career that was more interesting or that my cultural education might be arrived at the party, and found the possess a certain significance. Increas- than most others; rather, it was as if irreparably damaged if I missed a num- room where people were leaving their ingly I value personal meetings with I was obeying some secret order that ber. I studied the advertisements, went coats, she was surprised to see a highly- artists in their studios; time and again exacted an oath of commitment to to the exhibitions in New York, and thought-of avant-garde composer I have found that, when talking of art everlasting significance. At New York reeled off from memory the names of whom she greatly admired with a straw and the values art signifies, we neither University I was only a few blocks from the foreign galleries I would one day up his nose, making a noise like a water speak the same language nor can find a the galleries, and was able to see exhi- visit. After a very short stint in the busi- buffalo. One ought not to think less suitable translation that would enable us bitions and occasionally visit the open- ness world, I had the great good for- highly of personalities from the arts to understand each other. A mismatch ings. I could see those fortunate people tune to be able to start at White world simply because they are having a of this kind tells me more about who I who had taken their places in the intel- Columns. Its position as an alternative good time in public without observing am and whose studio it is that I am vis- lectual community and were talking space on the fringe of the New York art the strict behavioural code of the Ivy iting than a hundred well-meant asser- about art in a language that seemed world fascinated me. Alternative spaces League; most of us, indeed, could not tions of mutual comprehension. And encoded and progressive. Unlike we were a friend to everyman, offering do so with a clear conscience. But once

113 COLOGNE BERLIN COLOGNE BERLIN

Max Hetzler Max Hetzler

well have done his or her work here, there, or anything New York was not. All I had seen was a bunch of where else. artists, critics, dealers and collectors who were creating culture and getting on with their lives as others do else- I was a little disappointed. I had hoped that the German where. Perhaps that is all there will ever be in an art art world would be more conspicuously different from world. And perhaps it is quite enough. that of New York. No longer was I able to maintain the myth of Cologne, to imagine that Cologne was every-

131 KEITH HARING PAUL MAENZ GALLERY, COLOGNE

140 141 FOUNDMINIMALISM

Peter Krueger, Cologne 144 145 Marc Scheps, former director of the Museum Ludwig Cologne, in conversation with Wolf-Günther Thiel

Thiel: Does one have to have had they did not have the same public Scheps: You are dealing with a personality phenomenon. But this personality a major exhibition in New York in appeal. After all, there was more phenomenon can be an individual matter. If there are several people who want order to gain popularity as an artist, interest in marketing our own European to be influential connected with it, that’s something different. or is it also possible to become popu- abstract art, the American works were In Cologne there was not only Peter Ludwig, there was also Wolfgang Hahn. And lar by means of European foreign to us. But when Pop Art arrived, Peter Ludwig started to collect Pop Art after Ludwig and Hahn had met in New exhibitions? America conquered Europe. This was York and the latter had brought Ludwig and Leo Castelli together. So it did not clearest in Germany. You can tell as even begin with Ludwig. If you are looking at the history of European collections Scheps: I think there are a number of much from our museum, the Ludwig with reference to American art, you should not forget that Panza had started European artists who are well-known in Collection. But Ludwig was not the only collecting Pop Art even earlier than Ludwig. One or two years earlier in fact. Europe and whose works were not one. Ströher and Hahn were other col- exhibited in America until a later point. lectors. There were a whole series of Thiel: But Ludwig and Hahn then travelled to New York and looked at this Even Beuys’ works were not displayed gallery owners and collectors who were art at Castelli’s and in the museums. Pop Art did not come to them, or did it in America until a relatively late date, interested in this new America; and not come to Cologne or Germany later on? but despite that he was very well- only them. Artists were also interested known. Richter and Baselitz were artists in America. In his early work, Polke for Scheps: I think it makes a difference whether you experience Rauschenberg, who did not exhibit in America until one used their art as a model. It is very Johns, Rosenquist and all the others in New York in 1962, 63, 64, or whether you later on either. Polke did not have his important to see how artists behave in see a couple of pictures in a Cologne gallery. That was such a radical affair that first major American tour until quite this context. And even back then things one had to see the works on the spot where they had been created, one had recently. There are of course other cases were already developing concurrently. to experience the whole atmosphere. Every one of us can remember when he which have nothing to do with Ger- Let’s say that artists such as Baselitz experienced New York for the first time, it was a New York shock. I think there is many, such as the Italians: the Arte really worked both in parallel and con- also a very erotic history linking Cologne and New York, or Germany and America. Povera artists whose breakthrough in currently. But they did not in turn have I always start with the assumption that the dealers, collectors, museums and America enabled them to gain an inter- the same opportunity to show their public are really only a reflection of the creativity. Had there not been any creativity national reputation. There are contrast- works in America. That did not occur in Germany, this whole development would also not have taken place. Then it ing examples of German artists, such as until very much later. would have been a sorry story of German collectors who were interested in Ame- Hanne Darboven, who was actually bet- rica. But there was also something for America to look for and find in Europe and ter known in American than she was in Thiel: The connection between Pop Germany. Europe. The first stage was the break- Art and Cologne has to do with In the Sixties there were points of contact with Nouveau Réalism and, later, with through of American art in Europe, par- people. With Peter Ludwig in Fluxus. At this time Americans also came to Germany. Later they discovered ticularly Pop Art in Germany. The first Cologne’s case and dealers such as German art of the Eighties. At that point I was in Israel and, in 1982, organised breakthrough American art had was Leo Castelli in New York and Ileana the first museum exhibition of the “Neue Deutsche Wilden” or New Fauves, with the Abstract Expressionists. I can Sonnabend, and possibly also before an exhibition was set up in St. Louis in the States in 1983. remember there being exhibitions of Rudolf Zwirner? works by Abstract Expressionists, but

