a u u o RAK 6

RAK 6 RAK o

u u a a u u o RAK

Report from the Rhenish Archive for Artists’ Legacies

Issue 6 Bonn 2018 5 Editorial

European Heritage – Artistic Heritage as a Cultural Asset 14 Welcome: Rein Wolfs Director of the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (Art and Exhibition Hall of the Federal Republic of Germany) 18 Greeting: Jürgen Wilhelm Chairman of the Landschaftsversammlung Rheinland (Rhineland Regional Assembly), Germany 20 Opening lecture: Aleida Assmann University of Konstanz, Germany

On the Materiality and Methodology of Legacy Archives for Artists 30 Daniel Schütz, Rheinisches Archiv für Künstlernachlässe (Rhenish Archive for Artists’ Legacies), Bonn, Germany 38 Marie-Luise Heske, Stiftung für Konkrete Kunst und Design (Foundation for Concrete Art and Design), Ingolstadt, Germany 42 Amy Marshall Furness, Art Gallery of Ontario, Toronto, Canada

European and international networks 50 Tiziana Caianiello, ZERO foundation, Düsseldorf, Germany 56 Edith Krebs, European-art.net, Zürich, Switzerland 58 Volker Kaukoreit, KOOP-LITERA international, Vienna, Austria 64 Thomas Gaehtgens, Getty Research Institute, Los Angeles, USA

European Perspectives for Artist’s Legacies 74 Desdemona Ventroni, Institute for Advanced Studies, Lucca, Italy 80 Monika Mayer, Österreichische Galerie Belvedere (Austrian Belvedere Gallery), Vienna, Austria 84 Michael Schmid, Swiss Institute for Art Research (SIK-ISEA), Zürich, Switzerland 92 Adrian Glew, Tate, London, United Kingdom 96 Frank van de Schoor, Curator, Nimwegen, Netherlands 100 Jeanette Zwingenberger, Art Critic and Curator, Paris, France 108 Didier Schulmann, Centre Pompidou, Paris, France

Prospects 112 Frank Michael Zeidler, Deutscher Künstlerbund (German Artist’s Association) 120 Gora Jain, Bundesverband Künstlernachlässe (German Association of Artistic Heritage)

124 Inventory list

130 Imprint European Heritage, Discussion panel. Photo: Tania Beilfuß

Editorial

Tracing, preserving and improving the ac- Bildender Künstler (German Association of cessibility of artistic heritage such as the Visual Artists) addressed this topic in the legacies of art historians and art collectors same vein in 2012 and 2015 respectively, is naturally one of the key tasks of the Rhein- the time had come to look to Europe and isches Archiv für Künstlernachlässe (Rhenish beyond. Hereafter it was necessary for Ger- Archive for Artists’ Legacies). However, from many, with its federal structure divided into the very beginning, the focus has also been states, to be on the lookout for methods, on creating awareness for the relevance of which scrutinise our own way of operating written legacies for research, in addition to and provide it with new and enriching mo- advising legacy holders, who are confronted mentum. with the problems associated with handling legacies comprised of works of art. Under the heading, European Heritage The RAK has specially hosted symposia relat- – Künstlernachlässe als Kulturgut (Artistic ing to this topic from a didactic perspective Legacies as a Cultural Asset), in 2016 the in towns and museums across North Rhine- RAK hosted an international symposium in Westphalia. Between 2009 and 2013 the Kunst- und Ausstellungshalle der Bun- we have managed to host five symposia in desrepublik Deutschland, (Art and Exhibition total, each focusing on selected topics. Af- Hall of the Federal Republic of Germany, ter the Deutscher Künstlerbund (Association Bundeskunsthalle for short), in which speak- of German Artists) and the Bundesverband ers from selected institutions such as inde-

 pendent researchers and curators opined A further block of lectures addressed existing on the subject of artistic heritage. The two- European and international networks, among day symposium was the first attempt at a which are the institution KOOP-LITERA inter- stocktaking of European institutions that are national, housed at the Austrian National involved in maintaining the legacies of visu- Library, and the Düsseldorf-based ZERO al artists and making them accessible and foundation. It was with great excitement that useable. An essential accompanying effect the symposium’s participants listened to Dr of the event was the continued networking Thomas Gaehtgens, who reported on the of institutions in the form of a collaboration international activities of the Getty Research across borders, which took into account the Institute in Los Angeles. Although the collect- increasingly global way of operating in the ing aims of the Getty Research Institute are fields of artistic creation and research. essentially no different to those of German archives, what is impressive is the intensity After a very warm welcome by the Director with which it purchases legacies worldwide of the Bundeskunsthalle, Rein Wolf, in which so that these can be made available for re- he spoke of his own experiences on the top- search purposes. The significant apprecia- ic as exhibition curator, the Chairman of the tion for research-relevant documents in the Landschaftsversammlung Rheinland (Region- USA has resulted in a bidding war between al Assembly of Rhineland), Dr Jürgen Wil- the old world and the new, with the former helm addressed the packed out auditorium often being left behind. with a few words of greeting. The Regional Council is among the most important institu- The second day of the event was held under tions that focus heavily on the promotion art the title: European Perspectives for Artistic and culture. And happily, the RAK is also a Legacies. The audience listened to experts European Heritage, auditorium and information stands of German heritage archives Photos: Gora Jain promoting partner. talk about their archival work with artistic heritage and the situation in their respective The introductory lecture was given by Dr countries. This allowed for ample discussion Aleida Assmann, whose voice as a literary of the significance of the work done with ar- and cultural studies scholar at the University tistic heritage in various countries and the will- of Konstanz reaches far beyond Germany’s ingness of the public sector to provide finan- borders thanks to her engagement with the cial support for this work. Adrian Glew gave subject of cultural memory. Only recently, a talk on the activities of the art archive of the were she and her husband, Egyptologist Jan Tate Gallery in London, whereby – unusually Assmann, jointly awarded the Peace Prize by German standards – thanks to the connec- of the German Book Trade, which belongs tion to the museum, the archivists of the Tate to the most significant of cultural awards in Archive are able to work closely with their Germany. colleagues from the curatorial department.

On the first day of the symposiumGerman After the lunch break, which offered the in- art archives presented their various methodo- dividual attendees of the event the oppor- logical approaches to dealing with the topic tunity to talk to one another, there followed of legacy. They were followed by the Head an hour long panel discussion on the subject Archivist of the Art Gallery of Toronto, Dr of artist’s legacies on a spectrum between Amy Marshall Furness. She reported about value as a cultural resource and value de- Canadian practice, which contrary to Ger- rived from their market relevance. The talk man archives, does not view artistic lega- was broadcast on the radio on WDR 3 the cies in isolation, but rather as professional- following day. Dr Thomas Gaehtgens, Di- ised subdomains of art museums. rector of the Archive of the Getty Research

  Institute, Prof Henrik R Hanstein, Head of the Academy of Arts), Berlin; the Deutsche Kunst­ Lempertz Auction House in Cologne, Heinz archiv, (German Art Archive), Nuremburg; the Holtmann, Gallerist in Cologne, Bernd Neu- Forum für Künstlernachlässe e.V. (Forum for Ar- endorf, State Secretary for the Ministry of tistic Heritage), Hamburg; the Verein Private Family, Children, Youth, Culture and Sport Künstlernachlässe Brandenburg (Brandenburg for North Rhine-Westphalia (MFKJKS), Dr Association of Private Artist’s Legacies); the Britta Kaiser-Schuster, Head of the Berlin De- Initiative Künstlernachlässe Mannheim (The partment of the Kulturstiftung der Länder (Cul- Mannheim Initiative for Artistic Heritage); the tural Foundation of the German States) and Stiftung für konkrete Kunst und Design Ingol- Dr Gerhard Pfennig, Member of the Board stadt (Ingolstadt Foundation for for Concrete of the Stiftung Kunstfonds (Art Fund Founda- Art and Design) and the ZERO foundation, tion) in Bonn all spoke with moderation pro- Düsseldorf. A communal stand for the Berufs­ vided by Dr Michael Köhler. verband bildender Künstler (Professional As- sociation of Visual Artists – BKK), Deutscher The symposium was intended to finish with a Künstlerbund (German Artist’s Association) look toward the future. The Chairman of the and the Arbeitsgemeinschaft der Kunst- und Deutscher Künstlerbund, Frank Michael Zei- Museumsbibliotheken (Committee of Art and dler, spoke about the future with regard to Museum Libraries) completed the presence of affected artists, in which he referred self-criti- the German heritage archives. This commit- cally to the responsibility of legacy creators tee assembled on the day before the event to not leave the beneficiaries of their estate for their anniversary in the Bundeskunsthalle. Top: Amy Marshall Furness, Art Gallery of Ontario, Toronto unprepared for the task of looking after their Bottom: Frank van de Schoor, Curator of Modern Art, legacy and thus overburdening them. Since In addition to all speakers and participants Nimwegen Photos: Milan Chlumsky not all artists have the means to privately en- of the symposium, my special thanks go out Top: Tiziana Caianiello, ZERO foundation, Düsseldorf sure the protection of their legacies, and in- to the Director of the Bundeskunsthalle, Rein Bottom: Aleida Assmann, University of Konstanz Photos: creasingly significant works, such as written Wolf, who willingly volunteered the gallery Milan Chlumsky legacies, are threatened with complete an- as a suitable space for this internationally at- nihilation, at the time of the symposium there tended event. Tobias Wall, the Head of the were plans for the foundation of a German Karin Abt-Straubinger Stiftung für Kunst und association for artistic heritage, whose des- Kultur (Karin Abt-Straubinger Foundation for ignated Chairwoman, Dr Gora Jain, gave Art and Culture), likewise contributed to the an account of its remit and objectives. The very pleasant atmosphere in the packed out inaugural meeting of the Bundesverband forum. As in previous symposia held by the Künstlernachlässe (German Association of RAK, Tobias provided eloquent moderation Artistic Heritage – BKN) finally took place in for both days of the event. The first day ended March 2017 in Saarlouis, on the occasion on a musical note provided by the Denhoff of the opening of the research centre for ar- Trio (Denhoff, Phillipp, Fischer). Following an tistic heritage based in the city. already densely packed lecture programme, the Trio managed to attract the full attention of So as to allow the German archive scene to the event’s participants with musical improvi- take part in the discourse and open up the sations, before they departed for the evening. exchange between institutions in all directions there were, parallel to the conference and The symposium, held in cooperation with the throughout the spacious gallery information Bundeskunsthalle and the Arbeitskreis zur Er- stands run by various institutions and initiatives forschung der Moderne (Work Group for the concerned with the preservation of artistic Research of Modernity) in Rhineland, was heritage. Among the exhibitors were the Ar- supported by the Kulturstiftung der Länder, chiv der Akademie der Künste (Archive of the Deutsche Forschungsgemeinschaft (German

  Research Foundation), Sparkasse KölnBonn, tional art scene. Following her time at the Benno Werth also viewed his environment The painter Theo Lambertin was born in the Klefisch Stiftung (Klefisch Foundation), Land- Staatliche Akademie der bildenden Künste from a creator’s perspective. In contrast with same year as Bardenheuer, in Cologne (Fig. schaftsverband Rheinland (Rhineland Region- (State Academy of Visual Arts) in Stuttgart, Prigann, the Aachen artist searched for prox- Pp.113 and 116). He can be described as al Council) and additional private supporters the painter Tremezza von Brentano contin- imity to people and their urban environment. a true Kölsche Jung (Cologne lad), who was who wish to remain anonymous. I owe each ued her studies at the Art Academy in Austin, As a sculptor he created fountains and looked a firm fixture of the art scene of the 1970s of them my thanks for their generous finan- Texas. In 1967 the artist took up residence to streets and squares for new creative possi- and 1980s, which consorted in Cologne’s cial commitment, which enabled the event in Seattle, Washington for the year. Back in bilities. It was for this reason that he described Roxy night club. Lambertin first completed an to take place. Germany there followed many study visits himself as an urban space designer. With a apprenticeship as a lithographer, which was to New York (Fig. Pp. 49 and 121). From background in painting, as a sculptor Benno followed a little later with a course of studies Our heritage: the link between the past and 1971 onwards, the artist lived and worked Werth developed a particular method for at the Kölner Werkschulen (Cologne Acad- the future. This guiding principle was given in Cologne. With his inclination towards creating sculptures using a seamless casting emy of Fine and Applied Arts). During his to the European Year of Cultural Heritage figurative painting, like Tremezza von Bren- process. Having been active as a lecturer studies, in 1975 he was one of the first art- 2018 by the European Commission, which tano, Norbert Tadeusz broke away from since 1958, in 1986 Benno Werth received ists to be awarded the August Macke Prize was publicised in Germany under the motto the dominant abstract style early on. Ta- a professorship from the Aachen University from the City of Meschede, with which Her- “Sharing Heritage”. In order to give the deusz was a master pupil of Joseph Beuys at of Applied Sciences (Fig. Pp.104 and 107). bert Bardenheuer would also be awarded people of the European countries a greater the Art Academy in Düsseldorf. He formed a Another three artists from Aachen have found for his work almost twenty years later. awareness of their shared, and broadly vis- close friendship with Blinky Palermo (Fig. Pp. their way into our archive in this reporting pe- ible, cultural heritage, which stands, as it 67–70). Norbert Tadeusz held professor- riod. Hubert Werden, Hans Pastor and Her- With the bequest of Leo Breuer the archive were, in opposition to certain current politi- ships in Berlin, Braunschweig, Karlsruhe and bert Bardenheuer. After 1945, Hubert Wer- has obtained the legacy of one of Bonn’s cal developments, the concept of the Year Münster and was represented in galleries in- den and Hans Pastor belonged to a circle most important artists. Following his studies of Cultural Heritage, to look back upon the ternationally. In 1992 a pavilion was erect- of Aachen artists, who began to work with in Cologne and Kassel, Breuer was among strands connecting European culture, was ed for Tadeusz on the Museumsinsel Homb- the theme of informality very early on after the very few painters in Bonn whose style cleverly selected. Cross-border commonali- roich (Hombroich Museum Park) in order to the war. Both maintained close relationships of painting can be attributed to the New ties are particularly easy to visualise in the accommodate a large-format picture cycle. with France. Initially Pastor was an autodi- Objectivity movement. The Nazi’s seizure of area of monument care. dact, before developing his skills alongside power in Germany thrust Breuer into exile, What is not always visible however, is the in- An important representative of concrete art is Fernand Léger and Raul Ubac in Paris from firstly in The Hague and then in Brussels in ternational network of relationships between Bernd Damke. After his studies at the Univer- 1952 to 1954 (Fig. Pp.101 and 103). Back 1935. In 1940 Breuer was imprisoned and visual artists, whose travels, contacts and the sity of Visual Arts in Berlin, Damke received in Aachen, in 1952 Pastor joined the New ended up in the French internment camps resulting emergent social network are often two prestigious Italian scholarships: the Villa Aachen Group, founded by Karl Fred Dah- at St Cyprien and Gurs. Breuer managed only visible and open to research via their Romana Prize and the Villa Massimo Prize. men, whose members included Hubert Wer- to escape and became involved with resist- documentary legacies. Just like the work of From 1972 to 2004, Damke held a professor- den, Ludwig Schaffrath and Karl Otto Goetz, ance fighters. From 1945, Leo Breuer lived art itself, documentary legacies are part of ship at the Münster University of Applied Sci- among others. Werden and Pastor repeated- and worked in Paris. Following his inclina- our cultural heritage and likewise an immate- ences. He is a founding member of the artist ly exhibited in Paris (Fig. Pp.108 and 110). tion towards abstract art at the end of the rial asset to research, one that requires spe- collective B1. Bernd Damke lived and worked 1930s Breuer separated himself from figu- cial protection. in Münster und Berlin (Fig. Pp. 37 and 39). Herbert Bardenheuer belonged to a rativism entirely in Paris. After his first exhibi- With this in mind, the insights into lifetime and As an object and land artist, for Herman Pri- younger generation. The artistic positions tion in Salon des Réalités Nouvelles in 1946 posthumous legacies in this edition should gann, location was the measure of all things. of Bardenheuer, born in 1949, are as di- in Paris, his work was represented there on illustrate the wide scope of the recorded Engaging with the place of exhibition and/ verse as his education (Fig. Pp.50 and an annual basis and in 1953 he became artists, whose creative centre was certainly or presentation is compulsory. When design- 52/53). He studied, painting, art history, part of the management committee. For eco- in Rhineland, but who nonetheless travelled ing the Abraumhalde Rheinelbe as a natural philosophy and nuclear physics. His inter- nomic reasons, Breuer returned to Bonn in across Europe and farther afield. As such, recreation area, within the scope of the In- action with colours and colour changes led the same year, but he continued to keep a in the reporting year 2016/17, the archive ternational Building Exhibition’s Emscherpark him at times to photography too, in which studio in Paris (Fig. Pp. 19 and 22–24). was able to register many new additions, project, Prigann marked his presence with he experimented with different forms rang- Almost thirty years after Leo Breuer, Hans a selection of which we would like once many objects. His Himmelsleiter (Jacob’s ing from polaroid photography through to (Juan) Dotterweich was born in Bonn. In again to present with interesting illustrations. Ladder) climbs the highest point of the area. large photo prints. The Villa Romana scholar 1937 he attended the Kölner Werkschulen Moreover, his work, which often wrestles celebrated his biggest success in the 1980s for a short time, thereafter however he fol- In the 1960s and 70s, the USA, in particu- with questions of environmental design, can with his paintings, which are attributed to lowed the wishes of his father and complet- lar New York, was the centre of the interna- be found across Europe (Fig. Pp. 40 and 43). the Junge Wilde (wild youth) movement. ed an apprenticeship as a commercial artist

