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Konzept Der Collage. Paradigmenwechsel in Der Konzept der Collage Paradigmenwechsel in der Entwicklung der Collage von Pablo Picasso bis Edward Ruscha Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig-Maximilians-Universität München vorgelegt von Petrus Schaesberg aus Tannheim Universitätsbibliothek Ludwig-Maximilians-Universität München, 2004 Referent: Prof. Dr. Rainer Crone Korreferent: Prof. Dr. Berndt Ostendorf Mündliche Prüfung 07.07. 2004 PETRUS SCHAESBERG CURRICULUM VITAE wohnhaft: Petrus Schaesberg Hauptstrasse 2 88459 Tannheim [email protected] geboren in: 7 November 1967 in München Nationalität: Deutscher Ausbildung: 1980-1989 Internat: Stiftsschule Kloster Engelberg, Schweiz 1989 Eidgenössische Matura am Gymnasium 1989-94 Universität Zürich. Hauptfach: Kunstgeschichte, Nebenfächer: Philosophie, Religionswissenschaften Frühjahr 1995 Universität Wien: Kunstgeschichte Seit Herbst 1995 Ludwig-Maximilians-Universität, München 1997 Magister Artium: Das Frühwerk von Albert Renger-Patzsch Seit 1998 Dissertation an der Ludwig-Maximilians-Universität Konzept der Collage. Paradigmenwechsel in ihrer Entwicklung von Pablo Picasso bis Edward Ruscha. Frühjahr 2004 Abgabe der Dissertation Publikationen: Bücher: Ed. Stanley Kubrick. Still Moving Pictures. Fotografien 1945-50 Regensburg: Verlag Schnell & Steiner, Edition ICCARUS, 1999, 232 pages (with Rainer Crone) Ed. Stanley Kubrick. Still Moving Pictures. Photographies 1945-50 (revised edition) Paris: Edition ICCARUS / FNAC, 1999, 230 pages (with Rainer Crone) Ed. Paul Klee und Edward Ruscha. Projekt der Moderne. Sprache und Bild. With essays by Rainer Crone, Joseph Leo Koerner and Alexandra Gräfin Stosch Regensburg: Schnell & Steiner, Edition ICCARUS, 1998, 256 pages Louise Bourgeois: The Secret of the Cells (co-authored with Rainer Crone) New York: Prestel Verlag 1998, 160 pages Louise Bourgeois: Das Geheimnis der Zelle. (co-authored with Rainer Crone) Munich: Prestel Verlag, 1998, 160 pages Lyrische Lebenswelten. Die Malerei von Nikolaus Hipp. Lyrical Worlds. The paintings of Nikolaus Hipp. Regensburg: Schnell & Steiner, Edition ICCARUS, 1998 (german and english edition),128 pages (with Rainer Crone) Essays: “Andy Warhol. The Three Golden Rules of an Artist” in: Pop Art. The John and Kimiko Powers Collection. Gagosian Gallery, New York, 2001, pp. 81-94 (with Rainer Crone) Introduction to Paul Klee und Edward Ruscha. Projekt der Moderne. Sprache und Bild. Regensburg: Schnell & Steiner, Edition ICCARUS, 1998, pp. 9-19 “Andy Warhol. Heads (after Picasso)” (english and german, Galerie Ropac, Paris/Salzburg, 1997 (with Rainer Crone) “Juan Usle. Ojo Roto” (english, spanish and catalan) Museu d’Art Contemporani, Barcelona, 1996 (with Rainer Crone) Ausstellungen: Stanley Kubrick. Still Moving Pictures Photographs by Stanley Kubrick from 1945-1950 with ICCARUS Kunsthalle zu Kiel, June – July 1998 Kölnischer Kunstverein, August 1999 Fototage Biel, Schweiz, August 1999 FNAC Paris, September 1999 Museum St. Ingbert, February 2000 Inverleith House, Edinburgh, February 2001 Haus am Lützowplatz, Berlin, April 2001 Fundacio Municipal de Cultura, Valladolid, Spain September 2001 Inhaltsverzeichnis