164 Thiel: Minimal and Concept Art in American and German art. You can generation during the mid Fifties, such become established during the Six- very clearly see how precisely these as Rauschenberg and Johns, that felt ties. Do you not think that represen- post-Pop Art trends are increasingly the need to increasingly engage with tatives of this art – precisely people coming to the fore, both here and in the world in their art. like Serra, Carl Andre, Lawrence America. Think of an American exam- The common goal of Pop Art in Ame - Weiner, Morris – exerted a consider- ple, Jeff Koons, the grandchild of the rica and Britain, Nouveau Réalism in ably greater influence on German Pop artists. And see how he is being France, the new painting in Germany art of the Seventies than Pop Art received in Germany in particular. And and Arte Povera in Italy was to more itself, if one disregards major artis- then you have artists such as Rosemarie closely connect art and modern life to tic figures such as Sigmar Polke? Trockel or Katharina Fritsch, artists who each other. Nowadays, this aspect is have developed a history of being sustained even more strongly by politi- Scheps: There can be no doubt that received as the younger generation in cal involvement – and I do not mean the stricter trends in American Mini- America. These examples show you political in the sense of party politics, or malism had a quite decisive influence how these aspects are becoming even ideology, but rather in the classical on the aesthetic concepts of European apparent in a younger generation. Greek sense – to be precise, the citizen and German art, particularly during the takes an interest in what is happening Seventies. Paul Maenz, Konrad Fischer Thiel: What is your opinion: does in his city, his country and in the world and Rolf Ricke were major agents of Pop Art convey an ideology, or is it in general. these artists. examples such as Andy Warhol that To the present day, these strict trends have made such a position possible Thiel: What can a museum do to have only reached a small audience in once again? appeal more to the public? You were both America and Germany. Pop Art in just talking about the Pop Art exhi- Europe, and more recent German paint- Scheps: Above all I believe that abstrac- bition; very powerful accompanying ing in America, were greater public tion has accompanied twentieth century advertising measures were taken in successes. The wider spectrum, whether art from the beginning. It was the great that case. Do you think that is a from Kiefer to Baselitz or from Penck discovery of this century, the great method for attracting even more to Richter, will probably show the direc- renewal that took place in art of this people into the museum? tions that achieve greater success. century. During the years immediately Minimal art had a greater influence following the War, Abstract art received Scheps: I do not believe it is our on other artists, but it is nonetheless new momentum, partly as a result of absolute goal to attract lots of people noticeable that the trends that de - the ending Surrealism and partly due to into the museum. You can exhibit veloped during the Seventies and phenomena that had more to do with young art of the 20th century and only Eighties because of Pop Art apparently Constructive trends, which were still in get a few visitors. And I can then take had a greater influence on the younger constant development. As a result of all some famous artist such as Matisse and generation than the Minimalist period these radical changes, there was a organise a wonderful exhibition for him Museum Ludwig Cologne

165 am not German, I direct a German settled either permanently or tempo- museum. From an early stage I showed rarily in Cologne. Today there is an just how interested I am in German art. entire series of galleries in Cologne that And there were various things I in- are increasingly occupied with Russian tended to do, and which I carried out. art. For example, I purchased the first large From the East comes an intensification Rückriem sculpture for the collection, leading in many directions. Because of one example amongst many. And I have that, I certainly believe that Cologne’s attempted to bring out the main points opportunities lie along that axis. by putting on major exhibitions. Thiel: What perspectives do you Thiel: Do you believe that Berlin envisage for New York now? will acquire a position as important as Cologne where contemporary Scheps: I think that it will continue to art is concerned? Or will Cologne be possible to observe some very inter- remain the forerunner? esting art phenomena in New York. Something that will perhaps be parti - Scheps: I am of course relatively new cularly fascinating for Germany is the to Cologne, so one cannot accuse me multicultural scene now evident in New of local patriotism. York, at a level and with a self-confi- But all in all, as long as Cologne does dence not seen before, and which con- not waste its existing opportunities, trasts with the monocultural scene we I believe this axis will continue to run experience here in Germany. It is very through Cologne. We are also very important to maintain and develop actively engaged in it. We work very these contacts to this multicultural intensively on created close connections scene. with Russia: we already have the most important collection of Russian art in the West. There are even Russian artists of the younger generation who have

THE MUSEUM

BELONGS IN A MUSEUM

170 Hans-Peter Adamski, Cologne

171

George Pusenkoff, Cologne USA

beginning of a great international Thiel: That is interesting because that direction, and people and talents exhibitions, newspapers etc. In addition career, just as Bruce Nauman. He was it is the same in Germany. Young will not go there either. At the same there is the major problem of transla- also successful for the same reason, artists there think that if they want time, however, New York is no longer tions; nowadays the Germans usually namely Fischer. You know, what we are worldwide recognition they have to the centre of the art world that it once translate their catalogues and make a dealing with both here in the Ryman go to New York. The dream of the was. It is probably still more important very good job of it, but at one time retrospective, and in the Nauman retro- American Dream. than any other city, but the margin has European catalogues used to be pub- spective which we are also involved been reduced. And in some fields of art lished in the mother tongue, and for with, is the final acknowledgement of Storr: But the opposite is also partially New York is even completely unimpor- Americans who do not know any American masters by the Americans, as true, because the recognition that John tant, you will not find them here at all. foreign languages this meant that they they are actually much better known Miller, Mike Kelley and Raymond Petti- And I also believe that the artistic com- could see these marvellous pictures but inside the country than elsewhere. And bon for instance have enjoyed in Ger- munity that lives and works in New had no idea what they were dealing that is one of the relationships between many has, in some cases, been greater York is very diverse and that New York with. I can speak Spanish, French and a Europe and America that is interesting than what they experienced in this is the voice of the critics and at the little Russian, but no German. So if, for to investigate, because I believe there country, at least until very very recently. same time a marketplace, in other example, I want to do some work on is an entire generation of collectors And there was a direct connection words a very very difficult place for a Beuys, there may be extensive literature whose artistic taste came to a standstill between Cologne and Los Angeles. young artist. If you do not have a on Beuys, but it is not accessible to us, right after Pop Art. Do you under- To a certain extent New York was an private fortune, patrons or grants, it is and that is a real problem. stand? And a large part of Minimalism additional detour. very difficult to find enough space here is excluded from that. There are only in order to work and live. And in this Thiel: And when you hold exhibi- one or two artists who get the majority Thiel: Do you believe that a city can sense there is every reason for Ameri- tions, such as that with Karin of the attention, such as Donald Judd only be an international art metro- cans to work in other towns in this Sander, have you got to know her and Dan Flavin. And that applies even polis for a certain length of time, country or in other parts of the world. in a gallery, or how was your atten- more strongly to Post-Minimalism. It is like Venice, Florence, Paris, Berlin, If you are a European artist and have tion drawn to her work? still excluded. So America is just in the Cologne or New York for example? put together a certain body of work, process of catching up with itself, by Will New York also be an interna- it makes sense to come to New York Storr: I saw her several times in various looking at what is happening around tional art centre for contemporary in order to exhibit, make contacts and galleries here. I was one of the people itself. I mean that the recognition of art in the future? so on. who proposed the exhibition in the American artists is frequently greater in MoMA. But I cannot claim to have Europe than the recognition of precisely Storr: I do not think that is the case; Thiel: How, for example, do you organised the exhibition. And I do not the same artists in this country. When I no, I do not think it is precisely either find out about German artists? know where I encountered her works, say that I am doing the Robert Ryman one thing or the other; all cities with but you know, they were out there exhibition, you say he is an interna - larger artistic communities are fighting Storr: Usually through galleries. Until long enough. My next series of exhibi- tional star; and I say: not in America, to keep the means for their artists, and the early and mid Eighties there was tions, which I will put on with two he isn't here. He has never had a mu - the institutions. In circumstances like very little information in books. And other curators in the museum, will in seum exhibition, with the exception of that it is very unlikely that a new, those books that existed were not fact deal with Europe. And we will do a couple of paintings, he was never important centre will come into exis- circulated very far. So I really found out a series of three exhibitions over three exhibited in a museum west of Basle. tence, because money will not flow in about German artists from gallery years in order to provide an overview