10 11 semesters, as he was displeased by the new The archive possesses the legacies of two she had already founded a studio for textile ways of teaching following the political up- artistic couples, Oellers & Teuber and Schief- design that existed for many years. In 1965 heaval. He only began to paint again after ers & Imhof. Born in 1925 in Linz am Rhein, Werner Schriefers became Director of the the Second World War. Together with Max Günther Oellers took up a study of sculp- Kölner Werkschulen. Both artists presented Buchartz he formed the Ruhrländischer Künst­ ture at the Kölner Werkschulen in 1946 their work at numerous exhibitions in and lerbund (Ruhr Association of Artists). Lankhorst with Wolfgang Wallner and Josef Jaekel. outside of Germany (Fig. Pp. 46 and 123). was also a member of the Westdeutscher In 1951 he undertook a guest semester Künstlerbund (West German Association with Ossip Zadkine at the Académie de With the legacies of Leo Breuer, Walter Ger- of Artists). and friends with Heinrich Siep- la Grande Chaumière in Paris and entered ber, Ferdinand Macketanz (Fig. Pp. 77 and mann, and Johannes Geccelli (Fig. P.119). into an artistic exchange with Constantin 79), Walter Ophey (Fig. P. 35), Oswald Brancusi. In 1959 he and his wife built a Petersen (Fig. Pp. 84, 86 and 93), Ewald The art that emerged during the time of na- common living space and workshop in his Platte, Vincent Weber and Egon Wilden the tional socialism consistently demands a nu- hometown, which soon became a cultural archive has again been able to incorporate anced perspective, which does not neglect meeting place. Together with Joseph Beuys, more artists who belonged to the artist col- the political conditions. Thus, the proximity Heinrich Böll, Georg Meistermann and lective “Das Junge Rheinland” (The Young of Werner Peiner to the ruling powers of the Klaus Staeck he founded the Freie interna- Rhineland). They will be discussed at length Third Reich led to a distanced attitude toward tionale Hochschule für Kreativität und inter- in the upcoming edition of this publication. his work following 1945. But this negative disziplinäre Forschung (Free International stance also had an effect, one could almost University for Creativity and Interdisciplinary Bonn, 2018 say jointly and severally, on the work he pro- Research) in 1972. Günther Oellers worked Daniel Schütz, Head of the Rhenish Archive duced in the 1920s, which, in the percep- across Germany in particular in the area of for Artists’ Legacies tion of art critics of the 1920s and 1930s, art in architecture (Fig. Pp 58 and 60/61). was as significant as that of his contemporar- Edith Oellers-Teuber first studied painting Thomas Gaehtgens in discussion with Hans M. Schmidt ies Georg Schrimpf and Alexander Kanoldt. at the Kunstakademie Braunschweig (Braun- Photo: Tania Beilfuß Photo: Eva M. Schmidt Alongside research material about the artist schweig Academy of Art) and then at the himself, the extensive legacy also contained Kölner Werkschulen. Her broadly distribut- at AEG. After the war Dotterweich quickly outstanding documentation on the Master ed public art encompassed wall paintings, found his way into abstract art. He was School for Art in Kronenburg (Eifel), which textile designs, mosaic designs and church friends with Francis Bott, who he visited in was first run as an external site of the Art windows (Fig. P. 63). Alongside this arose Paris in 1952. There he encountered many Academy in Düsseldorf and then, following an extensive body of paintings, the creative exiled artists in the studio of the photogra- its attempted closure by the Academy Director inspiration for which was often found on her pher Willy Maywald and in the Café du Peter Grund, as the Herman-Göring-Meister- various travels across Europe. Dôme. In 1954 and 1955 he took part in schule für Malerei (Hermann Göring Master the exhibitions of the Salon des Réalités Nou- School of Painting) under the direct patron- The artistic couple Werner Schriefers and velles in Paris. John Anthony Thwaites be- age of Hermann Göring. The school did not Margret Schriefers-Imhof, at times travelled came interested in his work and critiqued his open again after 1945 (Fig. Pp. 94/95). the same path. Under the tutelage of Georg 1961 exhibition in the Haus der Städtischen Muche, for whom he worked as an assist- Kunstsammlungen Bonn (Bonn City Art Col- Artistic couples are able to stimulate one an- ant, Werner Schriefers attended the Textile lections) in the Whitney Annual “Pictures on other’s work and at times have the necessary Engineering School in Krefeld. As a 22 Exhibit”. (Fig. Pp. 27 and 57). understanding for the often difficult path, year old, in 1949 he gained a reputation The painter Helmut Lankhorst, who was which the life of the artist brings with it. If the at the Werkkunstschule Wuppertal (Wupper- born and died in Mülheim an der Ruhr, was couple does not work as an artistic duo in tal School of Applied Arts) (Fig. P. 31/32). closely linked to Bonn through his attendance the sense of a creative partnership, such as There he became acquainted with his future at school in Bad Godesberg. His brother Gilbert & George, a mutual demarcation of wife, Margret Imhof. She studied at the in law, the art historian Carlheinz Pfitznes, creative content for assignment to various cat- Werkkunstschule and simultaneously com- likewise lived in Bad Godesberg. In 1933 egories becomes easier. Despite all the au- pleted an advertising apprenticeship, which Lankhorst broke off his studies at the Munich tonomy of the creative process, legacies from she concluded with a master’s examination Academy of Art once again after just a few artistic couples are tightly woven together. in 1956. With her husband two years prior,

12 13 this auditorium hosts quality content which There was an administrator of his estate, receives a high turnout. I often hear it said there was his widow and there was a gal- that Helmut Kohl also intended it to be used lery in Los Angeles and a relatively large for Federal Press Conferences; thus, since its variety of his works for the exhibition. How creation, it has had this special representa- can you handle the legacy of an artist who tive and discursive aura. Dear audience and is still strongly linked to the art market? How dear speakers: I welcome you here for these can you manage all the ambitions, and the two days in Bonn. machinations, when pieces of art are at- tributed to an artist posthumously, or when As a museum expert and director of this objects appear on the market, where an art establishment I know that dealing with the historian recommends exercising caution? heritage of artists belongs to the everyday That meant for us that we could only draft a endeavours of a museum. We do not only kind of Catalogue raisonné, far from meet- work with living artists, it happens once in a ing the requirements of a real catalogue of while that we also work with deceased art- the oeuvre. We intended to be very precise ists. I used to work as a curatorial university for the attributions, in order to question cer- lecturer for a couple of years, always trying tain works authorised posthumously. But we to impart my knowledge as a curator. The had to be very careful and could not pro- first question you ask yourself, when trying ceed with the critical care required for the to organize an exhibition as a curator is, attributions. This is a practical example of whether you have to deal with living or with challenges you may be confronted with in Portrait photo of Käthe Schmitz-Imhoff, circa 1925 Photo: (attributed to) Elsbeth Gropp. defunct artists. That is critical for the organi- connection with the estate of an artist. Käthe Schmitz-Imhoff legacy, RAK zation of an exhibition. Whether you’d be better to exercise caution as curator, whether Last winter, we organised a wonderful exhi- you are in a position to negotiate, whether bition with Hanne Darboven, a female art- you’d be better leaving more free space or ist from Hamburg; and we did that in very European Heritage – whether there is a lot which you have to de- close cooperation with the Hanne Darboven termine yourself. All these questions depend Foundation in Harburg. Artistic Legacies as a Cultural Asset on the decisive question of life, which is the It was the first retrospective since she had basis of our symposium, too. passed away in 2009. Together with the Haus der Kunst in Munich, we staged two Let me report some of my own experiences exhibitions at the same time, and I’d say Welcoming address as a former curator and as present director that we brought the academic analysis of Rein Wolfs of a museum and show you how much of an her very comprehensive and, from both a Director of Kunst- und Ausstellungshalle impact this issue has on the actual work of quantitative and a qualitative point of view, der Bundesrepublik Deutschland, Bonn a museum. very special oeuvre onto the right track. So, we succeeded, together with the Hanne Some ten years ago, I worked at the Mu- Darboven Foundation, in making Hanne Dear Dr Wilhelm, Chairman of Landschafts- I am very pleased that you are attending our seum Boijmans van Beuningen in Rotterdam, Darboven’s works accessible to a large pub- versammlung Rheinland, Dr Schütz, Or- symposium “European Heritage – Künstler- curating a great retrospective for the Dutch lic once again. ganiser of this symposium and Director of nachlässe als Kulturgut” (European Heritage artist Bas Jan Ader. Rheinisches Archiv für Künstlernachlässe, Dr – the heritage of artists as a cultural asset) This artist got lost during an ocean crossing At present, we are showing a great Pina Aleida Assmann, and a warm welcome to here in the Kunst- und Ausstellungshalle der in a small sailing boat from Europe to the Bausch retrospective, which you can visit all experts who have come here from over- Bundesrepublik Deutschland, the Art and USA, designed as an art event. Whether it later today. All our exhibitions can be visited seas. I extend a special welcome to Profes- Exhibition Hall of the Federal Republic of was an accident or whether he wished to free of charge by the attendees of this sym- sor Dr Thomas Gaehtgens from the Getty Germany, as is the official name of this audi- end his life, is still unclear to this day. Any- posium. Pina Bausch is a dancer from the city Research Institute and to Dr Amy Marshall torium. It is nice to see that you are so numer- way, the artist had vanished, at a time when of Wuppertal. Just like Hanne Darboven, she Furness from Canada. ous, as I am always happy when this forum, we were going to organise the exhibition. also died in 2009. Her legacy is managed

14 15 by the Pina Bausch Foundation, who try, with substantial public funding, to analyse and catalogue the heritage of this famous dancer and choreographer and to make it available for the Pina Bausch Archives.

In Wuppertal, they intend to build up some- thing comparable with the experience with literature in Marbach; this means using the legacy of an artist to build up a competence centre, not only celebrating the artist who is no longer alive, but presenting the compre- hensive topic to a large public in a sustain- able, structured and discursive way.

These were a couple of examples from our modest perspective of work with the heritage of artists. You will presumably be confronted with completely different examples over the next two days, which will open up the issue in a much more profound and more substan- tiated way.

On behalf of the Bundeskunsthalle I wish you a compelling, rich and informative symposi- um with a lively exchange. And as I see that there are so many of you, I am already sure that this will happen. And now, I am pleased to leave the floor to the chairman of Land- schaftsversammlung Rheinland, Dr Wilhelm.

Top left: Jeanette Zwingenberger, Art Critic and Inde- pendent Curator, Paris Gora Jain, Bundesverband Kün- stlernachlässe (German Association of Artistic Heritage – in the process of formation). Top right: Adrian Glew, Tate, London. Frank Michael Zeidler, Deutscher Künstler- bund (German Artist’s Association), Berlin Photos: Milan Chlumsky

16 17 Welcoming address an innovative concept, offering storage, re- Jürgen Wilhelm search, a training centre and exhibition fa- Chairman of Landschaftsversammlung cilities. Together with the Rheinisches Archiv Rheinland für Künstlernachlässe and the two other cul- tural institutions of our cultural centre, i.e. the Dear Ladies and Gentlemen, department for the preservation of historic Dear guests, monuments in the Rhineland (Amt für Denk- malpflege im Rheinland) and the centre for I am very pleased to welcome you here the preservation of regional cultural heritage in the Federal City of Bonn, which is also (Bestandserhaltungszentrum der Landesinitia- an important place for the UN, to the in- tive Substanzerhalt) the Rhineland makes an ternational symposium “European Heritage exemplary contribution to the preservation of – Künstlernachlässe als Kulturgut” (European historic monuments, the restoration and the Heritage – the heritage of artists as a cultural management and preservation of archives. asset). Preservation and sustainability make archives It is my great pleasure to see that the Bonn- so valuable. Archives are the cultural memo- based Rheinisches Archiv für Künstlernac- ry of a society. They preserve past heritage hlässe (Rhenish Archive for the Heritage of and contemporary events and are therefore Artists) and its accomplished Director, Mr the basis of our cultural understanding. Like Daniel Schütz took the initiative to organise a mirror, they reflect past generations and this symposium. He is supported by the vol- are, thus, the substrate for future generations. untary work of the literary scientist Dr Cepl- I am already anticipating the pleasure of re- Kaufmann and the former director of Art Col- ceiving the bilingual documentation for this lections of Rheinisches Landesmuseum Bonn, symposium which will be published by RAK Dr Hans M. Schmidt. The Landschaftsver- in their magazine “annoRAK”. band Rheinland with its core competence in consulting archives acknowledges this inter- For this outstanding conference, dear ladies esting initiative and is happy to contribute to and gentlemen, I wish you an inspiring time its practical realisation with special funding. with a lot of new discoveries and, what is almost as important, a lot of new valuable The Landschaftsverband Rheinland is the contacts. legal successor of the former Provinzialver- band der Rheinprovinz and in charge of the region’s cultural heritage since the 19th cen- tury. To date, we have preserved the cultural heritage in the Rhineland through our 14 mu- seums, our cultural networks and the funding of cultural projects, museums and archives.

The Rheinisches Archiv für Künstlernachlässe is a valuable completion of the arts archive of the foundation Stiftung Kunstfonds – also co-funded by LVR - in our Abbey of Brauweil- er. Inaugurated in 2010, the mission of the archive consists of promoting contemporary art and of hosting and managing the herit- Leo Breuer, circa 1953, pencil sketch, 14 x 9 cm. age of contemporary artists. It does so with Leo Beuer legacy, RAK. VG Bild-Kunst, Bonn 2018

18 Between remembrance and oblivion. kind cannot see. It’s God’s own privilege to a delegated responsibility as citizens of a for subsequent generations. This means that Artistic heritage as precarious cultural know – exclamations like ‘insh’Allah’ or ‘deo society by paying their taxes, which are this retrospective assessment may focus on asset volente’ highlight the fundamental uncertain- then used for cultural institutions. This third aspects which were neither noticed nor es- Aleida Assmann ty of future mankind is trying to cope with meaning of future is no longer attached to teemed by the artist’s contemporaries. It is University of Konstanz by means of oracles and the art of omens. values like change or the expectations for the retrospect that smooths out the wrinkles This understanding of future coalesces with a something genuinely new; conversely it re- of reception and (hopefully) allows a fairer Three meanings of future fatalistic attitude towards time. The wisdom fers to things that already exist and which view of the heritage.4 Over the last few years our concepts of of Doris Day’s song lies in this deliberate self- everybody hopes will continue to exist in the time have shifted radically. A fact which we limitation: we’ll have to wait patiently and future. Future in this sense is no longer a bet The future of any artistic oeuvre is both a are reminded of by the Nobel Prize Win- accept, for better or for worse, what future on change or the unknown; just the oppo- fundamental and an open question. There ner Svetlana Alexeivich. One of her quotes will bring us and do to us. site; it bets on preservation and the continu- can be no further impact without heritage reads: “Future is no more at its place!”1 In- ity of what we already know, possess, need – but who will care about the works, who deed, future is no more what it used to be: A second and much more optimistic mean- and cherish. will accept the heritage, protect, preserve the point of orientation for all our hopes and ing of future appears when it is part of a it and pass it on to others? A lot of artists expectations. We have seen the erosion of progress-centric narrative. The expectation is do not carry any illusions about being able the concept of future, as we are ever more that mankind will become ever better, rich- Cultural sustainability to reach out to posterity with their legacy. aware of the finiteness of resources and the er, healthier, more equitable and free. This Future in this third sense basically means But there are those who have great hopes contamination of the biosphere. Another progress-centric narrative used to be the ba- sustainability. This term is usually interpret- and ambitions. The British poet John Milton, quote from Alexeivich reads: “The past is still sis of western modernisation, which made ed ecologically. It is all about economical for instance, wanted to create a great work ahead of us.”2 With this Russian proverb, science and technology the most powerful budgeting; for oikos is Greek and originally and bequeath something posterity could not she highlights the role of censorship in the engines of change. The essential component means ‘budget’. But the concept of a ‘cultural disregard and would not “willingly let die”5. official politics of memory, which, time and of this concept of future is the universal prom- memory’ makes us recognise that there are The desire for fame is one thing, the afterlife again, wipes out entire epochs or certain ise that anything old needs to be overcome not only natural, but also cultural resources another. Just like the first birth of the oeuvre historic events from history books and public to give way to the new, thus subjugating the which are constantly at risk and need spe- itself, the second birth of its afterlife requires debates. planet to permanent change. cial safeguards. This form of guaranteeing the assistance of midwives and fiduciary the future does not only apply to the heritage administration by contemporaries and future In a more general manner, we could state A third meaning of future has been discov- that found its way into literary and artistic generations. This kind of future is not about that there are presently three different con- ered just recently in the nineteen seventies canons, but also to precarious heritage and the ‘new’ itself as a buzzword for modernisa- cepts of future in our societies which are all thanks to a new sense of ecological aware- works that have not yet cleared this hurdle tion in the form of inventions, discoveries or legitimate and all have empirical value, al- ness. The general discovery of the limits to and do not yet benefit from a protective creativity; rather it is about transfer in relation though to some extent they are in fierce con- growth and the finiteness of natural resourc- roof, works which are threatened with ob- to the acknowledgment that there is some- tradiction with one another. One meaning of es has radically changed our attitude in re- livion due to negligence, lack of interest, dis- thing meaningful, valuable and relevant that future refers to everything which is unknown, lation to the planet and our orientation in organisation or a lack of responsibility. deserves not to be given up, ignored, lost or unexpected and not yet thought. The un- time. Thus, our concept of future has also forgotten, which we want to esteem and pre- known future will come over us inevitably as changed: what used to be future as a great The work of archives is done in a dimension serve. So, future is not only a dimension for a pleasant or an unpleasant surprise. Que imponderable or screen for the projection of of retrospect. Of course, they are also life- utopian ideas or the longing for innovation, sera, sera – many of us still remember these our hopes and wishes has now turned out to time bequests3 and the desire of an artist to it is also a dimension of cultural memory. But words from a song that helped Doris Day be an ethical and cultural object of our at- exercise their control on the archive, to have this kind of future is no longer in contrast with in an American movie to repel the thirst for tention, responsibility, care and precaution. a cult staged around their person with the the past, it allies itself with the past. When knowledge of what is still to come. More generally speaking, the third concept archive. But they cannot have the final say. the imperative of modernisation is ‘Break of future implies the understanding that one Retrospect means that we are essentially cut with the past!’, the imperative of cultural sus- Que sera, sera, can no longer rely on future in its various off from the artist’s universe and their inten- tainability is: ‘Take care of the remnants and whatever will be, will be, forms, and that mankind has to make col- tions. We can only carry fragments together heritage, select, sort out, protect, care, dis- the future’s not ours to see, lective, targeted efforts to ensure that there and interpret them from a subsequent per- cover what they contain and pass it over to que sera, sera. will still be a future for coming generations. spective. But collecting is undertaken with posterity!’ This is how traditions are built up: People are doing that with self-determined regard to sustainability. Artists and works an object becomes part of a collection, be- The concept of the uncertain future is present responsibilities, practiced in their families, are selected with the question in mind of cause it tells us a story that must not die and in all cultures worldwide. Future is what man- with their friends or at work, but also with whether or not they still have a message is part of a world that must continue to talk