I. Vorwort und Dank S. 3 II. Parameter zur Geschichte und Bedeutung der Collage Eine bildwissenschaftliche Untersuchung der Collage und ihrer Geschichte 1. Der Paradigmenwechsel im Bildbegriff des 20. Jahrhunderts S. 11 2. Zur Funktion und Entwicklungsgeschichte der künstlerischen Technik ‘Collage’ S. 20 3. Probleme bei der Historiographie der Collage S. 34 4. Die Erfindung der Collage. Die Arbitrarität des Zeichens. S. 42 Pablo Picasso Stilleben mit Rohrstuhlgeflecht , 1912 5. Das Prinzip der Verfremdung (Ostranenie) S. 66 Kasimir Malewitsch, Soldat der 1. Division, 1914 6. Polyperspektive und Merz S. 87 Kurt Schwitters, Das Kirschbild, 1921 7. Dichotomie von Text und Textur S.109 Jasper Johns, Flag, 1954-55 III. Das Konzept 'Collage' bei Edward Ruscha 1. Biographie und Forschungsstand 1.1. Kurzbiographie Edward Ruscha. S.127 1.2. Die Rezeption Edward Ruschas in der Sekundärliteratur von 1958 bis heute. S.132 2. Künstlerischer Kontext von Edward Ruscha zu Beginn der Sechziger Jahre S.143 3. Das Werk von Edward Ruscha im Überblick S.159 4. Probleme und Ansätze zur kunsthistorischen Bearbeitung von Edward Ruschas Werk S.163 5. Ikonische Differenz und Konzept der Collage. S.166 Annie, 1962. 6. Assoziative Textualität. S.181 Noise, Pencil, Broken Pencil, Cheap Western, 1963. 7. Ordnung und Unordnung. S.198 Die Serie Turkey/Greece (1994) IV. Schlusswort S. 202 IV. Bibliographie 1. Kunsthistorische und kunstwissenschaftliche Literatur S. 209 2. Literaturwissenschaft, Semiotik, Philosophie S. 212 3. Edward Ruscha 1. Monographien S. 217 2. Kataloge Einzelausstellungen S. 217 3. Ausgewählte Kataloge Gruppenausstellungen S. 220 4. Ausgewählte Artikel S. 227 5. Allgemeine Literatur S. 233 2 I. Vorwort und Dank Äusserer Anlass zu der vorliegenden Arbeit gab der seltene und lohnende Umstand, dass es mir vergönnt war, im Rahmen der Vorbereitung für eine Ausstellung nicht nur Einsicht in die Arbeitsprozesse von Edward Ruscha zu erhalten und eine Grosszahl seines Werkes im Original einzusehen, sondern von dem Künstler das gesamte zeichnerische Oeuvre in Diapositivabbildungen erhielt. Ich wurde mit der Erstellung des Catalogue Raisonné der works on paper betreut, was mir einen tieferen Einblick in jene Konzeptionsstadien kreativer Prozesse gewährte, die dem Medium in Form von Skizzen, ausgearbeiteten Entwürfen, Variationen eines Themas, Experimenten und insbesondere piktorialisierten Reflexionen über Sujets, Motive, Techniken und die in der Werkentstehung produktiv gespiegelte Rezeption zueigen ist. Die Übersicht auf das quantitativ wahrhaft umfangreiche und an Themen nicht minder mannigfaltige Werk von Ruscha offenbarte bei aller künstlerischen Intuition neben einer vorbildlich systematischen Kreativität, die den Künstler ähnliche Sujets in die Medien Photographie, Zeichnung und Ölbild in unterschiedliche Kontexte setzen liess, von früh an auch eine ungewöhnlich stringente Konzeption des Gesamtwerkes, wie Ruscha selbst bemerkte: “[...] I view my art output as a simple variation on a theme. It is a theme that was established for me early on, all I do is watch it unfold as I go1” und „I am doing different things now, but I still feel that it is rooted in the oldest things I was inspired by.”2 