196 of what has happened in certain avant- Thiel: There are some important Polke, although Polke's work existed that is the other side, and there, if you garde circles between the end of the Germans here who have influenced for much longer. Karin Sander’s works like, are the “lost children”. Mike Kelley Forties and the end of the Seventies, the art scene, Hans Hofmann for are representative of something that is is out of fashion: a response to the type when the Americans basically stopped instance and Joseph Beuys. At this international, but appears to have been of Romanticism of the Sixties of which looking at European art and concen- present time in particular, are there successful in Germany. In her work we Beuys was an example in Europe, and trated closely as at the time when any German artists who might be are dealing with things which are based there were further examples of that Abstract Expressionism first appeared in the position to exert a similar in conceptual art, yet we look at her in type of art in hippie culture. And the on the horizon; and not until the end influence? materialistic terms. It is not a question perception of this bitterness and of the Seventies did they look at Euro- of something intellectual in the narrow inwardness creates this type of humour pean art again, when the American art Storr: Well, Hofmann is a quite special sense, of conceptualism, but also not which makes it possible to overcome scene had become more imperialistic, case, because he was both a German of a traditional production of objects. disappointments and mistakes, it pro- and afterwards an increasing number artist and a French artist. His main And I believe that the to and fro vides another channel for direct com- of European works of art were import- important was as a teacher. Beuys was between America and Cologne is now munication. So I believe that European ed over here. And so the attention of important to the extent that he exerted based around these types of works in art is important here, but it is not tied the Americans was directed at Baselitz an indirect rather than a direct influ- particular, in part at least. So if Ryman to individuals. and Kiefer for instance, or at Richter, ence. I believe that Polke was in fact far is comprehensible in a German context, Polke and Beuys, who all appeared at more influential than Beuys and also Karin Sander in turn is comprehensible the same time. Most Americans did not very much filtered by other artists. As in an American context. The reverse of know whether they were all the same you know, it was the manner in which the coin is the connection between age, what relationship there was David Salle made Polke his own, helped Los Angeles and Cologne, where you between them, if there was one at all, Americans understand him. And now have a type of conceptual art which whether they lived in the same city etc. look at Polke for his own sake. But to has its roots in vulgarity rather than an So what we need to do is to sort all begin with they certainly knew Salle obvious sophistication, in which Mike that out a little. before they knew anything about Kelley and Pettibon are important. And Art dealer Hans Mayer, Art Cologne Art dealer Hans Mayer,

197 Moments of truth – Renate Ponsold looks at the lives of artists

Reinhold Mißelbeck, Museum Ludwig Cologne

Renate Ponsold’s are not the kind of The first thing that strikes one in art and may be considered the founder photographic portraits we are familiar looking at Renate Ponsold’s pictures is of this style of portraiture (he took not with and have come to expect. A por- that the artists – though the camera is only documentary shots of conferences trait is first and foremost a confronta - aimed at them and shows them now but also pictures with a portrait tion of the portrayed and the portrayer, amid a studio setting, now in bust character). Renate Ponsold gets very in this case an artist and a photo - close-up – never look into the camera. close to the artists in her portraits; in grapher. Generally this confrontation A number of the photographs make it every picture she captures a moment becomes a trial of strength, in which clear that they could not have been of opening-up, of revelation. On the the artistic personality adopts a position taken without the artist’s being aware occasion of his Cologne exhibition in and the photographer aims to profile of the photographer’s presence and 1993, Richard Avedon remarked that him- or herself. Various methods have what she was doing. So Renate Ponsold the photographer cannot see behind become familiar. There has been, say, must have a special gift for becoming the surface, and depends upon what is the formal, traditional concentration on part of the furniture after a while, so shown there. If that is so, the photo- the face, as in Yousuf Karsh; the that artists continue whatever they grapher’s concern must be that his environmental portrait as practised by were doing as if she were not there at subject’s face does not become a mask, an Arnold Newman, showing the all. I am reminded of the way Eva Siao the attitude a pose – as is generally the subject in a working context; the photographed traditional craftspeople case in portrait sittings – but that sculptural rendering of the figure at work in Beijing, up close, polishing instead a situation is found or created in against a neutral background, as in jade or fashioning paper flowers, which some of the subject’s inner life Man Ray; or the essayistic sketch of the without their being in the slightest shines out of the face. Precisely this is artistic work, as in Benjamin Katz. disturbed by her focused presence. what Renate Ponsold frequently succeeds It would be wrong to think of this as in bringing off, most impressively. One Renate Ponsold broaches confrontation the candid camera approach. That of the very few to resist her was with the artist through a mix of the would imply a photographer operating Armand, who held up a mask over his environmental portrait concept and the furtively, taking pictures in secret. The face. But that too reveals something: the moment décisif perceived by Henri key to the art of portraiture as practised myth of the artist in this century. Cartier-Bresson. She began portraits of by Renate Ponsold is that the subject artists when she was working for the well knows that a photographer is Museum of Modern Art in New York. present but represses the knowledge She observed artists who visited there in after a while, concentrating on work conversation, worked with available or the conversation, forgetting the light, and increasingly specialised in person with the camera going about catching the moment when an artist, her discreet business in the back - whether talking to others or at work, ground. The essence here is the art of opened up and revealed something of maintaining a balance between main - his inner life. Poses staged for the taining a quiet, low profile and yet camera were of no interest to her. What remaining so close as to be within the she wanted was the moment when intimate zone of the subject still. something of the mask fell. Dr. Erich Salomon was a master of this