20 21 Gurs internment camp, France, 1941 Leo Breuer with tie. Photographer unknown. Leo Breuer, life in Gurs internment camp, 1941, pencil sketch 19,5 x 31 cm. Leo Beuer legacy, RAK. Leo Beuer legacy, RAK VG Bild-Kunst, Bonn 2018

to us. This future of an artwork comes with them which confirms their value. Collecting something that is so wonderfully summarised their way into stable institutions. And every awareness and care, it requires division of is a veto against the ravages of time and by the English word ‘re-membering’. time, the object changes, when it is trans- labour and the knowledge of experts as well the natural force of oblivion. Collecting can- ferred into another context. As long as pho- as a long-term financial commitment. With- not prevent things from sliding into the void; Collecting requires a specific and special- tographs, for instance, are still owned by out such care and precaution for the cultural but in a certain sense it makes this stream ised form of attention. It excludes a lot, lim- a family, they are relicts with a tremendous afterlife the past will definitely disappear and into the void visible and tangible, as it is the its passion to a small range; but within this emotional value, as the persons in the pho- be swept away by the River Lethe. Parallel to exception, the saved object that highlights range it ends up with the findings and forms tos are relatives with their concrete names sustainability in nature, a concept of cultural the mass of all absent things which are lost of an independent and self-determined es- and stories; often the photos are the very sustainability was born, emerging from a forever. Therefore, collecting is often under- teem. Thanks to this narrowed visor the last representations of the persons depicted combination of history, memory and identity stood as a melancholic disposition, because world is not chaotic but well-ordered for the in them. When entering the archive, they are and new terms and institutions like ‘cultural this activity is always based on the experi- collector, because they know precisely what detached from their intimate relationship to heritage’, ‘world heritage’ and UNESCO. ence of death and destruction. The impetus is relevant, interesting or valuable. Their es- life; when the relation is cut off from the vivid to collect may also result from a traumatic teem is the first trigger for the delay of the memory of the family, the photographs lose loss just like in the myth of the brutally killed disappearance and the basis of later preser- their emotional link, thus becoming general Collectors and collections and dismembered body of God Osiris and vation. Most of their contemporaries cannot and abstract witnesses of a historic era. A Marcel Duchamps once said: “Half of an his wife and sister, an archetypical collec- share the judgement of the collector. They similar structural change happens with art- artwork is created by the artist, the other half tor, who looked for his scattered members lag behind with their perception and appre- work when it is transferred from a studio to is completed by the collector.”6 The future of in Upper and Lower Egypt in order to put ciation and jump on the bandwagon started a museum. The ‘studio’ is an inclusive room the past starts with a collector who builds them together again. This myth illustrates the by collectors only much later. of creativity, where finished and unfinished up a collection. Behind each and every risk of oblivion in its dual character: as a works stand side by side. Everything in this collector stands the desire to lift things out brutal shredding and an automatic scatter- Objects increase their lifespan, when they room is inspired by the same creative spir- of the stream of ordinary use and consump- ing. Isis, the collector, is combatting both by are integrated in collections and collec- it, which gives a soul to the works. This is tion, in order to create a new context for finding and putting the members together, tions prolong their lifetime, when they find something I understood particularly well from

22 23 the bedroom by her groom on their wedding Archons and Gatekeeper night, does not only depend on people but Until recently it was presumed that the texts of is also very contingent on circumstances. the literary canon were self-perpetuating and would prevail thanks to their overwhelming This example makes it clear: the collector is quality and age. The most popular image at the origin. They are ahead of the times, for their stability was that of the starlit sky. In and often stand, with their interests, for all my German lessons, Goethe was depicted that society will be able to admire a genera- on the blackboard as the sun and Schiller tion or a political regime later. Their esteem as the moon and, orbiting around them, is the first trigger for the delay of disappear- all the smaller stars for the romantic writers ance and the basis for later preservation. like Chamisso, Eichendorff or Heine. In the With their collection, it’s true, they lay the eighteen fifties the American philosopher foundation of the afterlife of objects, but it Henry David Thoreau could write without will not depend on them exclusively wheth- being contradicted until the nineteen fifties: er or not this goal will finally be achieved. “The noblest written words are commonly Heritage is precarious: with it, a window in as far behind or above the fleeting spoken time opens, but the clock is ticking. A race language as the firmament with its stars is against the guillotine of time starts, and one behind the clouds.” The classics are set; has to act before it is too late. they used to be world heritage in bourgeois educated canon with a self-perpetuating in- A similar role to that of collectors for mu- ventory. We have since lost this optimism in seums is played by historians for archives. the self-assertion of quality. The interest in the Here, it is important that somebody shows term ‘cultural memory’ stems not least from Leo Breuer in front of his relief R 21, circa 1970. Photographer: Jacques Breuer. Leo Beuer legacy, RAK up at the right moment and place to decide: the fact that the system of symbolic reproduc- this box will not disappear into a container! tion which we call ‘culture’ has lost its self-ev- This is what happened to the historian Birgit idence and that we have started describing Schwelling, who worked on veterans com- and analytically examining these processes. some photos taken by photographer Werner ences. Surprisingly, supra-national museums ing home from combat; thanks to personal We are observing ourselves when produc- Lieberknecht from Dresden. He had taken for this ephemeral medium do not exist, as contacts she discovered the bequest of vet- ing and reproducing culture, examining the them in studios of defunct artists shortly after newspapers are published daily and then erans in the basement of the association of institutions and practices that play a role in they had passed away. In his photos, the become wastepaper. This medium which veterans. The history of this group would this. But the criteria of tradition aren’t self-evi- artwork is in a mysterious transition from the is visible everywhere and, nonetheless, in- have been picked up and buried with the dent either any more, as they have become original context of its creation, still touched conspicuous is the very beginning of mod- boxes; now, as a book, it is integrated in the an object of reflection and criticism. We are and enlivened by the hand and energy of ern times of communication technology and scientific apparatus and stored as a source asking for actors and masterminds in this the working artist, to a status of detachment has without a doubt become the medium for in a historic archive. Another example is that process and want to know who precisely and independence; we could also say: left enlightenment, democracy and nation-build- of the historian Philipp Felsch. He too found makes decisions, when they make them and in limbo between either disappearance or ing. Martin Welke’s collection is now seek- a box in Berlin with the bequest of the pub- where, with regard to the future of cultural inclusion in a new context. ing a protective roof: for, without staff and lishing house Merve. He took care of it and tradition. Who are the gatekeepers, watch- a permanent location, without rooms open wrote a non-fiction bestseller called “The ing over remembrance and oblivion and As long as collections depend on individual to an interested public, enabling archiving, long summer of theory” (2014) (Der lange who controls the traffic on the narrow bridge passion, they can also vanish, be scattered research and the transfer of knowledge, this Sommer der Theorie (2014). So, the history between past and future? and even destroyed, when the collector collection will fall apart. The creation of mu- of the publishing house Merve is archived dies. A friend of mine just recently drew seums is not always the result of long-term twice: as a book and as material inventory One famous gatekeeper for the literary can- my attention to such a case. His name is objectives and planning, but often also of in a historic archive. Only when the box is on, the American writer Harold Bloom, no- Martin Welke; all his life he had built up extraordinary initiatives, opportunities and integrated in a larger collection and brought ticed this societal and cultural change very a collection relating to ‘the newspaper’, il- mere coincidence. The question of whether to an archive or museum will it become fu- clearly in the nineteen eighties. He wrote: lustrating the 400 years’ long history of it a collection can be carried over the threshold ture again, the general destiny of loss and “We no longer live in a society in which we with many objects and intellectual refer- like a bride is carried over the threshold of oblivion can be delayed once more. will be allowed to institutionalize memory.”7

24 25 Probably, he meant: unfortunately, we no every day. The sustainability of this work for longer live in a society in which persons like the cultural memory is fostered by two princi- myself – Harold Bloom – can decide all by ples: 1. In contrast to totalitarian states, a lot ourselves, what will be part of the canon of well-educated persons are involved in the and what will not. For, the number of gate- selection process, and 2. There are various keepers has increased, and canon-forma- systems with different logics of exclusion. tion has become a controversial project with The canon, for instance, bets on more than the participation of an increasing number just the market, because long-term sellers are of groups in society. In future, what will be not necessarily bestsellers; and the archive important and deserve preservation will no is also different from the great assortment of- longer simply depend on persons with a fered by the market, because it concentrates strong media presence like Harold Bloom less on a large variety and more on duration or Marcel Reich-Ranicki, but also on new in time. Compliant series production and actors and institutions of a multi-cultural so- ready-made purchase packages as offered ciety, who will all make sure that the literary to libraries by service providers radically re- and artistic canon becomes more colourful duce the variety of choice and the necessary and many-voiced.8 For, those who do not different and complementary focuses for the collect letters, notes, texts, sketches, pictures development of a collection. This procedure, and other documents today, will not have a which is currently implemented in order to basis tomorrow on which a literary work or rationalise and lower costs, diminishes the an artist can be built. In a society shaped potential for librarians to exercise their skills by immigration, the enrichment of collections and reduces them to the role of customer. with consideration for new citizens will be a This procedure which is currently implement- new and important endeavour to guarantee ed in order to rationalise and reduce costs cultural sustainability. At the University of Es- reduces the potential for librarians to exer- sen, they already have a chair for this issue cise their skills and reduces them to the role and a project which aims to register and of customer. build up the heritage of artists stemming from the German-Turkish community. Regional networking and local links In ancient Greece the archons were the The roof of an institution is not the final au- guardians of the archive and they decided thority for guaranteeing cultural sustainabili- which documents were included in or ex- ty. Above the institution, there is a network of cluded from the canon; thus, they had the institutions with complementary specialities, prerogative of interpretation. This preroga- who exchange objects and mobilise public Hans (Juan) Dotterweich, Abendlicher Tisch (evening table), charcoal drawing, 1948. Hans Dotterweich legacy, RAK tive has not been lost today, but in our mod- attention for one another by cooperating ern democratic society it is more difficult with cities, regions and beyond national to capture it, as it is spread over so many borders.9 Just as the integration of a collec- different institutions. The major gatekeepers tion into an institution offers a new context which pools all collections and skills. Just as traded at high prices, museums and archives are still as visible and audible as critics with for the works, the networking of institutions there can be no contemporary history with- will spend a lot on their heritage. For artists, a strong presence in the media like Harold constitutes an additional productive context. out a corresponding historic archive which who for various reasons have never had any Bloom or Marcel Reich-Ranicki. The critics The Museum Kurhaus Kleve with the studios provides the relevant sources, there can be popular success, the inclusion of their be- of the feature pages are still known by their of Mataré and Beuys (1997), the foundation no history of art from the recent past without quest is a second chance. The archive and names, but the members of a jury are as Stiftung Künstlerfonds in the Abbey of Brau- corresponding archives of its heritage. It is the museum which make an afterlife possible unknown as librarians, archivists, museum weiler (2010) and the Rhenish Archive for obvious that there are many different kinds can correct and compensate the earlier re- curators and the authors of schoolbooks, the heritage of artists, the Rheinische Archiv of artistic heritage. When dealing with re- ception; they make up for omissions in the who do their very varied and specialised für Künstlernachlässe Bonn (RAK, 2007) are nowned names who have their own place past and help persecuted or underrated art- work as gatekeepers of cultural memory good examples for such an overarching unit in the artistic canon and whose works are ists receive overdue esteem and publicity.