Das Verständnis des späteren, reifen Werkes, das von Rezeption, Kontext und Kritik meist schon geprägt und überfrachtet ist, wird oft vom weniger komplexen Zugang zu einem Frühwerk unterstützt, in dem Ansätze von künstlerischen Ideen und ästhetischen Vorstellungen des Künstlers in einer rohen, ästhetisch weniger raffinierten Fassung vorliegen. Ruschas erhaltene 1 Bernard Brunon: Interview with Edward Ruscha, in: Ausstellungskatalog, Edward Ruscha, Lyon: Musée Saint Pierre Art Contemporain/Octobre des Arts, 1985, S. 96. 2 Bernard Blistène, Conversation with Edward Ruscha, in: Ausstellungskatalog Edward Ruscha: Paintings, Rotterdam: Museum Boymans-van Beuningen, 1990, S. 132. 3 frühe Versuche zeigen eine Anzahl äusserst diverser Darstellungen, die hauptsächlich in der Technik der Collage gearbeitet wurden. Bei meinen Forschungen zur Collage stiess ich auf den bemerkenswerten Umstand, dass zwar umfangreiche kunsthistorische Monographien zur Geschichte der Collage vorliegen, aber nur eine Anthologie kritische und theoretische Texte zur Collage enthält.3 Die Aufsätze aus mehreren Jahrzehnten nähern sich der Collage mit all jenen unterschiedlichen Methoden4, die das Schreiben über Kunst generell mit sich bringt und je theoretischer die Autoren das Thema behandelten, umso weiter entfernten sie sich von ihrem Gegenstand, und je detaillierter die Einzelanalyse des Kunstwerks, desto mehr entzog sie sich dem theoretischen Anspruch. Die methodologische Konsequenz aus dieser Einsicht sollte folglich der Versuch sein, durch die Einzelanalyse von paradigmatischen Kunstwerken im Blick auf Aspekte in Ruschas Werk relevante kunstwissenschaftliche Themen zu bearbeiten, wobei die Methodologie am Gegenstand auszurichten war. Die Nobilitierung der Collage als künstlerische Ausdrucksform durch den Kubismus setzte das neue Bildkonzept als experimentelles Medium schlechthin für die Kunst des 20. Jahrhunderts ein. Insbesondere in der klassischen Moderne sollten die radikalsten Umwertungen des Bildbegriffs von dieser Technik angeregt werden und bis zur Kunst der Gegenwart wesentliche Grundlagen für innovative künstlerische Konzepte darstellen: „The fact remains that artists almost obsessively continue to return to collage as a process for the genesis of their work [...] virtually every artist in every art form has experimented with collage to one degree or another.“5 3 Katherine Hoffman, (Hrsg.), Collage. Critical Views, Ann Arbor: UMI Research Press, 1989, S. 6. Neben Aufsätzen zur Bildenden Kunst enthält der Band auch Aufsätze über Collage in Literatur und Musik. 4 Kunstkritiken zu Ausstellungen, kunstwissenschaftliche Detailanalysen zu Picasso, Kubismus und Schwitters, ein semiotischer Ansatz und kunsttheoretische Generalisierungen. 5 Harry Polkinhorn: Space Craft: Collage Discourse, in: Katherine Hoffman, (Hrsg.), Collage. Critical Views, Ann Arbor: UMI Research Press, 1989, S. 215. 4 Dem Künstler für sein Werk zu danken, das Anlass für Jahre überspannende, anstrengende und doch fruchtbare intellektuelle Auseinandersetzungen gab, mag ein wenig überzogen scheinen. Aber falls es so etwas wie eine systematische kreative Konsequenz der Werkentstehung geben
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