218 Peter Krueger Cologne

CONCRETE ART

219 Gordon Vene Klasen, Michael Werner Gallery, Cologne/New York, in conversation with Peter Krueger

Krueger: Which artists does your That is the reason why we in the States was a major exhibition which was on Krueger: Do you also work in gallery represent in New York? are attempting, through the gradual show in various galleries – compared conjunction with other New reconstruction of these artists’ history – with American artists of the same York galleries, and if so which Klasen: We represent Georg Baselitz, a history that was not previously known generation Polke has had little success galleries? Markus Lüpertz, Jörg Immendorff, Per here – to create an ideology for them. although he works nearly as much Kirkeby, A. R. Penck, Don van Vliet, So, in order to answer your question, as Twombly or Liechtenstein. He is suc- Klasen: Our gallery is willing to work in James Lee Byars and Eugène Leroy. the above-mentioned artists are known, cess ful, but not to the extent one conjunction with other galleries, if you some more than others; thus Baselitz, would expect, if one considers the like willing to collaborate. As we only Krueger: Baselitz, Lüpertz and Polke and Penck for instance are very significance of his works. He is a great, have a small amount of space here we Immendorff are very well-known well-known to a degree, Immendorff a very important artist. would possibly like to work with other German artists. How are these less so; Lüpertz is relatively well-known local galleries in New York. We have artists assessed on the New York – just like Kirkeby. Krueger: Your gallery in New York already worked with some galleries in art market? A change is taking place, that means is a branch of the Michael Werner the States, outside New York as well. that these German artists are gradually Gallery in Cologne, by no means a So far we have only worked with New Klasen: The idea of our gallery is to becoming more recognised in New usual state of affairs. Do you York galleries to a limited extent. make the above artists better known in York and valued to a certain extent, consider this to constitute an Art New York. It is true that these artists but not necessarily understood. Bridge between Cologne and New Krueger: The photographer are very well-known in Germany and York? Benjamin Katz from Cologne has that, due to their origins, they are con- Krueger: Sigmar Polke for instance accompanied the Cologne and New nected to German history. Art history in is a very well-known artist in Klasen: Well, the New York gallery York art markets for many years. the States has developed independently Cologne and is one of the top ten works a little differently. It provides the Would it not be interesting to intro- of European history, and as a result worldwide; why is it that Polke is opportunity to show exhibitions that duce this artist in your gallery with neither these German artists nor their so successful in New York? have been organised with New York in a photographic exhibition on this history are known in detail. During the particular in mind, though they can Art Bridge? early Eighties they became familiar to Klasen: In order to answer this ques- then go to Cologne, such as the pic- the art market due to certain trends. tion one needs to have thorough tures by Baselitz, whose exhibitions Klasen: So far we have not exhibited But these trends did not necessarily knowledge of the art market. In my were very interesting in New York, but photographers like Katz here, we do bring about an understanding of the opinion, Polke does not enjoy anything not needed to the same extent in not have any connections in that field origins of these artists and their history, like the success which he should have Germany. In New York, in contrast, the yet. although many of their works of art in the States. While one can say that he pictures were a revelation, something were sold to collectors and museums. is successful to a certain extent – there completely unknown.

220 ART DEALER

Krueger: James Lee Byars and Klasen: The situation is very interest- Joseph Beuys were friends. As Byars ing, because Germany produced many is part of your gallery’s programme, outstanding artists after the War. For does this suggest that these two certain reasons there was a huge con- artists did an exhibition or Perfor- centration of very important and good mance together with you? artists. These artists are gradually being seen in a different light. Artists in the Klasen: No, I have never seen Byars States have split off from the European and Beuys together. But they have scene, even though Europe has con - done a large number of Performances sidered them to be part of European art together and have worked very closely history, partly because American art his- together. Beuys felt that Byars was the tory has developed in a manner which most important artist – after himself. eliminates the prehistory, the origins of Daniel Buchholz, Cologne this generation of artists. What we Krueger: What drew your attention hope and expect is that something to the artist James Lee Byars in entirely natural will happen. We hope America? that a greater understanding for this group of German artists will appear Klasen: I do not know how Michael and that they will also form part of Werner came across Byars. But at this American art history. I think they are time Byars was working a lot in Europe, an exceptionally important and strong meaning that he is represented by the group of artists. They should be ac - Galerie Werner in Cologne and had corded the same status as comparable some important exhibitions in that city. American artists of their generation. I believe that they include some of the Krueger: What do you think of the best artists of this century. New York – Cologne Art Bridge? How do you think the art market in New York will develop compared to Cologne?