26 27 Remembering, as I may quote from the exhibitions. This also means interlinked lo- Winter and his colleagues arranged a mu- exhibition DEPOT ERBE from the end of March magazine annoRAK 2, “belongs to the core cal and supra-regional references, because seum of World War I in the nineteen nineties until the beginning of May 2017, organised by missions of museums and archives”10. More “the more precise the analysis of a region, in the French region of the Somme, the lead- the Museum für Neue Kunst in cooperation with Theater Freiburg. The exhibition “did not only show precisely, it is obvious that the institutions the more transnational its references”. (Dan- ing stylistic principle for the exhibition was inherited objects of dance, performance and art; themselves do not remember, but they keep iel Schütz). The Düsseldorf-based group of avoidance, yes: even the taboo of the verti- in addition to that the museum became a space for collections that can be remembered later. artists ZERO, for instance, got rid of the cal. They gained inspiration from Holbein’s active research.” They assume, as it is said in the magazine, baggage of the past in the nineteen fifties and Mantegna’s presentation of Christ lying 5 John Milton: “hoping to produce something for an afterlife that the world will not willingly let die.” The “for an undetermined period of time the re- and sixties in order to restart with their new dead. Another no less inspiring monument Reason of Church Government. Milton expresses sponsibility for the care, research and trans- purist aesthetics, admitting to being inspired for the soldiers killed in World War I was here the anxious hope for a posterity that is dis- fer of an entire artistic existence”11. By doing by ideas of the concrete abstraction of Piet designed by the sculptor Jupp Rübsam, who tinctly different from the exuberant claim for eter- th so, they not only secure the past, but also the Mondrian and Kazimir Malevich. This group chiselled two figures lying in stone like Egyp- nity which we know from Horace’s 30 ode and some of Shakespeare’s sonnets, where the poem is future. Future is not a vague promise; it is a experienced an unexpected renaissance tian Sphinxes. He too refused the heroic ver- compared with a monument more durable than ore self-commitment, a pact, a contract. The du- when, in 2014, the Guggenheim dedicat- tical in 1928 and found a form that was which, thus, needs neither archives nor administra- ration of future is as long as the institution will ed to them a highly-regarded exhibition, that dismantled in 1933 due to its strangeness. tors of its heritage. exist, as long as a building with a protec- helped them increase their value in the inter- The remaining pieces were erected again in 6 Marcel Duchamps, quoted from Gerhard Thee- wen, Obsession. Collection, Cologne 1994, 5. tive roof will give shelter and space and as national art market substantially. In the case 1978, close to the original site. Both monu- 7 Harold Bloom, The Western Canon. The Books long as there will be budgeted staff to take of the Museum Kurhaus Kleve, for instance, ments were completely outside the ordinary and School of the Ages, New York 1994, 39, care of this mission. But together in a net- the city combines its own local history with canon of forms used for monuments in rela- 17. Cf. also Renate von Heydebrand, Publ. Kanon work, these institutions do even more: they supra-regional and global developments. tion with World War I; both artists refused Macht Kultur. Theoretische, historische und soziale Aspekte ästhetischer Kanonbildungen. Stuttgart, stimulate public interest and inspire debate The museum contains works of Ewald Ma- the narrow standards of representation of Weimar 1998; John Guillory, Cultural Capital. about their collections in the form of exhibi- taré, a “key artist of the Rhenish art scene heroic monuments. Without the meticulous The Problem of Literary Canon Formation, Chicago tions, magazines, conferences, excursions and one of the most prominent representa- work of museums, the preservers of heritage, 1993. and other events, for which they establish tives of classical modernism in Germany”12. and local citizens, who rediscover and safe- 8 Just think about the booming culture of anniversaries in the media. the thematic framework for the memory and And it is entirely fitting that the museum also guard the material traces, there would be no 9 For literary heritage we have „KOOP-LITERA inter- open a window of attention for their collec- contains the former studio of Mataré’s disci- longer be any traces of them today. national“, a network of institutions from Germany, tions. Thanks to their networking and the in- ple Josef Beuys, who can bring his global Luxemburg, Austria and Switzerland, who acquire terlinking of their activities they complement renown to Kleve. “How short-sighted!”, I read in an article of legacies and autographs, register and preserve them and make them available to the public. the functions of a museum as a place with its the magazine annoRAK 4, “Everything is 10 Roland Mönig, in: annoRAK – Mitteilungen aus special aura, exhibition surface, resonance The museum does not only exhibit pieces of expected to be ‘sustainable’ – in ecology, dem Rheinischen Archiv für Künstlernachlässe, Vol. space, inventory and research institution. art, it can also initiate work relating to local economy and politics! Only the sustainabil- 2, Bonn 2011, p.10. memory by reconstructing the complex his- ity of artistic creation and of archives is still 11 Ibd. 12 Ibd., p. 11. Up until this point, we have talked about cul- tory of the reception of art. One example neither discussed nor part of social aware- 13 Silvia Klara Breitwieser, Das Schwarze Projekt / tural sustainability, a pact for memory and for this is a monument sculpture created by ness!”13 We thank the organisers for mak- The Black Projekt – Modell und Wirklichkeit, in: an- historic responsibility, but cultural memory Ewald Mataré in 1934 on behalf of the city ing an important contribution to change that noRAK – Mitteilungen aus dem Rheinischen Archiv has an additional aspect: it is also a factor of Kleve. The memorial for soldiers killed in with this symposium. für Künstlernachlässe, Vol. 4, Bonn 2013, p.69. of prestige, enabling the promotion of the World War I was destroyed by the Nazis image of a city or a region. Just like the Eu- in 1938. The buried ruins of the monument ropean nations, cities also have their own were found only in 1977 and then reha- Endnotes history, their historic assets, traditions and a bilitated. The sculpture of the prisoner in his 1 Svetlana Alexeivich, Secondhand-Time. The Last of communicative memory of the citizens. These lying position makes us think of suffering, the Soviets. Text Publishing. Melbourne 2015. factors constitute the self-understanding of a weakness and unmanliness. A lying position 2 In January 2010, President Obama said on the oc- city thanks to the participation of many dif- was admissible only, if ever, as an allegoric casion of his reelection: “The best is yet to come!“ (www.lds.org/liahona/2010/01/the-best-is-yet- ferent parties. As the image is also used for incarnation of the nation with a heraldic lion to-be? ). the tourism sector in order to improve the vis- (like the monument of German warriors killed 3 For the topic of lifetime bequests cf.: Jan Wilm, „Im ibility and the prestige of a place, the local in action on the forest cemetery in Vilnius Dialog mit dem eigenen Leben“, FAZ vom 16. 1. discovery and care of the artistic heritage is or Vienna). Mataré was well ahead of the 2016, No. 13, p.18. 4 The questions: “How do we remember? What is an important endeavour for cultural politics times; he found a successor only at the end our genuine cultural property? And who transfers and festively staged for anniversaries and of the 20th century. When the historian Jay it to whom in which way?” are addressed by the

28 29 Across the borders therefore represents a thoroughly forward- Daniel Schütz looking instrument of cultural enrichment. Rheinisches Archiv für Künstlernachlässe The internet portal „European Art Net“ was (Rhenish Archive for Artists’ Legacies or RAK launched almost ten years prior to that and for short), Bonn, Germany is an open association of various archives dedicated to the recording and catalogu- The Eurozone crisis, a surge in refugee num- ing of materials of contemporary art (to be bers and growing nationalism; headlines discussed in more detail in the section enti- that are constantly in the news lately. Borders tled „European and international networks“). are being closed and entire sections of so- And it was only in December 2015 that the ciety are leaning towards national-conserva- „European Year of Cultural Heritage 2018“, tive political camps; something that is only with the working title „sharing heritage“, was further compounded by creeping “Orbanisa- first announced. The aim, according to the tion” from the East. In short, it seems as if the initiators, is to focus on the value of cultural experiment of the European Union is on the heritage throughout Europe and illustrate the verge of failure. common roots of Europe with the aid of his- torical buildings. At the same time, we are hearing of the increased engagement of academia with For too long, the commonalities within Eu- the concept of cultural heritage. Only a few rope have been looked at purely from an days ago, Yale University hosted the eighth economic perspective. Science and art were Global Colloquium of University Presidents centuries ahead of Schengen! These created on the subject of Cultural Heritage. During a common European heritage through the an interview, Holger Simon, the conference freedom of spirit and arts that stretches like a organiser and director of the “Institute for the net across all political and territorial bounda- Preservation of Cultural Heritage” in Yale, ex- ries throughout Europe! From Jupp Ernst, Director of the Werkkunstschule Wuppertal (Wuppertal School of Applied Arts) to Werner plicitly pointed out the growing importance Schriefers, 1951. Werner Schriefers legacy, RAK of cultural heritage for modern societies as a Composers would travel throughout Europe source of identity and catalyst for peace.1 as a matter of course, carrying the spirit of their music across national borders. The 17th- Better known than Muffat is George Frideric augurated in the presence of Queen Victoria. This emerging discourse in Europe on the val- century composer and organist Georg Muf- Handel, regarded as a German composer His birthplace is now a much-visited museum orisation of culture is not, however, moving fat, for example, was a typical European here in Germany, but whom the English also and the people of Bonn also host the interna- towards a more inward-looking perspective artist of the time: claim as their own given that he spent a tional renowned Beethovenfest in his honour. in parallel with the socio-political tendencies Born in Savoy, Muffat first received his musi- large part of his career at the English Royal that until a few years ago nobody in Europe cal education in Paris, which was followed Court, where he also achieved his greatest Since the Middle Ages, musicians, archi- would have thought possible. It is, in fact, by a period of several years at a Jesuit col- successes. tects, sculptors and painters have been shining a light on the strong cultural ties that lege in Alsace. He then proceeded to study Taking the opposite path to Handel is Brit- similarly propelled across Europe from one exist between the various European states law in Ingolstadt and finally settled in Vien- ish sculptor Tony Cragg who has lived and commission to the next, and the audible and with the aim of researching and emphasis- na. Since he was only able to get by with worked in Wuppertal longer than in his na- visible testimonies of their artistic talent are ing these further. occasional jobs, he left the beloved capital tive country. still in evidence today. A prime example of musicians downhearted to try his luck in Someone who spent even less time in his na- from the Middle Ages are the remarkable Our event today is just one example. On- Prague, the golden city of the Vltava. It was tive country (or native city) than Handel was works of French enamelist and goldsmith Ni- line library Europeana is another. The aim not until the Archbishop of Salzburg took him Ludwig van Beethoven, the perfectionist of cholas of Verdun, a true master of the twelfth of the virtual library portal, which was only on as his organist and valet-de-chambre that the Viennese classics – which was clearly of century guild. He was demonstrably respon- launched back in March 2014, is to make he first gained a permanent position. Georg no consequence to the citizens of Bonn, who sible for the Verdun Altar in Kosterneuburg European cultural heritage accessible to all. Muffat spent his last years as “Kapellmeister” commemorated their city’s most famous son in Lower Austria, which bears his name, the Europeana provides access to books, maps, at the court of Bishop Johann Philipp von as early as the mid-19th century with an im- Marian shrine in the church of Notre Dame paintings and films in several languages and Lamberg in Passau. posing Beethoven monument, which was in- in Tournai, Belgium, and the Epiphany shrine

30 31 with documents dating back to the early with architect Rudolf Schwarz and of course 19th century. Looking ahead, the RAK is in- the Cologne School of Art and Crafts, that creasingly working on the lifetime estates of became one of the most illustrious schools visual artists to take on the relevant docu- throughout the entire German Reich, under ments and manuscripts in dialogue with the the new management of Riemerschmid in bequeathers themselves. 1926. Alongside these training institutions, which were, entirely in the spirit of the Deut- What is the reason for the RAK’s focus on the scher Werkbund, operated with a practical Rhineland as a region of culture? focus, there was the State Art Academy of Düsseldorf, which underwent an internal Besides the continuous activities of Kunstakad- transformation in 1924 under the direction emie Düsseldorf , which was founded in of Walter Kaesbach. 1819 and had already gained international repute under Gottfried Schadow, Rhineland Of course, it was not the institutions as such has seen a genuine explosion of cultural-his- that were responsible for the cultural-histori- torical and artistic activities since the early cal developments in the Rhineland. It was 20th century, providing invaluable sources the openness of their protagonists and the for art and cultural history. politics of transnational ideas, and their will- ingness to work for these new ideas – not Around 1900, in the interests of economic only in the area of teaching, but also in the development, the Prussian state sponsored a area of communication. Jury members consulting during the competition Tapetenentwürfe (Wallpaper Designs), international competition reform of schools of arts and crafts with the organised by the Verband deutscher Tapetenfabrikanten (German Association of Wallpaper Manufacturers) in 1957. From right to left: Mia Seeger, Hans Schwippert, Otto Bartning, Emil Rasch, Dr Schaedel. Photographer aim of providing fresh impetus for craft and In 1908, up until his early death, Alfred unknown. Werner Schriefers legacy, RAK industry through the arts following the exam- Hagelstange took over as director of the ple of John Ruskin and the Arts and Crafts Kölnischer Kunstverein and initiated a new movement in England. The Rhineland was exhibition policy. Under the direction of art in Cologne Cathedral, undeniably the most great architectural edifices from the various one of the regions in which many schools historian Richard Reiche from 1908, the significant preserved goldsmith work of the epochs will no doubt be instantly familiar of arts and crafts responded to the call for Kunstverein in Wuppertal-Barmen flourished Middle Ages. and categorizable. reform, which had largely been propagated anew by focusing its programme on mod- Of course, general styles can always ac- in Germany by Hermann Muthesius, and ernism. On his retirement in 1931, Reiche While in the Middle Ages, it had primarily quire their own particular national or region- became pioneers through the replacement left behind one of the most important collec- been the clergy which attracted and em- al characteristics, which is what makes our of teachers and the introduction of new cur- tions of modern art in Germany. ployed the best artists, the dynasties and European music and art history so exciting ricula, creating a new generation of artists. nobility later followed suit, demanding the and a veritable Eldorado for any research. Not far from Wuppertal, the manufacturer, top architects and artists of Europe for their Outstanding examples include the Kunst- collector and patron of arts, Karl Ernst Os- residencies and to build their palaces. Of- Ladies and gentlemen, this is where the gewerbeschule of Düsseldorf [Düsseldorfer thaus, opened the Folkwang Museum in ten, the artists would follow the family ties of Rhenish Archive for Artists’ Legacies comes School of Applied Arts] following its restruc- Hagen in 1902. On a small hill in the city the aristocratic families, which created a far- in; focusing its collection and research on turing by Peter Behrens in 1903, the Krefeld of Hagen he let Henry van der Velde build reaching network through their marriage pol- the Rhenish cultural region. It was more School of Applied Arts, whose reformer, di- his Villa Hohenhof residence, in the neigh- icy. The network that the architects of the ba- than 10 years ago that the RAK took on the rector of the Krefeld museum Friedrich De- bourhood where he (and also Peter Behrens) roque left behind would have certainly been long overdue task of providing the culturally necken, secured strong teaching personali- began the construction of an entire residen- just as dense, if one was to connect their rich Rhineland and neighbouring regions of ties in 1904 with the appointments of Henry tial area based on the model of Darmstadt work-places on a map using a straight line. Westphalia with a dedicated place for the van der Velde and Jan Thorn-Prikker, the Mathildenhöhe, in which selected artists storage of the estates and legacies of its vis- School of Applied Arts in Wuppertal-Barmen could pursue their work. While anyone travelling through Europe to- ual artists. As an archive for written estates, directed by Gustav Wiethüchter; the Essen day may not always understand the local retrospective collection options are naturally Folkwangschule under the direction of Al- In 1909, the Sonderbund Westdeutscher lingo, and will from time to time also dis- limited since very few legacies have been fred Fischer, the Aachen School of Applied Kunstfreunde und Künstler (Special League cover some new culinary specialities, the preserved by artists in private ownership Arts, which gained international importance of West German Art Lovers and Artists) was

32 33 founded under the chairmanship of Osthaus, Exhibition in Cologne sadly remains – Henry and was largely devoted to communication van der Velde’s Werkbund Theater building, of the arts. The aim of the involved artists, for example, or the model factory by Wal- collectors and art historians was to make ter Gropius – GeSoLei certainly left its mark problems of contemporary art more accessi- through the complex created by Wilhelm ble to a wider public. These activities culmi- Kreis: in the artistic design of the Ehrenhof nated in the legendary special exhibition in cultural centre, the Tonhalle concert hall and Cologne in 1912, which represented a veri- the Rheinterrassen building, for example. table “who’s who” of European Modernism with more than 100 works of Vincent van Along with Alfred Flechtheim in Düsseldorf, Gogh on display as well as an entire hall the Nierendorf brothers from Cologne were with works by Pablo Picasso. Incidentally, it among the most important purveyors of should be noted that the Sonderbund Exhibi- modern art in the Rhineland, opening their tion was the inspiration behind the Armory gallery even before the World War I. Karl Show which opened in New York in 1913. Nierendorf emigrated to New York in 1936 and founded the Nierendorf Gallery, which It was also in 1913 that August Macke initi- became an important meeting point particu- ated the “Ausstellung Rheinischer Expression- larly for the German émigré community in isten” (Exhibition of the Rhenish Expression- the United States. ists) in Bonn, a programme that was actually Art dealer Johanna Ey, lovingly named Moth- intended as a trial run for the Berliner Herbst- er Ey by the circle of artists around her, was salon by Herwarth Walden, and yet became certainly a very important personality in the an icon for an entire region. It was less a uni- Rhineland art scene of the 1920s and 30s form programme that connected the exhibit- in Düsseldorf. ing artists and more the friendship of a small group who had recently enjoyed a shared The artists similarly formed themselves into summer retreat on the Rhine, joined by a groups of like-minded people to stand out few other fellow artists from the Rhineland. from the crowd and to realise their artistic Season ticket for the exhibition Health, Social Welfare and Physical Exercise (GeSoLei). Walter Ophey paints a ideals together. 1909 saw the formation of mural for the Rhine Halls. Walter Ophey legacy, RAK Just one year after the Sonderbund Exhibi- the „Sonderbund“, or to give it its full name, tion, the Rhineland experienced its second the Sonderbund Westdeutdeutscher Kunstfre- cultural event of European significance: the unde und Künstler. The Cölner Secession was large Werkbund Exhibition in Cologne. Over founded in 1910 and the Rheinische Küns- as an art metropolis. These activities culmi- ists also developed around the art dealer Jo- an area of more than 200,000 square me- tlervereinigung in Cologne in 1913/14, nated in the creation of the “Union fortschrit- hanna Ey from Düsseldorf, who maintained tres, all forms of the new Werkbund-inspired evidently in response to the exhibition of tlicher internationaler Künstler” (Union of Pro- close ties with Das Junge Rheinland and had design approach were to be represented, Rhenish expressionists. After World War I, gressive International Artists) in 1922, which many overlapping members. from modern architecture to arts and crafts. the Dada Movement of Cologne was formed organised a major international exhibition in in 1919 under the leadership of Hans Arp, parallel with the first congress of the Union. The list of events, exhibitions and groups could The only exhibition bigger than this was Max Ernst and Theodor Baargeld, with go on right up to the present day. However, the GeSoLei, which opened in Dusseldorf close ties to the group known as the “Köl- Many members of Das Junge Rheinland were this brief glimpse into the first three decades in 1926. Covering an area of around ner Progressiven”. The “Aktivistenbund” was later politically persecuted, tortured and of the 20th century alone clearly illustrates 400,000 square metres, it was the largest also founded in Düsseldorf at the same time. sometimes died in internment or concentra- the cultural richness of the Rhineland region. exhibition of the Weimar Republic. Although tion camps. Some of them emigrated to the conceived as an exhibition for health care, The Rhineland’s most important group of art- USA. Painter Gert Wollheim, whose estate is What was the situation after World War social welfare and physical education, its ists, „Das Junge Rheinland“, was also founded housed at the RAK, is one of the most famous II? After the cultural-political bloodletting of design was clearly influenced by the mod- in Düsseldorf in 1919. Their goal, as formu- representatives of the group alongside Max National Socialism, was the Rhineland able ernist architects and artists of the time. While lated in various programmatic writings, was Ernst, Otto Dix and Otto Pankok. Around the to return to its former strength as a cultural no architectural evidence of the Werkbund to make the Rhineland internationally known same time period, a circle of like-minded art- region during the Weimar Republic?