221 Juliane Stephan, New York/Berlin MoMA The grand old lady of modern art Museum of Modern Art, New York

The plan for a museum of modern for modern art in this country, so always among the patrons of the Sachs in turn recommended a for- art was conceived during a trip to the foundation of the new museum museum, as his brother David is mer student of his, Alfred Barr, as Egypt in the winter of 1928-9. marks the final apotheosis of today, and in 1979 left to it more director. This was to prove a recom- Lilly Bliss, Mary Sullivan and Abby modernism and its acceptance by than a dozen central works of mendation with decisive conse- Rocke feller – three influential New respectable society.” In 1913, with Cubism, among them paintings by quences for the development of the York society ladies who collected the guidance of Davies, Lilly Bliss Picasso, Braque, Léger and Juan museum and its collections. In his art, then something of a daring had bought five pictures and a Gris. study of mediaeval art, Barr had venture – agreed that the existing number of drawings at the Armory learnt to see the visual arts as an museums, especially the Metropoli- Show, thus laying the foundation The three ladies had the means, the entirety, reflecting the civilization of tan Museum, were too conservative. stone of her own collection. In diplomatic skills, and the nerve to an era through architecture, sculp- A fresh breeze was needed in New 1921 she talked the Metropolitan push their idea for a museum of ture, painting and the crafts taken York. Museum into mounting an exhibi- modern art, and were undeterred together as a whole. That grasp tion of contemporary art. The by the negative response the new inspired his ideas on how to de - Lilly P. Bliss was a friend of the response of the public and the art met with (some Americans even velop the Museum of Modern Art. painter Arthur Davies, who had press was so antipathetic that the believed it to be a “Bolshevist In the autumn of 1929 he became been one of the organizers of the museum preferred not to repeat conspiracy”). In Conger Goodyear, its director, at the age of twenty- Armory Show in 1913, the exhibi- the experiment for decades. Mary a collector and sometime officer, seven. For thirty-seven years he tion on Lexington Avenue that had Sullivan likewise bought a number they found a kindred spirit who remained with the museum in a revolutionized a New York art world of works at the Armory Show, and helped promote their efforts, bring- variety of capacities, and a visitor to still fixated on Europe and opened these too became the core of her ing vigour and experience to the it today will still come across his the gate to contemporary art. collection. task. He had been director of the name time and again. At the very Alongside pictures by the French Albright Art Gallery in Buffalo and outset he presented to the commit- Post-Impressionists, the show Abby Rockefeller had been intro- had put on a controversial exhibi- tee an ambitious plan for a museum included the Cubists for the first duced to European art by her tion of modern art there. When he that would include divisions for the time in America. George Braque, father, Senator Nelson W. Aldrich, then went so far as to buy a Picasso fine arts but also for practical, com- Henri Matisse, Pablo Picasso and on visits to Europe. She took an painting for the gallery, the other mercial and popular art; and he particularly Marcel Duchamp were interest in American art and had a members of the Albright’s board acted on this plan with great energy provocative and bewildering and small gallery in the family home, forced him to resign. Goodyear and unusual powers of judgement. fired enthusiasm as well. There were which her husband, John D. Rocke- moved to New York and, together Thus at an early date he travelled some pictures that had been in the feller Jr., subsequently gifted to the with the three ladies, founded a to the Soviet Union, met with the Sonderbund show in Cologne in Museum of Modern Art. The house committee for the new Museum Russian Constructivists, and bought September 1912 too. Sixteen years was demolished in 1937 to make of Modern Art, nowadays affection- work by Malevich and Rodchenko. later, when the Museum of Modern way for the museum’s sculpture ately known as MoMA. It was He sought out the de Stijl group Art opened its doors in New York, gardens. The Rockefeller family Goodyear who introduced Paul around Mondrian in the Nether- the art critic Lloyd Goodrich, sub- repeatedly played a key role in the Sachs, a well-known art historian lands, and went to the Bauhaus in sequently director of the Whitney story of the museum. Abby Rocke- and Harvard professor, to the circle Dessau, which left him enthusiastic Museum, wrote: “Just as the feller’s son, Nelson Aldrich Rocke- of founders. to see unity in art put into practice Armory Show [...] was the opening feller, later governor of New York in the very way he imagined it gun in the long and bitter struggle and vice-president of the USA, was should be.

222 Museum of Modern Art, New York

At first, Barr erred on the cautious the great breakthrough in American the museum does not see its func- side in developing the museum. He painting after the Second World tion as lying so very much in later wrote that a museum should War, was one of scepticism. True, as support for young artists not yet follow an artist “at a respectful early as 1946 an exhibition featured known. But the time lag between distance”. The first show concen- pictures by Arshile Gorky, Robert new trends in art and their presence trated on the European precursors Motherwell and Mark Tobey; and in the museum, both in exhibitions of modern art. The museum’s col- the museum did purchase pictures and in the collections, has short- lection begins with pictures dating by Gorky, Motherwell and Pollock ened. Curators give advice to collec- from the final third of the 19th cen- within a year of their being painted. tors close to the museum, as they tury, especially work by the Impres- But it was not until 1952 that the assemble collections of contempo- sionists and Post-Impressionists. new art was given recognition in rary art, in the hope that the muse- The museum similarly preferred the ‘Fifteen Americans’ show, and it um will one day benefit from gifts caution in its later exhibitions and was after this exhibition that larger- or permanent loans. The emphasis acquisitions. For example, its initial scale acquisitions were made for the of the collections and exhibitions response to Abstract Expressionism, permanent collection. To this day, naturally lies upon the classics of

223 JEAN MICHEL BASQUIAT, NEW YORK

272 HANS MAYER GALLERY HANS MAYER

273 NEW YORK – BERENICE ABBOTT CLIFFORD NORTON MARC ADAMS GORDON PARKS PHOTOGRAPHIC ARTISTS RICHARD AVEDON IRVING PENN PETER BELLAMY JACK PIERSON RUTH BERNHAD JOHN WILSEY RAWLINGS ILSE BING EVA RUBINSTEIN ELLEN BROOKS ANDRES SERRANO ERWIN BLUMENFELD CHARLES SIMONDS ALVIN BOOTH LAURIE SIMMONS JOSEPH BREITENBACH AARON SISKIND CORNELL CAPA SANDY SKOGLUND EDWARD CARTER NEIL SLAVIN COLETTE BERT STERN JOHN COPLANS ALFRED STIEGLITZ ARNOLD CRANE DENNIS STOCK BRUCE LANDON DAVIDSON PAUL STRAND LYNN DAVIS HIROSHI SUGIMOTO THOMAS DEMAND WOLFGANG TILLMANS PHILIP-LORCA DICORCIA LINDA TROELLER ELLIOTT ERWITT JUDITH TURNER ANDREAS FEININGER JULIAN WASSER BENEDICT J. FERNANDEZ WEEGEE NAT FINKELSTEIN KEN WONG ABE FRAJNDLICH ADAM FUSS RALPH GIBSON NAN GOLDIN MILTON H. GREENE TIMOTHY GREENFIELD SANDERS BEDRICH GRUNZWEIG PHILIPPE HALSMAN FLORENCE HENRI HORST P. HORST BILL JACOBSON ANDRÉ KERTÉSZ LES KRIMS BRIAN KOSOFF LOUISE LAWLER BARRY LE VA ANNIE LEIBOVITZ DAVID LEVINTHAL HELEN LEVITT GEORGES PLATT LYNES ANN MANDELBAUM ROBERT MAPPLETHORPE MARY ELLEN MARK GORDON MATTA CLARK ANNE ARDEN McDONALD McDERMOTT & McGOUGH DUANE MICHALS RENATE MOTHERWELL MARTIN MUNKACSI SHIRIN NESHAT 292 ARNOLD NEWMAN PHOTOGRAPHIC ARTISTS COLOGNE – CURT STENVERT DIETMAR SCHNEIDER KARL HUGOSCHMÖLZ STEPHAN SCHMITZ BERNHARD SCHAUB AUGUST SANDER PHILIP POCOCK CIRO PASCALE HANNO OTTEN OLAFUR ELIASSON MANOEL NUNES ANGELA NEUKE KATRIN NALOP IBO MINSSEN REINHARD MATZ WERNER MANTZ ASTRID KLEIN JÜRGEN KLAUKE BENJAMIN KATZ BIRGIT KAHLE ARNO JANSEN WALDE HUTH CANDIDA HÖFER HEINZ HELD FRITZGRUBER L. BETTINA GRUBER PETER H.FÜRST HARALD FUCHS ANNETTE FRICK GEOFFREY FORREST BETTINA FLITNER HANNES-MARIA FLACH ULRICH FENGEL HANS DROP HERBERT DÖRING-SPENGLER CAROLINE DLUGOS WIM COX MARTIN CLASSEN KARL HEINZCHARGESHEIMER KATHARINA BOSSE GERD BONFERT BERIT BÖHM PETER BOETTCHER URSULA BÖCKLER BERNHARD JOHANNESBLUME ANNA BLUME ROSY BEYELSCHMIDT UTE BEHREND KRIMHILD BECKER BORIS BECKER MERCEDES BARROS MATTHIAS BAUS HERMANN J.BAUS CLÄRCHEN BAUS-MATTAR JOSEF SNOBL LOTTE LASKA RUTH HALLENSLEBEN UNTERBEZIRKSDADA ZURBORN WOLFGANG WOLFGANG WEIMER GERT WEIGELT HILDEGARD WEBER ULRICH TILLMANN

ART DEALER RUDOLF KICKEN, COLOGNE 293 300 “My impression is that at present in New York a lot of people view art only in terms of political correct- ness, which is not only one- sided, it is also anti-art.”

Jenny Holzer, NY

Museum Ludwig Cologne

301 THE FIRST PICTURE BEFORE NEW ART ART

Mennekes: Yes, completely. these thousands of artists who are Krueger: On the one hand there is really being broken by the occasionally the special New York art market, Krueger: You once said that you cynical art structure. It means that you and on the other the Cologne art were a New Yorker. How do you really have a type of cultural jungle market. Do you think there is a con - mean that? there. Despite that, New York is an nection between the two in terms enormously fascinating place, and of their way of thinking, or is it the Mennekes: It is like this: when I go to there is an unbelievably large free mar- case that the German art market New York, I always have to make sure ket of ideas. And when I am always is flirting with the American art that I get a job somewhere. During the hearing this bellyaching for subsidies market? summer, when it was hot, I worked as over here – well, they could learn from a priest in the most dangerous districts the example of New York, and of the Mennekes: There are strong connec- of New York, because the Upper West survival skills used there. tions between New York and Cologne, Side, 98th Street parish between Broad- think of Michael Werner, Monika Sprüth way and Amsterdam, for instance, Krueger: In my view you conceive and others. There are some very close needed a multilingual priest. It is the very intellectual exhibitions, despite contacts on either side, and good part- “hottest scene” in all of New York; it is that I would like to ask you the nerships. But the market is different in so absurd, we here have got absolutely following question: Martin Kippen- each place and the collectors too; buying no idea of what it is like there. And in berger, Gerhard Richter and Sigmar is done differently here. the vicarage the priest only speaks Polke are not part of your pro- English, otherwise French or Spanish is gramme in the immediate future. Krueger: Why is this Cologne – New spoken. They take care of drug addicts, Why not? York art axis, if it exists at all, so homeless people, alcoholics, people important for Europe and America? with AIDS ... Then there is this multi - Mennekes: Not everything can be Why is it not Cologne – London or – cultural reality and the completely dif- carried out at once. I am constantly Paris? ferent human manner of approaching engaged in negotiations with the latter. problems. On the other hand you have You know, I waited for twelve years for Mennekes: Because art in New York this great force of art, but also this cal- Francis Bacon. Polke has as good as is concentrated worldwide, one can lous capitalist harsh situation of art and agreed to do an exhibition with me. either accept it or not. That used to be

308 THE FIRST THE LAST PICTURE PICTURE AFTER THE LAST PICTURE

the part played by Paris, and now it is tion and a corresponding sociological Is it something to do with Beuys that there, and we are dependent on it. The structure. urges you to challenge art critics most successful axis of dependency is and art observers to adopt a new simply that of New York – Cologne. To Krueger: Can you imagine building way of thinking, or is it an impulse start with, it is not much of a partner- up a second Kunst-Station in New of your own? ship. It is simply a type of dependency. York – as a kind of Cologne – New And now one would like to know, why York art bridge? Mennekes: It is certainly Beuys' Cologne of all places? Cologne is in impulse, if I may call it that. Beuys con- Germany, and for many Americans that Mennekes: No. There was something sidered thinking to be part of art, and is still a terrible word. But in Germany like that. There is, for instance, a won- that thought alone was already art. a very strong desire to catch up has derful little church, St. Peter's, in That is a feature of his expanded con- been aroused where art is concerned. Lexington Avenue by the City Corps cept of art. That is an effect of our lamentable building. Something along those lines history. And Cologne is located in the was organised there, but the priest Krueger: I would like to ask you Rhineland, and the Rhineland is then left and it all fell apart again. They one final question. What, do you Catholic and liberal. And the place this still organise musical functions. By the think, is art? all comes together at is one where art way, there is a lovely chapel there, is collected, not relics. Here we are created by Louise Nevelson, and Saint Mennekes: For me, art is a fundamen- living in the densest mile of museums John the Divine: the largest Neo-Gothic tal consciously guided expression of in the world, and we have the densest church in the world. There is always art man using the material, man's intellec- grouping of middle-class collectors. on display there, though too frequently tual expression in a material form. That will never be the case in Berlin. poor art, art which somehow submits Attempts being made beyond the River to the church. Elbe will fizzle out. People who govern usually have nothing to do with art, Krueger: In your last lecture, on the and beyond the Elbe they are Protes- 75th birthday of Joseph Beuys, you tant, which does little for fine arts. chose the following closing words: Here in Cologne there is a certain tradi- “Thank you for thinking.”