34 35 I would at this point like to quote Günter events, has become one of the key driving Herzog, head of the Central Archives of the forces in the ongoing discourse on artists’ International Art Trade [ZADIK], who in an estates and legacies in Germany.4 interview on the occasion of the 50th ART COLOGNE said: The Rhenish Archive for Artists’ Legacies „In the post-war period, the Rhineland was makes an important contribution to the pres- the nucleus of art development. This is where ervation of cultural heritage within the Rhine- the artists worked, and there were more col- land; a contribution that, despite its regional lectors – private and corporate – than any- nature, is international and cosmopolitan where else in Europe.“2 rather than provincial.

Even 50 years later, the Rhineland has lost none of its attractiveness for arts and culture. According to the „Rheinische ART“ cultural Endnotes magazine: „The variety and internationality that can be observed in this region is enor- 1 Interview with Holger Simon on Deutschlandradio mous, and rightfully marks the Rhineland as Kultur from 10.4.2016. an international centre on the global map 2 Günter Herzog, the mother of all art fairs, in: for art and culture.“3 Ladies and gentlemen, General-Anzeiger for Bonn and surroundings from 5.4.2016. what else is there to add! 3 Rheinische ART, http://www.rheinische-art.de/cms/ de-statisch/ueber-uns.php, retrieved on 20.4.2016. Fortunately, this remarkable cultural land- 4 The RAK has been organising symposia on the sub- scape of the Rhineland is supported by an ject of artists’ estates since 2009. equally expansive research landscape; a genuine centre for science and teaching. Aachen, Bonn, Düsseldorf, Cologne and Wuppertal all have major universities dedi- cated to research in general and art history in particular. Only recently, the first chair for “Provenienzforschung” (provenance re- search) throughout the whole of Germany was established at the University of Bonn.

In addition, it is worth remembering the many independent institutes render outstand- ing services to the preservation and research of art and culture. I would like to draw particular attention to the “Kunst- und Museumsbibliothek” (Art and Museum Library) of the city of Cologne with its exceptionally rich holdings, the ZADIK, which has dedicated more than 20 years of research into the German and international art trade, and of course to the Rhenish Ar- chive for Artists’ Legacies, which has been collecting and preserving the written lifetime and posthumous estates of Rhenish artists Bernd Damke on the design language/idiom of his for more than 10 years, and which, with its works. Typescript. Bernd Damke, lifetime legacy, RAK

36 37 The Stiftung für Konkrete Kunst und Board consists of its founders, Ms Ingeborg Design Wilding-König, Ms Inge Wolf-Frör from Audi Marie-Luise Heske Kommunikation Kultur, the incumbent cultural Stiftung für Konkrete Kunst und Design (Foun- advisor for the City of Ingostadt, Gabriel dation for Concrete Art and Design), Ingol- Engbert, and the two city councillors, Eva- stadt Maria Atzerodt and Veronika Peters. Dr Lö- sel holds the position of council chairman, in The desire to preserve artistic heritage for his office as mayor of the city. posterity is garnering increasing public inter- est and with it there is a growing willingness Initially limited to the field of visual art, later and desire to give more rigorous academic being extended to cover groups of work attention to the, often very extensive, bodies from applied art and design, the foundation of work. has made the promotion, maintenance and That which is increasingly being taken into conservation of concrete art its remit. The fo- account/consideration in the form of foun- cus of the foundation is unique in Germany. dations and associations today was plainly The great deal of expertise and profound new territory a good ten years ago, when skills required for the maintenance of artis- the matter at hand concerned more than just tic heritage are not to be underestimated. the conservation of a single collection or Aside from this it can be extremely cost inten- oeuvre. At the same time, one artistic legacy sive, too. Otherwise large bodies of artwork alone already presents a challenge which would vanish. With the Stiftung für Konkrete can hardly be dealt with by a single person. Kunst und Design its founders, Ludwig Wild- ing and Ingeborg Wilding-König, in addition Founded in 2007, the Stiftung für Konkrete to the City of Ingolstadt and Audi ArtExperi- Exhibition invitation to the Galerie Lüdenscheid from 1991 with a picture of Bernd Damke in his studio with one of his works. Photo: Manfred Schoon. Bernd Damke, lifetime legacy, RAK Kunst und Design (SKKD) began its work, ence – from the beginning a promoter and ready to offer personal and technical assist- supporter of the foundation – have reacted ance to artists and heirs. Since then it turned to a great need in the art scene, where there its attention to the significant posthumous are countless artists without heirs or with concrete art would make itself obsolete at a place of science and an exhibition building. and lifetime bequests from artists in the area heirs uninterested in their legacies. given time through a defined character set, Alongside cabinet and special exhibitions of concrete art and design, in order to se- it does not limit itself – in spite of what is in the MKK and other institutions, the foun- cure their conservation in the long term and In collaboration with the MKK, Ingolstadt said by its critics – to the combination of dation is increasingly focusing on events, to make them accessible to the public in their has increasingly established itself as a centre basic mathematical forms. Initially derided for example, in the form of discussions in entirety. The collection of the SKKD has con- for concrete art. It is yet to be settled, what as “box painting”, concrete art has become the Audi Forum, the very successful Art and tinuously received generous donations from is to be understood by the phrase coined a consistent, fundamental artistic approach. Beat Party format and others. Secondly, its artists and collectors, beginning with small, by Theo van Doseburg in his 1930 mani- And it has been successful. Names such as programmatic orientation is a guarantee of partial collections, through to extensive bod- festo “The foundation of concrete painting”1. Josef Albers, Sol LeWitt, Ludwig Wilding, quality for the foundation, when thinking ies of work and complete estates. Since then This can hardly be explained in a few sen- Carlos Cruz-Diez, Victor Vaserely and Vera of a sustainable collection strategy. With the collection has come to encompass a tences, because in the history of the phrase, Molnár are known around the world. And its statutory goals, Conserve, embed and considerable breadth of work of all classes, concrete art has in part been very narrowly perhaps these impressive names also bear promote, the SKKD consistently supervises such as sculpture, photography, graphical defined and, in other cases, very openly witness to that which has been said of the artists and their work, heirs and the holdings work, painting and design. Its focus is on art interpreted by representatives such as Max art movement: it is globally understood. In of their estate. of the 20th and 21st centuries. Bill. Contemporary artists, dislike their work our coalescent world, an invaluable good. In the 2013 edition of annoRAK, the artist being associated with it, not wanting their Camill Leberer reported on her personal de- By statute, the foundation is represented by work to be known and categorised under At the current time, the foundation represents cision to donate work to the Stiftung for Konk- its head, Dr Simone Schimpf, in her posi- a cumbersome and historical term. But they 17 foundation artists and this poses the rete Kunst. The factors that substantially con- tion as Director of the Museum für Konkrete all follow one idea, one particular notion of question of what the SKKD does that is so tributed to this decision were summarised: Kunst (Museum for Concrete Art – MKK) art, which constitutes neither figuration nor in demand: Firstly, there is the close connec- the conscious decision against establishing and the Foundation Board. The Foundation abstracted reality. Despite all concerns that tion to the Museum für Konkrete Kunst as a her own foundation, for which an immense

38 39 digitalisation or exhibition work. Conversely, as working with leading designers such as in other areas it is markedly noticeable. The Wilhelm Wagenfeld. Alongside this, there SKKD must ensure the conservation of its are the many processes in day-to-day opera- holdings, but has the freedom to work in- tions, which the foundation must master. Our dependently of trends in the museum land- thanks to our donors, sponsors and coopera- scape and free from cultural-political guide- tion partners. With their support, the foun- lines. It is solely obligated to fulfil its purpose dation can advocate for concrete art and as a foundation – the promotion and care of design into the future and across regional concrete art. borders and contribute to its recognition.

The foundation represents its artists on the art market with the sale of certain works, through the sale of editions and originals for Endnotes example; either the artists gift these to the foundation expressly for this purpose or the 1 Theo van Doesburg, Die Grundlage der konkreten foundation takes a commission from the sale Malerei, in: Kunsttheorie im 20. Jahrhundert, Vol. of the work. Often it is a mixture of both and I, Ostfildern-Ruit, Ed. Charles Harrison and Paul it has proved popular, as was seen with the Wood, 2003. successful 2017 MKK exhibition Verkäuflich 2 Camill Leberer, Das Nachlassarchiv der Stiftung für (For Sale), in which works were not only ex- Konkrete Kunst und Design Ingolstadt, in: annoRAK hibited, lots of pieces were sold too. Along- – Mitteilungen aus dem Rheinischen Archiv für Kün- side long-term placement of foundation stlernachlässe, Vol. 4, Bonn 2013, p. 29. artists on the art market, with its offering of concrete art the foundation wants to contrib- Herman Prigann, detailed sketch of the planned project Kühlturm 22, a sound and light installation in Zschornewitz ute to spreading the movement and encour- near Dessau, 1997. Herman Prigann legacy, RAK. VG Bild-Kunst, Bonn 2018 age lively interaction with it. A challenge in future will be finding forms of cooperation for marketing, so as to reach art lovers and amount of capital is necessary, not vanish- conservation is the main task of the founda- collectors in a more targeted way. Promo- ing after an uncertain time in museum de- tion. The results of the research are compiled tion, does not only mean strengthening the pots, the guaranteed presentation of his own together in exhibitions and publications and recognition of established artistic positions, work in exhibitions in addition to the use of made available for the public. it also means giving aspiring young artists the effects from synergy with other artists. The foundation invests significant labour and a suitable presentation space. In summer “Every donor artist profits from a type of af- material costs into the specialist area of res- 2015, a start was made with Lars Breuer, finity. This proximity and/or community also toration and conservation. Up to a tenth of who developed a series of artwork for the justifies the well-founded academic analysis the SKKD’s annual budget is put into care for foundation under the title Ingolstadt . and dissemination of the respective work.”2 the objects, thus contributing to the mainte- nance of key works such as Steigen im Kreis Currently, the Stiftung für Konkrete Kunst und The academic processing of and research (Climbing in a Circle, 1921) by Erich Buch- Design is facing several challenges. These into posthumous and lifetime bequests in ac- holz and brings technically sensitive works include, making a record of, securing and cordance with the ICOM standards, Collect, such as Peter Vogel’s Klang-Sound-Objekte storing the extensive legacy of Edgar Gut- Conserve, Research, Exhibit and Teach, form (Tone-sound-objects) before an astonished bub (1940–2017), whose works certainly the essential focal points of the work done museum audience once again. deserve more public consideration. Here by the SKKD. Through research and docu- also, the preparation for exhibition of Traudl mentation the foundation wants to share the Even if the SKKD operates, in large areas, Brunnquell (1919–2010), who brought an results of its work with other institutions and exactly like a museum, it nonetheless remains Italian sense of modernism into the domes- make them accessible to future generations. a foundation. This has little effect on certain tic worlds of West Germany in the 1960s Currently, primary research in the area of areas of work, for example taking inventory, and 70s with her lamp designs, as well

40 41 Artists’ Legacies: A Canadian Perspective Buren’s 1970–71 essay on “The Function of Amy Marshall Furness the Studio” has been a seminal text for these Art Gallery of Ontario, Toronto, Canada projects. For Buren, the studio, as the origi- nal context of creation, has a unique status My goal in this brief paper is to articulate in its relationship to the work of art: “In the the distinctive aspects of the collection of art- studio we generally find finished work, work ists’ archives at the Art Gallery of Ontario in progress, abandoned work, sketches (AGO), both in terms of the content of these – a collection of visible evidence viewed collections and the institutional practices that simultaneously that allows an understand- shape them and animate them in the setting ing of process: it is this aspect of the work of the art museum. To place this account in that is extinguished by the museum’s desire a wider context, which I think is vital given to ‘install.’”3 This description of artistic con- the international scope of this symposium, I text and process will be immediately famil- will also consider the distinctive aspects of iar to those who work with artists’ archives. Canadian collecting in this area. My paper Buren was frustrated by what he called the is focused only on artists’ archives, since in “unspeakable compromise” of removing art- Canada there are virtually no public institu- work from this context for display and public tions or foundations mandated to collect or consumption, which led him in the direction administer the more broadly-defined lega- of site-specific work. For the present purpos- cies of artists – i.e. the inventory of finished es, what is interesting about his challenge art work belonging to an artist’s estate.1 is that it articulated the role of process and In developing my paper, I have found my- practice in art, making clear that the space self considering some underlying questions and the evidence of art making could invite about terminology, and about the nature of aesthetic consideration as much as the fin- institutions. In my own research into the na- ished product. ture of artists’ archives, I have examined the relationship between the material evidence Evidence of artistic process has long been of an artist’s practice (and life more broadly), of aesthetic interest to scholars and the art- and the processes of institutions when they viewing public, as demonstrated by the time- become involved in acquiring the archival honoured practice of collecting drawings. component of the artist’s legacy. It has be- Buren’s essay invites us to consider such evi- come clear to me that the archives – and I dence holistically, as part of an artist’s oeuvre think more broadly the legacies – of artists and closely enmeshed with the site of crea- are substantially shaped by the concepts and tion and the processes that enliven it. When definitions we bring to bear on our work, I consider the origins of artists’ archives, it and the institutional histories that underlie our is this integrated concept of the studio that professional practices. It seems to me that in I have in mind. The afterlife of the studio is the setting of an international conversation shaped by the institutional frameworks and such as this symposium, the matter of ter- decisions we bring to bear on our work. minology is fundamental. Before I describe I would argue that the acquisition of artists’ the particularities of working with artists’ ar- archives by institutions, entailing their remov- chives at the AGO, I want to consider a few al from the studio context, can be seen as its definitions and their implications. own kind of unspeakable compromise – one A key concept in considering the genesis of that is nonetheless generally unavoidable. In artists’ archives during the artist’s lifetime is of the discourse of archival studies it is now course the idea of the studio, on which there fairly commonly accepted that archivists par- has been a great deal of writing and exhi- ticipate in shaping the meaning of the collec- Herman Prigann, sketch of the project Kühlturm 22 in Zschornewitz near Dessau, 1997. Herman Prigann legacy, bition activity in recent years.2 Artist Daniel tions they acquire, however much neutrality RAK. VG Bild-Kunst, Bonn 2018

42 43 they attempt to bring to the process. Cana- to this mandate. This is, by and large, the ership of a rich Canadian documentary her- cesses of some individual artists and insti- dian archival scholar Heather MacNeil has norm in contemporary Canadian archival itage. In tandem with cultural property legis- tutions, the country has not developed a argued that archives in an institution should institutions, although in recent decades the lation, very few archival institutions have a homegrown art scene in which artists have be viewed as evolving cultural texts, and collection of private archives by government substantial budget for the purchase of collec- attained celebrity or enormous wealth. There archival interventions – including selection, institutions in particular has declined, prob- tions. Arguably, the playing field has been are very few artists who achieve the means arrangement, and description – can be con- ably because periods of fiscal restraint have leveled, so that archival collections are more to establish independent foundations to fur- sidered among the numerous authorial forc- led to a greater emphasis on the role of ar- often placed at the most thematically and/or ther their own legacies. Research and pub- es that come to bear on these collections.4 chives in government accountability, and a geographically appropriate institution rather lishing on Canadian art takes place at so To my mind, then, institutional mandates and reduced scope of the cultural heritage role than the wealthiest one, and there is little modest a scale that it is hard to imagine the professional practice need to be carefully ex- of archival institutions. temptation on the part of owners of archival viability of a research facility centred on the amined in terms of the profound effect they One of the consequences of the Canadian material to sell their collections piecemeal to work of a single artist. can have on shaping the collections in our total archives tradition has been a general maximize profit. With the matter of information networks care. An international symposium such as expectation, on the part of the Canadian The public ownership of artists’ archives in emerging as a theme of the symposium, it is this one is a rare opportunity to consider the public, that private archival material of sig- Canada has developed on a national scale worth making a few comments on the Cana- commonalities and differences in our various nificance will find a home in a public institu- within this wider context for Canadian ar- dian situation in this regard. While Canada approaches. tion, most often one attached to a level of chives. Key players include Library & Ar- has no information network devoted solely In considering definitions and concepts, I government or a university. This model for chives Canada (the national institution with to the archives of visual artists, there are a should explain that the term “archives,” in a private archives becoming a public resource a mandate to acquire the archival records of couple of related information tools with a Canadian context, commonly refers both to has been substantially supported by Cana- government and the published and unpub- national scope. The Canadian Heritage In- the archival records of government and to da’s cultural property legislation, which has lished documentary heritage of Canada), formation Network (CHIN) maintains Artists similar material generated by organizations the dual function of controlling the export of and a number of provincial government in Canada, a union database that serves and individuals – the inclusion of the latter, cultural heritage and encouraging the dona- archives and university archives across the as a directory of documentation files on which is sometimes referred to as “manu- tion of cultural property (including artwork, country. There is no national repository for Canadian artists at 24 art libraries across scripts” in different traditions, is a notable natural history and archives) to accredited artists’ archives equivalent to the Archives the country. In general, these files contain feature of Canadian archival theory and public institutions (of which there are nearly of American Art in the United States. Cana- ephemera such as news clippings and exhi- practice. As an archivist working with artists’ 300) for generous income tax benefits.6 da’s population centres are geographically bition invitations, and have been compiled archives, I see my purview as all the docu- widely dispersed, and a spirit of regionalism by institutions rather than artists. In other mentary evidence of artistic practice that has The application for a cultural property income is likely to play a role in the selection of a re- words, they are not strictly archival material. value for research. For practical and institu- tax certificate is made by the recipient institu- pository by an artist or his or her estate. Also However, the Artists in Canada database tional reasons, I would exclude finished works tion on behalf of the donor, with the institu- important is the relationship between donor brings together information on some 42,700 of art from this definition, even if there is a tion typically bearing the costs (or labour) of and institution. Many artists have existing artists, making it a uniquely comprehensive conceptual argument for considering them. inventories, supporting documentation, and relationships with educational institutions as resource for artist biographies. It is not diffi- monetary appraisal of the donated property. former students or instructors. I would argue cult to imagine its scope being expanded to Part of the background to this definition of In the case of archival donations, even in the that it is the aspect of relationships that has encompass artists’ archives in public institu- archives is the Canadian tradition of “total absence of a real market for archival collec- been foundational to the emergence of a tions.7 Meanwhile, the Canadian archival archives,” which, though not exclusive to tions, there is a well-established practice of handful of Canadian art museums – includ- community has developed a robust national my country, arguably sets Canadian prac- assigning monetary values through a proc- ing the AGO – as key players in the collec- union database of archival descriptions, Ar- tice apart from prevailing approaches to ess of “reasoned justification,” the rationale tion of artists’ archives in Canada. Art mu- chives Canada, with over 800 participat- archives in the United States, Britain and for which must be closely argued and docu- seums are already highly familiar to artists ing repositories and approximately 56,000 Europe.5 The concept of “total archives” mented by appraisers. For donors of archi- as collecting institutions and centres for the archival fonds or collections represented encompasses both a holistic approach to val material, this system provides a generous exhibition of art; they are closely bound up at time of writing.8 The scope of Archives acquiring archival records in diverse me- and flexible income tax credit at the value of with the metrics of success in the art world. Canada is comprehensive, limited only by dia (textual, photographic, moving images, the donation, and an exemption from taxa- Both familiarity and prestige would often at- the nationality of its contributing repositories, documentary art, etc.), and a commitment tion on capital gains for the same value. tend the placement of an artist’s archives at meaning that visual artists’ archives are rep- by archival institutions to acquire not only The cultural property certification and dona- a major art museum. resented within it but are only a small subset the records of their sponsoring government tion system places a certain burden of labour Meanwhile, it must be acknowledged that of the collections included. or institution, but also private archival mate- and associated costs on public institutions, the Canadian art world is a relatively small Having described the national context, I will rial related (geographically or thematically) but has facilitated the collective public own- and quiet place, and that despite the suc- turn now to the specific case of the Art Gal-

44 45 Nonetheless, the fledgling art museum was One of the opportunities attending the col- seen by local collectors and artists as a logi- lection of artists’ archives in an art museum cal repository for small gifts of artist manu- setting is the potential for close integration of script material. By the late 1940s, when the art collection with the archives. In many the widow of local artist, educator and respects, this situation is advantageous, al- gallery co-founder George Reid was seek- lowing the institution to consider the repre- ing a home for the large scrapbooks that sentation of an artist in the collection from contained his archival legacy, the art gallery a more holistic perspective, including both was the institution of choice. At that date, representative art works and documenta- it was not yet clear whether sketches and tion (and, of course, the in-between material albums belonged in the art collection proper which cannot easily be designated either art or in the museum library (indeed, the ques- or archives). In the particular context of the tion remains somewhat unresolved), but the art museum, my archival appraisal and se- overall suitability of the institution as a reposi- lection decisions are influenced by criteria tory was clear. By the 1980s, the maturing such as the relationship of archival material Canadian art world meant that artists were to the art works by an artist in the AGO’s creating and keeping more extensive ar- collection and the potential for inclusion of chives with the expectation that these would material in exhibitions. find an institutional home. The establishment of cultural property legislation in the late In recent decades there has been an active 1970s encouraged the donation of these practice of involving special collections ma- archival collections and led to the AGO’s terial in the exhibition program of the AGO. acquisition of the archives of Jack Bush, one Typically the archives play a supporting role, Communication from Margret Schriefers-Imhof on the occasion of the purchase of a work shown at the exhibi- of Canada’s foremost abstract painters, in providing contextual depth for the art on the tion of the Deutscher Künstlerbund (German Artist’s Association) by the state of North Rhine-Westphalia. Margret 1987. The steady growth of the Special walls and illustrating the artist’s practice, as Schriefers-Imhof legacy, RAK Collections (artists’ archives) since that date in the 2011 exhibition The Passion of Kath- led to the creation of a full-time position in leen Munn. The 2010 exhibition At Work 2001, funded by an endowment from AGO explored the place of artistic practice in the benefactor Rosamond Ivey. work of Agnes Martin, Eva Hesse and Betty lery of Ontario as a repository for artists’ ar- retrospective exhibition. “Study centres” at In the current environment of the AGO, the Goodwin, finding territory in which the re- chives. One of the two largest art museums the AGO include the multifaceted artist and Special Collections are an adjunct to the lationship between art and document was in the country, the AGO holds in its Research filmmaker Michael Snow, Montreal print- art collection. Administratively, the Library & much more nuanced and integrated. In par- Library & Archives over 130 individual archi- maker, sculptor and installation artist Betty Archives reports to the Chief Curator, and ticular, the section of the exhibition dealing val collections documenting the history of the Goodwin and London, Ontario regionalist acquisitions of artists’ archives, artists’ books with Betty Goodwin (entitled Work Notes) visual arts in Canada, with an emphasis on painter Greg Curnoe. It is worth noting in and other rare books are subject to the re- included the monumental installation of near- Toronto and the province of Ontario. Some the present context that the establishment of view of the institution’s art acquisitions com- ly 100 of the artist’s notebooks which she 25-30 of these collections are substantial, a study centre does not include comprehen- mittees. The Special Collections Archivist bequeathed to the AGO’s Special Collec- in-depth archives of visual artists for whom sive acquisition of the contents of an artist’s works closely with curatorial staff, without tions, as well as printing plates donated dur- there also exists a significant concentration studio or inventory of artworks, or any as- being considered a curator per se. In the last ing her lifetime. Goodwin kept sketchbooks of art work in the AGO’s permanent (art) col- signment of or responsibility for intellectual decade or so, there has been general ac- and notebooks throughout her career, find- lection. The collection of artists’ archives was property rights. Michael Snow, for example, ceptance of the idea of archives as a collect- ing in them a kind of portable studio (one championed by former AGO director Mat- has been active in shaping his archives as ing area of the museum with its own distinct with an extraordinary afterlife as an archive). thew Teitelbaum, who coined the term “study a living artist; the estates of Betty Goodwin acquisitions criteria supported by a body of Her printing plates are rich study material for centre” to denote certain instances where and Greg Curnoe exist independently. professional knowledge. The parameters of the artist’s technique, which involved etching the gallery’s holdings of art, archives and each artist’s archive are shaped by the work directly from found objects such as gloves published research materials could support The AGO began collecting artists’ archives of the Special Collections Archivist, in close and vests. They are also remarkably beau- in-depth research on an artist, at the level of in its earliest years of existence, when it conversation with curators and with the artist tiful objects in their own right. By placing a doctoral thesis, biography or substantial barely had a curatorial staff or a library.9 him- or herself, when s/he is still living. the evidence of the artist’s practice front and

46 47 centre, the exhibition inverted the usual or- our practice that will only be revealed when der of the art museum and made possible brought into relief by the international dia- an intense and intimate experience of Betty logue at this symposium, and the multiplicity Goodwin’s work. of perspectives on the afterlife of the studio. Before I conclude, the example of Betty I look forward to the continuation of this con- Goodwin brings me back to my earlier versation. comments regarding the artist’s studio. In the course of acquiring Betty Goodwin’s ar- chives, while the artist was still alive, I had the privilege of visiting her studio, a highly private space where few people were in- Endnotes vited. There, as much as in any studio I have encountered (or read about, or seen in pho- 1 This observation is the author’s best knowledge, based on conversations with visual art profession- tographs), I had the experience of being in als in Canada. There are isolated instances of a space that was an external manifestation studio remains and/or intellectual property rights of the artist’s mind and creative spirit. The being acquired by public institutions (for example, evidence of Goodwin’s working process the legacies of Frances Loring and Florence Wyle at the Art Gallery of Ontario), and the single-art- was everywhere, in the careful disposition of ist example of the Doris McCarthy Gallery (and found objects on the studio walls, and their archives) at the University of Toronto Scarborough, arrangement on work surfaces. The material but no institutions mandated to acquire or represent that I would recognize as archival was min- the estates of artists. 2 See, for example, Didier Schulmann, Ateliers: gled with works in progress, and collected l´artiste et ses lieux de création dans les collec- items, and published material. Its physical tions de la Bibliothèque Kandinsky [ouvrage pub- placement perhaps carried as much mean- lié à l´occasion de l`exposition “Ateliers: l´Artiste ing as its contents. I have seldom been more et ses Lieux de Création“] (Paris: Éd. du Centre Pompidou, 2006); Jens Hoffmann and Christina acutely aware of the inadequacy of institu- Kennedy, eds., The Studio (Dublin: Dublin City tional conventions and silos in dealing with Gallery The Hugh Lane, 2007); Wouter Davidts the afterlife of this kind of space. Betty Good- and Kim Paice, eds., The Fall of the Studio: Artists win’s archives, which are comprehensive at Work (Amsterdam: Valiz, 2009). 3 First published in English as Daniel Buren, “The and potent in ways that I have described, Function of the Studio,” October 10 (Fall 1979): are nonetheless only a piece of the artist’s 51–58; Reprinted in Hoffmann and Kennedy, The legacy, and one that was carved away from Studio. an original context that was organic, frag- 4 Heather MacNeil, “Archivalterity: Rethinking Origi- nal Order,” Archivaria, no. 66 (Fall 2008): 1–24. ile and extraordinarily complex. This is the 5 Laura Millar, “Discharging Our Debt: The Evolution great challenge of artists’ archives. of the Total Archives Concept in English Canada,” Archivaria 46 (Fall 1998): 110. At the AGO, the scope of the exhibition pro- 6 Government of Canada: Canadian Heritage: Movable Cultural Property Program. http://www. gram, the depth of curatorial engagement pch.gc.ca/eng/1268673230268. Accessed with the artists’ archives collections and the 30 June 2016. role of the Special Collections Archivist are 7 Canadian Heritage Information Network: Artists key aspects of the institution’s character as in Canada. http://www.rcip-chin.gc.ca/applica- tion/aac-aic/description-about.app?lang=en. Ac- a collector of artists’ archives. It is beyond cessed 30 June 2016. the scope of this paper to describe other as- 8 Canadian Council of Archives: Archives Canada. pects of the institution’s program, such as re- http://archivescanada.accesstomemory.ca/. Ac- search access, description and digitization, cessed 30 June 2016. 9 The institution now known as the Art Gallery of On- which also come to bear on its nature as a tario was founded as the Art Museum of Toronto From Richard Bellamy to Allan Kaprow (copy), undated. During one of her longer study visits to the USA Tremezza collecting institution. Indeed, it is my expec- in 1900, renamed the Art Gallery of Toronto in von Bretano was in contact with the art agent Richard Bellamy, who promoted her artwork among his friends. tation that there are distinctive elements of 1919, and adopted its current name in 1966. Tremezza von Brentano lifetime legacy, RAK

48 49 lished in 1958, which then became the to finally collect and process the documents name for the whole movement. of this movement. The group has been meet- The ZERO foundation is a non-profit founda- ing regularly since 2011 and consists of re- tion founded in late 2008 to research the searchers from the five European countries international ZERO art movement and bring which were particularly relevant to the de- it to a wider audience. Our research activi- velopment of the ZERO movement (Belgium, ties to date have focused primarily on life- Germany, Italy, the Netherlands and Swit- time estates rather than posthumous estates zerland). Occasionally, a member from the due to the unique fact that the ZERO founda- USA has participated in the research work. tion was founded by three key protagonists Due to the internationality of the research of the movement: Heinz Mack, Otto Piene group, linguistic and cultural barriers can be and Günther Uecker. These donated a body overcome in the evaluation of documents, of works of art and archives that form the expert knowledge can be exchanged, and basis of the collection and archive of the different perspectives in historiography can ZERO foundation. Otto Piene died in 2014. be taken into account. The previous work of Nevertheless, the fact that several artists of the research group has focused on the study the international ZERO movement were still of collaborative projects (exhibitions, activi- alive when the foundation was founded has ties and publications), which were initiated shaped our activity to date, partly because between 1957 and 1967 in the context of we had (and to some extent still have) the the ZERO movement, with the aim of recon- opportunity to interview them as contempo- structing the European network established rary witnesses. by the artists. The research work is subsidised by fund- The ZERO research group ing institutions. The Gerda Henkel Foun- It was back in 1963 when William E. Sim- dation, for example, funded the research Exhibition space in the Villa Romana, Florence, with Herbert Bardenheuer’s work Stanza nord-est The exhibition mat, who, together with Hermann Goep- project ZERO 1957–1967: Kartierung created an overview of 261 days´ work. Photographer unknown. Herbert Bardenheuer legacy, RAK fert, Rochus Kowallek and Fritz Usinger, einer europäischen Neo-Avantgarde (ZERO directed the Galerie d in Frankfurt in the 1957–1967: Mapping of a European neo- 1960s, first called for the documents of avant-garde), which was carried out by the the European avantgarde – in which ZERO ZERO foundation in cooperation with Hein- An international research group played a prominent role – to be collected rich Heine University in Düsseldorf. Another for an international movement: and researched academically in order to archive research project, Zone ZERO, was An academic research exchange document its activities for posterity. In the funded by the Rhineland Regional Council on the subject of ZERO catalogue of the exhibition European Avant- with a particular focus on ZERO movement Tiziana Caianiello garde, which was organised by the Galerie artists from the Rhineland. ZERO foundation, Düsseldorf d in Frankfurt, he wrote: “The time has come to stop defending, explaining and discuss- The research method ZERO ing, and to start systematically collecting, By collaborating with researchers from a The ZERO movement was formed in Europe artists in order to create platforms for their sorting through and ordering; to research number of different countries in our research towards the end of the 1950s by a group of art through joint exhibitions, campaigns and the material from an academic perspective. of the ZERO movement, we try to move past artists from Germany, Italy, the Netherlands, publications. Since the art business at the No doubt, however, the official art research a national perspective and more towards a Belgium, France and Switzerland who were time offered them very few opportunities to community will pass up the golden oppor- polycentric and transnational picture. ZERO looking to move away from the gestural showcase their work, the artists themselves tunity that is open to it today, and will only does not have a hierarchical tree structure painting of Art Informel and towards a more became active exhibition and event manag- try and chase the documents once they are with the classical avant-garde and individual reductive form of art. During this period, art- ers, as well as publishers. much harder to get hold of than today, if artists representing the roots of the move- ists Heinz Mack and Otto Piene from Düs- The joint projects often carried the name they can be found at all [...].”1 It was not ment, specific artistic personalities forming seldorf, joined by Günther Uecker in 1961, ZERO, selected by Heinz Mack and Otto until 2010 that the ZERO foundation in fact the trunk, and the so-called epigons forming strove to establish contacts with like-minded Piene for the title of a magazine they pub- put together an international research group the dichotomously shooting out branches.