309 378 379

in focus – Gallery am Dom, Cologne Peter Krueger Cologne / NewYork

414 Art dealer Joachim Blüher, Cologne

415 HEINZ HOLTMANN HEINZ HOLTMANN COLOGNE COLOGNE

Art dealer

434 Photo: Abe Frajndlich Claes Oldenburg, New York

435 MAX ERNST

490 491 N.Y. is dead! – Long live the ‘little documenta’! Sabine von Kirchbach in conversation with Siegfried Gohr, former director of the Museum Ludwig Cologne

SvK: Professor Gohr, you spent some for decades. Some European artists, Perspectives have changed since 1989, That’s what is so dispiriting in this years at the Museum Ludwig and particularly from Germany and Italy, though it’s clear from everything in our country: no genuinely intellectual left your mark very decisively upon have stood their ground against this social climate that people’s thinking has debate is taking place at all. Perhaps it. Why is it that Cologne keeps trend – the generation from Baselitz to had a hard time keeping pace with the the country simply doesn’t need art. looking in one particular direction, Kounellis. Joseph Beuys was the first to changes. The key has been to maintain Perhaps all that’s being produced is only to the art metropolis of New York? dissent. He took his bearings from quite the status quo, not only in material a kind of lofty leisure pursuit. Cultural different sources. These alternatives terms but in every way: but that is an life in its profoundest human implica- Gohr: The explanation lies some way have offered a way forward for a whole utterly boring position, and no longer tions is not accepted and most de - back. Looking westward inevitably has range of recent approaches currently in tenable in the present situation. cidedly not sought after. Not that I something to do with our history since very strong form in Cologne. Take Rose- want to dismiss the entire scene: there the Second World War. There were two marie Trockel or Walter Dahn, to name SvK: You’re suggesting that the are a good many very surprising, sides to looking west. On the one hand but two, who do grapple with Ameri- standing and reputation of New marvellous ventures, such as this initia - it was a liberating experience, suddenly can art but don’t merely adopt what’s York, and art dealers’ insistence on tive at werkP2 in Hürth. letting fresh air into provincial post-war available. They adapt it in a creative New York as the metropolis of art, Germany, fresh air which was highly manner, and offer their own creative are past their sell-by date. Does that SvK: So the Hürth Art Association beneficial to the country and its arts. responses. mean that most people are blind took the right decision. Is the ‘Art On the other hand the omnipresence of The clichéd notion that all good things to the signs of the times and are Bridge Cologne – New York – the “American way of life” has meant originate in New York was liberating glorifying something that’s no Cologne’ exhibition, featuring con- that a lot of questions and issues much back in 1968, in the Ludwig heyday: it longer valid? temporary Cologne artists parallel needed on our agenda have fallen by offered hope and a vision, and a num- with the Museum Ludwig’s ‘I Love the wayside – issues that were raised ber of things were generated out of Gohr: Yes. In New York you still have New York – Contemporary Art after 1968, such as the matter of the that spirit in Cologne. But now, after all the power of the art market, and you Crossover’ show, a way of prompt- Holocaust, or the guilty parties in the these years, it would be a mistake to have the institutional power of the ing a new confidence and identity Third Reich and what became of them look to New York in the same way. For Museum of Modern Art, the Guggen- for Cologne? later. one thing, New York is no longer the heim, etc. But in my view there is too great art capital. Just think of the artists much nostalgia over here for bygone Gohr: Certainly. It focusses attention SvK: Nowadays – putting it in an in the US itself that have come from the days that may never even have been on Cologne artists, and also facilitates oversimplified form – artists still West Coast – Bruce Nauman, to name the way people like to imagine them rapport with the New York ‘Crossover’ have to go to New York. If they just one prominent example. And how but were tougher and more confronta- artists. And for exhibition-goers as well make it there, they can be re-import- many artists moved to the West Coast. tional. That is the cause of the present as those active in the Cologne art ed, newly enlightened and inspired, The Pacific seaboard has caught the blockade. The Europeans have a lot of market it affords unique opportunities and embark on a significant career attention – back in 1968 it wasn’t even thinking to do if they’re to evolve the to compare, as well as a chance to in Cologne. on the map. So to look to New York new European cultural awareness – scrutinize one’s own position, not only without registering its altered status beyond all the bureaucratic and econo- in the geographical sense. The show at Gohr: At present the American clichés and the greater potential that lies else- mic matters and the Euro – which werkP2 has clearly read the signs of the are followed in order to secure success. where is to be trapped in a post-war they’ll need in order to hold their own times correctly and acted on them at It’s a method that has been practised ideology, one that no longer applies. in a world that’s setting higher standards. the right moment.

518 New York

SvK: To return to Cologne – New Sigmar Polke and Gerhard Richter, was a modest catalogue. If something York relations: if it’s true that whose exhibitions were in Bonn. It’s of the kind were done every year, in Cologne is wrong-headedly attached beyond comprehension – a failure for rotation around the regional institutions, to a nostalgic view of things, and is museum politics. It’s grand to have a in five years you’ve showcased quite a clinging to historical positions, what notable Rauschenberg show in the number of important young artists, and do you feel will have to change if the Museum Ludwig, but I don’t see the for this or that one you’ll have opened direction of interest isn’t to be all museum mounting anything of its own up a forum. one way, from Cologne to New York, which will transfer to New York and and artists here in Cologne aren’t to have an impact. SvK: In other words, Cologne needs lack appeal for New Yorkers, or the to make a concentrated, coordinated French or people elsewhere? SvK: So what needs to happen for effort? the avant garde from the Cologne Gohr: To my way of thinking, Cologne area to get its break and its invita - Gohr: If you were to mount a biennial has to measure up to international tion to New York? of international quality for new, avant standards. What it exhibits needn’t garde art – disregarding local friend - necessarily fit the existing international Gohr: It would be perfectly sufficient ships, with an outside curator if neces- matrix, but it has to be fine, first class if Cologne would use its existing institu- sary – with the goal of highlighting art work. And it has to be exhibited in such tions. Take the Cologne Art Association. in Cologne, including the work of older a way that others know it’s there. It’s no I don’t wish to criticise anyone per- artists who have helped define the terri- use doing it piecemeal: what’s needed sonally, but the fact is that I don’t go, tory, it could be made into quite an is a major stock-taking show every two because they exhibit artists I see attraction, if you ask me. It would be a years. Such as Cologne’s ‘Kölnkunst’ everywhere anyway. I don’t see them little documenta for the Rhineland. exhibition, which is something of an working with the local material. That would make perfect sense. If you attempt in that direction. But that show only ever put on shows for an existing is a circumscribed, provincial affair, and SvK: Are you primarily interested in clientele, it may all be very pleasant and there are certain people in control of the recent art and younger artists? worthy but you needn’t be surprised if politics of that market, so that it can’t the outside world isn’t interested. possibly become what’s required. The Gohr: There’s no occasion to be hooked Cologne has substantial artistic resour- problem in Cologne is that there is any on new art: newness in itself is no gua- ces, especially if you add the region. amount of good will but no overall con- rantee of quality. But what is needed is A proper intellectual and aesthetic cept capable of marshalling the available an on-going commitment to the avant debate is essential, and then it’ll be energy. Artists such as Rosemarie Trockel garde in particular places. I myself used possible to create something. I can or Walter Dahn, who would be well able to put on the ‘Autumn Salon’ exhibi- only hope for Cologne’s sake that it to play a bridging role, get their major tions, group shows for ten or twelve happens. shows in Hamburg or Amsterdam younger artists from Cologne. It was despite being from Cologne – which is worth the artists’ while, and produced very revealing! The same happened with contacts and responses. Generally there