50 51 From Herbert Bardenheuer to Ulrich Krempel, covering sheet to a letter, 1994 Bardenheuer asks Krempel for a print run, the basis for which was his exhibition Stanza nord-est. Each of the 261 catalogues contained an original text for the catalogue entry on his Villa Romana scholarship in Florence. Bardenheuer designed the catalogue as a work from the exhibition. Herbert Bardenheuer legacy, RAK ZERO is rather understood as ‘rhizome’; supplemented virtually with letters from the sonalities, such as the South African artist ed artists taking part in the movement sup- that is, a non-hierarchical interwoven system Hermann Goepfert Heritage in the Institute Denis Bowen, director of the New Vision ported each other in the organisation of joint spreading out in all directions with multiple for Urban History in Frankfurt am Main and Center Gallery, the ZERO movement was exhibitions and activities, as well as in the clusters. the respective private manuscripts of the art- even able to resonate in Great Britain where production of publications. Although their ists Jef Verheyen (Belgium), Oskar Holweck there was considerable mistrust against the artistic work could be very different, they Archival research (Germany) and Henk Peeters (Netherlands) Germans and the ‘continent’ as a whole. gained inspiration from one other and used Important sources for reconstructing the as well as from the holdings of gallery their respective contacts and opportunities to network of artists include correspondence owner Rochus Kowallek at the ZADIK in Co- Presentation of findings present their works to the public. The Dus- providing information about the contacts logne. Putting together these different puzzle The information gathered as part of the seldorf-born Mack, Piene and Uecker suc- between the protagonists and the planning pieces, it became clear that the London exhi- group’s research served as the basis for the ceeded in finding a way out of the- isola history of the exhibitions and activities, art- bition was organised by Heinz Mack, who development of a chronology of selected tion suffered by Germany in the aftermath ists’ magazines conveying information about divided the participants into four national exhibitions, activities and publications that of the War. Following the rift brought about artistic views and multidisciplinary collabo- groups. For each group, Mack appointed were relevant to the ZERO movement. The by National Socialism and World War II, rations, historical exhibition catalogues, a ‘commissioner’; in other words, an artist archival documents allowed connections to which also affected the arts and prevented invitations, posters, leaflets etc. illustrating who was responsible for the coordination of be reconstructed and the partly inaccurate international contacts, it was necessary to how artists raised public awareness of their the participants from their own country: Her- information found in the previous literature build a new network of artists. It is of consid- projects, as well as sketches and project mann Goepfert for Germany, Dadamaino on ZERO to be corrected and supplemented. erable credit to the ZERO movement that the drafts. A central role has been taken by the (Eduarda Maino) for Italy, Henk Peeters for The extensive archival research also brought artists made transnational contacts, so that research on exhibition photographs and TV the Netherlands and Jesús Rafael Soto for the to light personalities, exhibitions and other in parallel with the creation of the European reports, some of which are unpublished or artists living in France. This example shows activities that previous research had missed. Economic Community in 1957, a loose Eu- little known. Film footage and photographs how the ZERO movement consisted of local This has therefore created a solid foundation ropean artistic community emerged from the provide information about exhibited works cells that were networked together: The hard for further studies on the ZERO movement. end of the 1950s. While the statesmen who and presentation, as well as the course of work and dedication of the associates in the The results of the research group’s work have signed the Treaty of Rome were striving for events. Speeches held at the openings pro- different countries made it possible to organ- been presented in various exhibitions and an economic cooperation, the artists of the vide information about the supporters of ise challenging events on an international publications. For example, in the “Wander- ZERO movement came together to promote ZERO and their perception of the movement. level, even at short notice. Each artist used zirkus ZERO” section of the exhibition Zero an artistic exchange and dissemination of Reviews show how the respective projects their own contacts to open up exhibition op- - Die Bewegung der 1950er und 1960er their ideas. The work of the international were ultimately received by the public. Inter- portunities and, in turn, benefited from the Jahre (Zero – The movement of the 1950s research group which was established by views and discussions with artists and con- contacts of the others. and 1960s), which was held at the Mar- the ZERO foundation aims to preserve this temporary witnesses complete the picture. A guest book from the fonds of the New Vi- tin-Gropius-Bau, Berlin, in 2015, and in the cultural heritage for posterity. The documents are dispersed over numer- sion Center Gallery, which are stored in the catalogue published by the ZERO foundation ous archives within and outside of Europe. archive of the Tate Gallery in London, also together with the Stedelijk Museum Amster- Therefore, an important task of the research provides an insight into the people who vis- dam. They were also presented in the book group is to supplement and link the ZERO ited the exhibition in the New Vision Center entitled “The Artist as Curator: Collaborative Endnotes archive material with documents from other Gallery. Among other things, it proved that Initiatives in the International ZERO Move- 1 William E. Simmat, “Neue europäische Schule, collections. the American artist Ad Reinhardt was one of ment, 1957–1967”, which was also pub- Arte Programmata, Neue Tendenzen, Anti-Peinture, the guests. Photos of the New Vision Center lished by the ZERO foundation in 2015. Zero”, in: Europäische Avantgarde, exhibition cat- An example Gallery and its laudable owners, artist Denis Findings from the work of the research group alogue, Galerie d, Frankfurt 1963, unpag. We can provide an illustration of how ar- Bowen and Kenneth Coutts-Smith, were have also been included in projects of other chive materials from different holdings can found in the Coutts-Smith holdings of the Mor- institutions with which the ZERO foundation be brought together using an example from ris and Helen Belkin Art Gallery in Vancou- has cooperated, such as the catalogue for our research on the ZERO exhibition which ver, Canada. The example of the ZERO art the ZERO exhibition which opened at the took place in 1964 in the New Vision exhibition at the New Vision Center Gallery Solomon R. Guggenheim Museum in New Center Gallery in London. Correspondence demonstrates how Mack, Piene and Uecker, York in 2014. about the organisation of this exhibition, despite the resentment often shown against which is housed at the ZERO foundation Germans in other countries, succeeded to International cooperation in the lifetime estate of Heinz Mack and build a European artistic community after ZERO was a European movement that trans­ the posthumous estate of Otto Piene, was World War II. Thanks to open-minded per- cended national boundaries. The like-mind-

54 55 European-art.net Edith Krebs Swiss Institute for Art Research (SIK-ISEA), Zurich, Switzerland

European-art.net is the product of a coop- gatherings have taken place in Bucharest, eration between basis Wien (Vienna) and Nuremberg, Kassel, Cologne, Lublijana, Vi- Kunstbulletin (Zurich) and the former Vektor enna and Zurich. Project (Vektor – European Contemporary Archives), which received financial support EAN is financed by annual contributions between 2000 and 2003 from the Europe- from the participating partner institutions. Ef- an Commission in the scope of the ‚Culture forts are being made to secure public sec- 2000‘ initiative. tor/EU funding, so as to enable the continu- ous development of the website and to keep The goal and purpose of European-art.net it in line with technological innovations. (EAN) is to collate various European art da- tabases into a meta-database, in order to The management board is housed by one illustrate the breadth and depth of European of the partner institutions; from 2011 until artistic production online and to facilitate re- 2016 at the Swiss Institute for Art Research search into this topic. EAN collects informa- (SIK-ISEA), Zurich, as of 2017 basis Wien tion about artists and their activities in exhi- took over the chair. A strategic committee bitions and galleries; photographs and texts of (at least) three people is responsible for about the creators and their works are also a the ongoing conceptual development of the part of the online offering. With this interna- project and the integration of additional tional network, the EAN aims to strengthen partners. the visibility on the internet of the art archives involved, by incorporating the data into oth- The following institutions are currently part- er search engines for example. ners of the EAN network: basis wien (Vienna); documenta Archiv (Kas- As a meta-database, the EAN does not pro- sel); Institut für moderne Kunst Nürnberg (Nu- vide any data itself, rather it collects data remberg); Kunstbulletin (Zurich); Kunst- und from its partner institutions on a collective Medienbibliothek Köln (Cologne); Moderne online platform. The respective data sources Galerija Ljubljana; National Museum of remain visible throughout this process. The Contemporary Art, Bucharest; Swiss Institute professional profile of the partner institutions for Art Research (SIK-ISEA), Zurich; Studien- guarantees a high level of data quality. Cur- zentrum für Künstlerpublikationen Weser- rently, EAN is sustained by 10 partners, burg, Bremen; Zentralarchiv des internation- who together have pooled around 275000 alen Kunsthandels e.V. (ZADIK), Cologne. data entries.

Each year, European-art.net organises a gathering for its partners in one of the partici- pating institutions. This gathering facilitates the exchange of expertise, the expansion of the network and the discussion of future Hans Dotterweich, self-portrait, charcoal drawing, 73 x projects and further developments. Previous 51 cm, 1945. Hans Dotterweich legacy, RAK

56 57 observe the collection guidelines of partners a half-day hands-on workshop, for example, and the market around the estates, for ex- about the pricing of lifetime and posthumous ample, in order to avoid pushing up mutu- estates or legal questions – a perennial issue ally the prices in auctions, because after all, for archivists. The main programme initially most of the institutions operate with public offers the possibility for the individual par- funds. In the meantime, similar agreements ticipating institutions to introduce themselves have been made with international partners, and / or to report on the activities in the past such as the German Literature Archive in year. Presentations and panel discussions on Marbach. A further goal was to establish a various topics, such as the estates of com- 4 Günther Oellers, draft designs for the facade of the Haus der Geschichte (Museum of Contemporary History), joint website and mailing list. posers, digitisation issues or exhibition strat- Bonn, circa 1986/87. Günther Oellers legacy, RAK. VG Bild-Kunst, Bonn 2018 egies are then held in the afternoon. Estate From KOOP-LITERA Austria to KOOP-LITERA libraries have also been a topic of discus- international sion. The following day is again defined by In 2008, KOOP-LITERA Austria presented presentations and panel discussions in differ- itself on the international stage for the first ent sections, this time however, with a more time, as a guest of the Staatsbibliothek zu practical approach in which policy matters Berlin – Preußischer Kulturbesitz (Berlin State and conservational issues are discussed. The KOOP-LITERA international network Library – Prussian Cultural Heritage). After a Formation, self-conception, practice, conference held in Berlin, the proven and Interface: Artists’ estates perspectives1 open concept of cooperation raised the Within this document, we are using the term Volker Kaukoreit question of establishing a comparable net- artists’ estates to refer, in the first instance, Austrian National Library, Vienna, Austria work in Germany. In August 2008, a hand- to “written estates”, not artistic estates in ful of interested institutions met up to this end the narrower sense. In this respect, artists’ at the German National Library in Frank- estates, with their theoretical-aesthetic wri- KOOP-LITERA is an independent network The Research and Documentation Center for furt/Main for a kick-off meeting to initiate tings, diaries, correspondences, photos, with a strong emphasis on practical work Austrian Philosophy (Graz) or Geologische independent working group KOOP-LITERA posters, sketches, illustrations, newspaper that focuses on dealing with legacies and Bundesanstalt (GBA, Geological Survey of Germany and integrate it in an international clippings, etc., overlap with authors’ es- associated matters. The following is about Austria) (Vienna). network. KOOP-LITERA now operates in tates. It is an indisputable fact that artists the actual network itself and possible touch- Germany, Luxembourg, Austria and Switzer- also enter into correspondence with wri- points with artists’ legacies. What were the goals by then and what are land. Regular annual meetings take place in ters, just as writers themselves enter into they now? Germany and Austria, and every three to correspondence with scientists, musicians, History The original goal was to harmonise archi- four years, there is a conference of the in- politicians, etc., and so the art-creating, The foundation of the network was linked to val practices; that is, the management of ternational network/association, which has intellectual, and (cultural) political world is the official establishment of the Literary Ar- estates, the electronic cataloguing of estates to date been held in Mersch (Luxembourg, also interlinked through the various estates. chive of the Austrian National Library and as well as standardised regulations of use, 2011), Bern (2014) and Berlin (2017). The its commitment to cooperation and coordi- always, however, with a focus on vital ex- next international meeting will be held in Vi- These interrelations were discussed in 2010 nation. Foundation meetings took place in change through regular work meetings. To enna in 2020. at the conference of KOOP-LITERA Germany Vienna and Bregenz in 1996/97, in which this end, KOOP-LITERA toured Austria many in Berlin with a section entitled “Dialogue the decision was made to provide the work- times, not only the regional capitals, but also Organisational Practice of Disciplines. Estates of Multi Talents. Ac- ing group of the Austrian Literary Archive2 Gmunden (Upper Austria); from the outset in- Every year in December, an international quisition, Cataloguing and Presentation”. with an expert advisory board in the form of cluding guests from Germany, Luxembourg, KOOP-LITERA organisation group has met Topics of the individual speakers included an estate management committee as part of Slovakia, Slovenia, Czech Republic and in Vienna to coordinate the focus of the na- “Einar Schleef: Theatre – Visual Arts – Litera- the Vereinigung österreichischer Bibliotheka- Hungary. In June 2018, the 21st workshop tional and international meetings. ture. Special Features in the Cataloguing of rinnen und Bibliothekare” (VÖB, Association of the Austrian KOOP-LITERA Community Cross-Genre Artists’ Archives”, “Hermann of Austrian Librarians)3. Over time, further es- took place in Innsbruck, with over 40 par- The regular work meetings follow a relatively Hesse and the dual methods of cataloguing tate-managing institutions with an interest in ticipants from 20 represented institutions. In fixed pattern that has become established his dual estates” and “A World of Language sharing experiences about managing estates addition, KOOP-LITERA set itself the task of based on the practice in Austria. The meet- as a Legacy. Cataloguing the Legacy of were added to the literary archives, such as: pursuing a cooperative acquisition policy, to ings take place over three days, initiated by Carlfriedrich Claus” (art collections in Chem-

58 59 Günther Oellers, sketch for the bronze sculpture Grosser Konvent (Large Convent), 1989. Günther Oellers legacy, RAK. VG Bild-Kunst, Bonn 2018

nitz). The subject of artists’ estates was thus bibliothek Bonn – Handschriftenabteilung” repeatedly emphasized or touched upon; (University and State Library of Bonn – Man- most recently in 2018 in Kiel, where lectures uscript Department) can be found in the “Ex- on “Original and Representations in the Cur- plore Deutschland” section. However, the in- rent Estate Cataloguing of Research Institu- stitutions in evidence also include important tions: Archive of the Nolde Foundation” and estate management institutions from non-Ger- “Barlach 2020 – Critical Study Edition of man-speaking countries. In addition to the the Letters of Ernst Barlach” were held under list mentioned above, the German-speaking the main title “Artists’ Estates – Special Fea- institutions are additionally listed according tures, Cataloguing, Visualisation”. to their collection areas, e.g. “Art”.

The Web portal Information on databases and web por- The “Explore” section is the centrepiece of tals, as well as web portals associated with the KOOP LITERA website5. Here, you will the cataloguing of estates can be found find a list, including comments and- organ under “Datenpools” (Data pools)6, as can ised by geographical location, of estate- the “Verzeichnis der künstlerischen, wissen- managing institutions the majority of which schaftlichen und kulturpolitischen Nachlässe have already participated in KOOP-LITERA in Österreich” (Index of artistic, scientific and conferences. The “Rheinische Archiv für Kün- cultural-political estates in Austria)7 or “Kalli- Günther Oellers, manuscript, circa 1989. In describing his work Grosser Konvent, Oellers touches upon the fun- stlerachlässe” (Rhenish Archive for Artists’ ope” and, of course, also references to the damentals of his creative process, the resolution of the conflict between the individual and the masses. Günther Legacies) and the “ Universitäts- und Landes- Deutsches Kunstarchiv (German art archive) Oellers legacy, RAK

60 61 at the Germanisches National Museum (Nu- ing the event Literature and its archives – A Linz reading remberg) or to private artists’ estates in the night. Linz: StifterHaus 2009. state of Brandenburg. The “Standards” sec- Sylvia Asmus, Jutta Weber: KOOP-LITERA Germany. tion incorporates national and international Network for estates. In: Dialog mit Bibliotheken (Dialo- regulations. The “Archivpraxis” section also gue with libraries). Volume 21, no. 1/2009, p. 36–37. references important publications on the sub- ject of estates and estate management. Volker Kaukoreit, Martin Wedl: Von KOOP-LITERA Ös- terreich zu KOOP-LITERA International. Ein Kompetenz- Netzwerk für Nachlässe. (From KOOP-LITERA Austria to The website also provides information about KOOP-LITERA international. A network of competence estate projects (also concerning the digitisa- for estates) In: Archivar, issue 4/2014, p. 372–373. tion of estates) and, not least, provides cur- rent dates of events that are of interest to Endnotes the specialised audience of KOOP-LITERA. Additions to the website, updating and cor- 1 This text is an audio transcription. The lecture was rection suggestions are welcome. given without notes in April 2016 in Bonn; the text was subsequently edited down and slightly updated. 2 The amalgamated Austrian Literary Archives initially Perspectives operated as a working group. The name KOOP-LIT- The significant challenge of dealing with ERA was subsequently adopted to reflect the group’s digital-born estate materials8 has been dis- identity as a cooperative initiative; a name that has cussed repeatedly at several work meetings been retained despite the cooperative now count- ing many non-literary archives among its number. – a topic, it seems, that cannot be dealt with 3 See http://www.univie.ac.at/voeb/kommissionen/ conclusively, and thus remains very much nachlassbearbeitung/ (as at July 2018). alive. In addition, the KOOP-LITERA network 4 See https://www.onb.ac.at/koop-litera/liste/ is discursively involved in the development (as at July 2018). 5 See https://www.onb.ac.at/koop-litera/ (as at of a set of rules that is intended to replace July 2018). the previous “Rules for the Cataloguing of 6 See https://www.onb.ac.at/koop-litera/daten- Estates and Manuscripts” (RNA) and also pools/ (as at July 2018). approximate the usages of official archives. 7 See http://opac.obvsg.at/nlv (as at July 2018). – Note that this estate index, which comprises more The RNAB, which is an acronym for “Res- than 6,400 fonds and can be searched by the term sourcenerschließung mit Normdaten in Ar- “art”, could only be realised with the active support chiven und Bibliotheken” (Cataloguing of of the KOOP-LITERA community. resources with standard data in archives 8 Estate materials that genuinely and exclusively exist in digital form. and libraries (for personal, family, and insti- 9 See http://cerl.epc.ub.uu.se/sportal/(as at July 2018). tutional archives and collections), will most likely be adopted in the course of 2019 by the Standardisation Committee at the Ger- man National Library. Also, the KOOP-LIT- ERA community is interested in establishing an international database of estates and manuscripts that extends beyond already ex- isting models such as CERL9.