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540 PARTY

Joe Henderson, jazz saxophonist, Brooklyn Photo: Abe Frajndlich

541 COMPETITION

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Art Cologne 549 NEW YORK

New York

by A. D. Coleman, New York

of their work finds itself categorized as – and mid-career New York figures like graphy connection in the new century? tween the two metropolises that func- photography, some as what's now called the autobiographer Nan Goldin, the It seems likely not only to continue tions in real time become enticing. It “photo-based art” – and also of course photogrammatist Adam Fuss, the photo- but to expand. The interrelationships seems reasonable to propose that, at the painter Gerhard Richter and other printmaker Jack Sal, and the directorial between the photo festivals like Foto - the present moment, the Cologne photo figures whose art incorporates or refers satirists Sandy Skoglund and Les Krims. szene Köln, the photo museums (such scene is more aware of the New York to elements of what we might call the As in Cologne, so in New York: the mid- as New York's International Center of photo scene than vice versa. Create a photographic. career and younger figures – such as Photography), the art museums with genuine web-based dialogue between As a sophisticated art center, Cologne those already named and others like significant commitments to photo- the two, however, by setting up an on- in turn has over the years exhibited the Laurie Simmons, Andres Serrano, Ellen graphy and photo-based art (New York's going, interactive Fotoszene Köln-New imagery of many of the classic New Brooks, Richard Prince, Ann Mandel - Museum of Modern Art pioneered this York website with video con ferencing, York photographers of the early and baum, Cindy Sherman, Alvin Booth – relation to photography in the 1930s; chat rooms, online exhibits, real-time mid-twentieth century – Alfred Stieglitz, often find their work moving between Cologne, like many cities today, has its lectures and symposia, and Cologne Berenice Abbott, Weegee, and many the poles of photography and “photo- own contemporary art institution, the could strengthen that connection and more. But the Cologne audience is also based art,” an apposition that's acti vat - Ludwig Museum, with a notable photo make it more of a two-way street. familiar with some New York photo- ed and energized the international art collection program), the galleries spe- Meanwhile, let's not forget the fact graphers who – like Geoffrey Forrest scene at least since the heyday of sur - cializ ing in photography or including that both cities are among the world's and Philip Pocock – have relocated to realism, and certainly since the mixed- photography and “photo-based art” in major economic engines. That will also Cologne from New York, becoming media explosion of Pop Art in the Six - their offerings, the auctions and col- facilitate the exchange of art – because, better-known there than they are in ties, when Warhol, Rauschenberg, and lectors and publishing houses – these at the turn of the 21st century, the their own native land. And, if they others flung open the doors to the full interwoven projects have all become connection between high finance and haven't met them in the flesh, photo- integration of photographic images with truly internationalized, if not quite almost all contemporary art activity has graphy fans from Cologne has also other materials in works of art. Chuck globalized. become clearer and more direct than at encountered the work of the still-active Close, Lucas Samaras, and countless Add to this the dissemination of photo- any time since the Renaissance. So what older generation of New York photo - other artists since have made photographic images and information about we might call moneybridge, or the art- graphers – legends of documentary graphs, painted on photographs, images and their makers and related money-art connection in photography, photography like Gordon Parks, Bruce derived paintings from photographs, events that the internet makes possible, will probably remain an equivalent Davidson, Benedict J. Fernandez, Mary and otherwise adapted the medium of and the emergence of such Web tech - symbiosis for a very long time. Ellen Mark; experimenters like Ralph photography to their own ends. And nologies as streaming audio and video, Gibson, John Coplans and Duane Michals what of this New York-Cologne photo- and the possiblities for a linkage be -

551 New York - Cologne - New York Melissa Michelson, Cologne/Los Angeles

Concluding Words – Think Global, Act Global –

Despite being separated by an European museums are holding In a globalized art world per- ocean and hundreds of years of retro spective exhibits and gal- spectives are continually blend- history, in terms of their con- leries are featuring new comer ing and complementing each temp orary art markets, New artists from these art centers other. International tastes and York and Cologne share close which remain relatively unchar- trends can be reflected due to ties within a global context. In tered by Europeans. A united the decentralization of art cen- light of a more globalized Europe will also be significant to ters as well as advances in tech- world, “Art Bridge Cologne- a glob alizing art world. Sharing nology, thus allowing fresh art New York-Cologne” brings a common currency and using impulses from up-and-coming these two unique art capitals English as a modern-day lingua young artists to grow into the together, strengthening a bond franca ease doing business and new avant garde of the twenty- that has already existed and also communicating with neigh - first century. representing an “Art Bridge” boring countries. A united between two continents. The Europe and a less centralized art New York – Cologne art bridge hub in the United States will that has been so important for provide a more global inter - the second half of the twentieth change across borders. century represents a preview Technology plays a major role in into the twenty-first century, the development of a globalized with distances between coun- world. The world is becoming tries diminished and internation- smaller by being easier to reach, al tastes promoted. and distance is no longer an With the help of the increasing issue in effecting exchanges world-renomination of other between faraway places. major art centers in America col- Advances in modern aviation jet laborating together with a unify- us back and forth between ing Europe, exchanges between countries in mere hours and if the art centers becomes more that weren’t enough, the real fluid and universal. For a long distances that once existed time when Europeans might between art centers is now con- think of contemporary American nected via a “virtual” bridge; art, New York would come to artists are posting their work on mind. This is slowly changing, as their own homepages and gal- artists from Chicago or Los leries and museums can be visit- Angeles, for example, are gain- ed via the internet, allowing for ing more exposure in Europe. worldwide exposure of artists’ work.

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