Literature (selection)

“Martin Wedl, Volker Kaukoreit (Hrsg.): 15× Koop-Lite- ra. Begleitbuch zur Veranstaltung Literatur und ihre Ar- Edith Oellers-Teuber, portrait photo, circa 1960. Pho- chive – Eine Linzer Lesenacht” (Catalogue accompany- tographer unknown. Edith Oellers-Teuber Legacy, RAK

62 63 The heritage of artists, but also of curators, The Getty Research Institute collects the writ- art critics and gallery owners, is an impor- ten legacy of artists, which is important for tant source for research in the field of art his- research, as opposed to the artworks them- tory. It constitutes a focal point for the Getty selves. There is no question that the terms Research Institute. The GRI, as abbreviated, used here are somewhat vague, likewise an is one of four programs of the Getty Trust, unusual feature of our area or areas of col- located alongside the Getty Conservation lection is that we accept architectural mod- Institute, the Getty Foundation and the Getty els, but only if, as a drawing would, they Museum on the main campus in Brentwood, represent the architectural design process. Los Angeles. As a research institute for art history, the GRI not only possesses an exten- As such, our collection policy distinguishes sive library, it also runs a scholar program, a itself from the initiatives in Germany’s fed- program within the scope of which a group eral states, which look after entire artistic of 50 to 60 researchers are selected each legacies. Consequently, the most accurate year to come together in Los Angeles to work comparison is with the Literary Archive in on an annually selected, common topic. The Marbach. But only in certain aspects, as our majority of these scholars make use of the archive is an extension of the library. We collections of the Getty Research Institute collect and conserve the sources, which are over the course of their stay, spanning three, indispensable for future research. six or nine months. Both the library, which What you will find in our storage houses: with over a million books is one of the most here in the picture you will see a list, which extensive art history libraries in the world, admittedly only constitutes a selection of the and our special collections. I don’t wish to archives in our possession. Among the artist go into further detail here about the other archives of the Getty Research Institute are departments of the Getty Research Institute, the legacies of both formative artists and art as you can find out all about them on our theorists, such as Marinetti, Kaprow, Szee- website. mann, Sam Francis, but influential photog- raphers such as Mapplethorpe, Balz, and The special collections are comprised of Julius Shulman can also be found here. A unique material, such as rare books from particular focus are the archives or partial the 16th century, graphic prints, drawings, archives of architects, such as Pierre Koenig, architectural models, sketch books and an Peter Eisenman, John Lautner, Bernard Rudof- archive, which spans over 22,000 feet, or sky, Coop Himmelblau, Rossi, Meier, Libes- Thomas Gaehtgens, Director of The Getty Research Institute, Los Angeles, USA. Photo: Milan Chlumsky 8 km. We have more than 2,000 bequests, kind and many others, in which, alongside but not only from artists. One of the focal sketches, correspondences and business points here is the heritage of artists which I papers, the most beautiful models are often will concentrate on today. First, a word of to be found. As the research institute is a The Getty Research Institute clarification: we have archives from artists, relatively young institute, its collecting activi- Thomas Gaehtgens architects, art critics, art dealers, auction ties reaching only as far back as the early The Getty Research Institute, Los Angeles, houses, art historians – all from around the 1980s, the focus of the archival material is USA world. And a word of clarification on termi- on the 20th and 21st centuries. We also nology. When I speak of heritage, legacies, have extensive archives from earlier centu- Thank you very much for the friendly intro- it is a compliment to you, as it shows more bequests or archives, I am referring to writ- ries, these are seldom entire artistic legacies duction, many thanks, Mr Schütz, for the in- than anything, that there are a great deal of ten material, as opposed, for example, to however. Geographically speaking, the ma- vitation. When all is said and done, some opportunities for discussion between these artistic bequests such as paintings or sculp- jority of our inventory comes from the USA, things will have been repeated, but I think institutions; we all do things very differently. tures. However, located in our archives are California in particular, in addition to South that we will also see, how positive it is, that As you will see, there are some similarities, also drawings, sketch books or negatives America and Europe. However, in the last we are having this conference. Mr Schütz, but there are many slight differences too. and Polaroids, as you will see shortly. few years we have adopted a more inter-

64 65 national outlook, both in the collections and stand in order to really understand the pic- in our research initiatives. We also travel to ture – naturally this is also very characteristic China, Japan, India, Africa etc. of Magritte.

The collecting activities in the area of artistic An important and extensive collection of heritage began at the Getty Research Insti- letters from André Marty exists, Marty be- tute with the acquisition of artist’s letters and ing a French publisher and editor of print- other materials such as sketch books and ed graphics and art books. The collection notebooks. Artist’s letters constitute a unique encompasses the period from 1886 until resource for researchers, as they give an in- 1911 and contains letters from artists such sight into the mind of the artist. This often as Vallotton, Pissarro, Monet and Signac. takes a more intimate form than that of pub- The letters illustrate the tension and the de- lications or official speeches or statements. velopment at the interface between new Furthermore, they impart the conditions in forms of artistic expression at the turn of the which the artworks arose, bearing witness century and commercialisation through print to the relationship with a client for example. production. In a letter from Monet to Marty The correspondences in the special collec- for example, the artist talks with some uncer- tions date back to the 16th century, with ear- tainty about his capability of working with ly examples from Michelangelo, Turner and lithography as a medium. In contrast, a letter Reynolds. But the 19th and 20th centuries from Félix Vallotton reveals his concerns as to forms a particularly strong presence in our how much control the individual artists could inventory. The 19th century is represented by exercise over the publication of their graph- letters from, among others, Delacroix, Mon- ic work. A collection then, that addresses a From Blinky Palermo to Norbert Tadeusz, 1973. In December 1973 Palermo settled in New York for almost three et, Manet, Renoir, Signac and Ensor. As an very specific artistic problem, described by years. He got in touch with Tadeusz immediately after his arrival. Norbert Tadeusz legacy, RAK example I present to you here, among other various artists. This is a collection topic that things, an envelope from 1891, addressed particularly fascinates the research institute. to Signac’s friend, the critic Finions, the back Especially in the period before 1900, letters of which bears a wonderful silhouette draw- and other objects such as sketch books were to five letters a day and she likewise to him. We collect artistic heritage from all epochs ing of the critic. often the only primary sources on the life and So there really are a lot. They give us a com- and cultures. We receive the majority of this work of an artist. The GRI nonetheless at- plete insight into the professional and private heritage as bequests. When purchasing or The inventory of artist’s letters from the 20th tempts to form as comprehensive as possible life of the couple, including during their es- accepting legacies, several basic principles century encompasses letters from many in- a collection around the artist and to make cape from Germany in 1933. must be fulfilled and these are defined in our dividuals, including Kollwitz, Klinger, Lieber- this accessible; even if the material is physi- acquisition policy: first of all we check that mann, Klee, Max Ernst, Arp, Kandinsky, El cally distributed across various institutions. Ideally, we look to acquire complete ar- the heritage has research potential. You can Lissitzky, Mendelson, Richter, Rothko, Beuys This is the case with the correspondence chives or receive them as donations and imagine how difficult this is to define. Sec- and many others. Some of these letters are between architect Erich Mendelsohn and his make the research accessible, something ondly, we check to what extent it constitutes a testament to long friendships and intense wife Luise, of which one part is located in which forms one of the main criteria when an expansion of our existing inventory. Third- professional connections, as is the case of the GRI, another in the Art Library of Berlin’s making an acquisition. Artists’ archives are ly, if the legacy is complete. The fourth step René Magritte’s letters to Colinet from 1934 State Museums. In order to support research increasingly being dismantled, or in the is checking if we have the rights to usage to 1955 for example – we have some 250 into Mendelsohn, both institutions have de- case of particularly successful or influential and reproduction. The fifth step is ascertain- letters from Magritte. Magritte constantly veloped a project to digitise the letters in artists, eviscerated. Letters, drawings, or oth- ing if restoration measures are necessary, conveyed to his friend ideas for pictures, their respective collections, to transcribe er visually attractive material are taken from and the sixth, if we are making a purchase, which he regularly discussed in their con- them and to bring them together online on archives and sold. This complicates both the whether the price negotiated corresponds to ceptual form with his writing partner. Here is one commonly accessible site in a type of scholarly examination of the material and the market price. Accepting a bequest takes a particularly handsome letter from Magritte, “digital cabinet”. Over 11,000 pages have the comprehensive research into the artist. place over a very long process of evalua- in which he explains to his friend how one been processed to date – it is important to Reducing artistic heritage to such a tattered tion, which ends in a type of seminar, in should observe the “bar aux Folies-Bergère” know here that if Mendelsohn was away state is analogous to grave robberies in the which the academic staff of the research [by Édouard Manet], where one should from home, he wrote his wife around four field of archaeology! institute discuss all these questions at length,

66 67 “Gentlemen…”, From Gilbert & George to Norbert Tadeusz, 1972. Norbert Tadeusz legacy, RAK

sometimes over many hours and sometimes Greenberg, Harald Rosenberg or Ada Lou- with a great deal of controversy. We have ise Huxtable. We possess the legacies of recently acquired the legacy of Otto Muel. collectors such as Fritz Panzer, Gene Brown, You can imagine how controversial this dis- and those of galleries such as the Galerie cussion was. When discussing the research Schmela, the Margo Leavin Gallery, and the value of the archive, we consider which re- documents of the Knoedler Gallery. search opportunities arise from intersections The Knoedler legacy contains a plethora of with other holdings in the special collections artist’s letters from the likes of Bugarro, Corot, and our library and with those in other institu- Monet, and Cézanne. This complete legacy, tions. As such, the archives in the collections especially in connection with the Getty Prov- of the research institute are in no way solely enance Index, proves to be a unique source representative of important artists, architects, for research on movements in the art market, musicians or photographers, such as Shul- the history of taste, collecting activity, prov- man, for whom we possess the entire legacy enance and patronage on the international of thousands of photographs. These hold- and especially the American art market from ings are complemented by archives which the late 19th through the 20th century. One provide information concerning reception, of the most extensive legacies, which we ac- market value, or artistic development, those quired several years ago, is the archive of of curators for example, such as Marshall Harald Szeemann, the cataloguing of which Tucker, Harald Szeeman or Kirk Anold, or we have already largely completed. In this critics such as Lawrence Alloway, Clement archive too there is naturally a multitude of

69 archival material is its digitisation. The Getty in 2008, the GRI also initiated a coopera- Research Institute aims to make as much ma- tion with the Los Angeles County Museum terial as possible available in digital form for of Art and the Museum of Contemporary research purposes, so as to facilitate access. Art, in order to bring a new interpretation The issue of copyright often poses a problem to Kaprow’s happening “Fluids” for the here however, as it is not always transferred first time since 1967. The institute commis- to the institute with the purchase of a legacy, sioned the artist group Los Angeles Art Girls staying instead with the estate holders for up with the project “Overflow”, which served to 70 years after the death of the artist. simultaneously as a homage and also an examination of contemporary themes such From the legacies of artists, photographers as environmental protection and artistic con- and architects, which are situated in the cepts such as participatory art. In this way Getty Research Institute, in cooperation with we re-established one of Kaprow’s projects. other institutions and academics around the globe, we often develop research and Another interesting case is the Californian exhibition projects, which span over many artist Geoge Herms. His archive, which is of years. This comes in addition to workshops great significance to American, and in par- and publications, in which we highlight new ticular Californian, assemblage and concept topics from areas of research and exhibi- art, came to us in 300 orange boxes. The ar- tions, which often emerge from an archive chive proved to be in total chaos, which first containing related material, either in our had to be properly ordered. Letters, draw- holdings at the GRI or in those of a partner ings, correspondences and poems were institution. The exhibition of Allan Kaprow’s more or less thrown into the boxes without Blinky Palermo and Norbert Tadeusz during the opening of an exhibition featuring works by Norbert Tadeusz in the “Art as Life” for example, with stations in, regard for classification by either theme or Galerie Gunnar, Düsseldorf, 1966. Photo: Werner Raeune. Norbert Tadeusz legacy, RAK among others, the Haus der Kunst in Mu- chronology. We then invited George Herms nich, the Van Abbemuseum in Eindhoven to the GRI for a year, he sorted through the and the Museo d’Arte Contemporanea in material page by page with a research as- Genoa, contains extensive and previously sistant and brought the often undated papers correspondences with artists, critics and mu- archive, inputting it into the catalogue of the unshown material from the artist’s legacy, into order. The discussions took place with seum curators which are all extraordinarily special collections of the Getty Research In- which is located in the Getty Research In- a recorder. The archive thereby became valuable as sources for research. Here too I stitute and opening it up for research is an stitute. We received the archive in 1998 a unique treasure trove of information on can only give examples, such as Szeeman’s intensive and drawn out process. Initially, directly from the artist. This is of course an Californian art. It served as an invaluable correspondence with Tinguely, Niki de Saint all the elements making up the estate are ideal case. With such opportunities we look resource for the exhibition “Crosscurrents in Phalle, or Christo, in which he details in- recorded, catalogued and chronologically to involve the artist directly in the process L.A. Painting and Sculpture, 1950–1970”, structions on packing to the Kunsthalle Bern, and thematically sorted in special archive of organising the archive and the legacy which we hosted in the course of the re- but also Serra’s ideas on his contribution to boxes. Parallel to this a so-called “finding of their life’s work. This is done in particular search initiative “Pacific Standard Time” in documenta 5. The artist’s letters in the Szee- aid” is created. This finding aid, which is through a program of oral history. These re- 2012. You cannot imagine, how happy man archive would merit an entire lecture in accessible to everyone online in the library cordings and the corresponding transcripts George Herms is that his legacy is now in their own right. search engine, lists all the documents of an are then added to the archive. The Kaprow order. He comes to us time and again to archive, complete with the box and folder archive, consisting of 120 boxes and 16 so- thanks us for this. The Getty Research Institute finds itself in number in which they are located. In this called “flat files”, includes sketch books, cor- the privileged position of having the spatial way, researchers can order exactly those respondences personal and project-related Yvonne Rainer, “Dances and Films”, was a and logistical prerequisites, in addition to boxes which are of interest for their work notes, films and audio recordings. Some of monographic exhibition from 2014 within the expertise of academics in the field, for and view them in the reading room of the the archive’s most fascinating elements have the research institute, dealing with the most taking on artist’s legacies in their entirety, special collections, or they can send us an been published by the research institute in important female performance artist and professionally cataloguing them, digitising online request to ask if specific correspond- the form of a book, in connection with the choreographer of the last century. We were them and making them accessible where ences have been digitised and have us send exhibition. As the exhibition reached the Mu- able to show the exhibition in the Kunsthaus necessary and upon request. Purchasing an those to them. A key aspect of processing the seum of Contemporary Art in Los Angeles Bregenz and the Museum Ludwig in Co-

70 71 logne. The related research project could Mapplethorpe. The photographs were joint- rarely still available. Furthermore, the issue only be carried out because we had con- ly acquired by the Getty Museum and the of conserving these works poses an institu- served the archive of the artist in our spe- Los Angeles County Museum in 2011 and tion very significant challenges, as only code cial collections. Using a selection of photo- the GRI received Mapplethorpe’s personal storage will, hopefully, guarantee sufficient graphs, diaries, notes and film recordings, archive from the Mapplethorpe Foundation conservation. We are therefore digitising the exhibition yielded an insight into Rain- as a bequest. It contains drawings, hand- our entire video library. We are conducting er’s most important dance and performance painted collages, assemblages, jewellery, an extensive, extremely elaborate research works. In this instance too, the cooperation interviews, portfolios, Polaroids and vintage program in order to restore and digitise with Yvonne Rainer was of great importance. prints. The archive complements the existing these videos. For this to be at all possible She supervised our project, step for step, collection of Mapplethorpe’s photographs however, it requires the technical equipment even appearing once more in the exhibition situated in the Getty Museum and was natu- used by the artist. Fortunately, these are eas- as a dancer and explaining the connections rally one of the most important sources for ily found using eBay and Amazon. But we to previous events. the preparations for extensive retrospectives, are also using this initiative to conduct work which are currently on show at the Getty Mu- on the archives relating to art history and re- Collaboration with the artists themselves is seum and LAGMA [Lake Arrowhead Gal- search. An extensive exhibition of video art naturally the ideal method of developing an lery and Museum of Art]. Clearly, both of in California, with an accompanying pub- archive. We also had the chance to do this these publications stemming from the event, lication in our Getty Research Journal, are with Ed Ruscha. Ruscha’s archive “Streets regarding his photographic work and his ar- the results of this research, with which we of Los Angeles” is a further example of the chive, could not have been created without want to show that possessing this archive is recording, cataloguing and evaluation of a the archive. a huge responsibility. bequest in close coordination with the artist. Patti Smith was a constant help to us through- “Streets of Los Angeles” contains a million out the preparations and regularly came in As with all its holdings, with its collection of pictures, hundreds of contact sheets, note for discussions – including this weekend artistic heritage, the Getty Research Institute books, and the entire production archive incidentally. At the Getty Research Institute, aims to gather important resources for the of Ruscha’s famous series “Every Building the archive is in dialogue with the legacy purposes of art history research and to make on the Sunset Strip”. The archive shows the of Sam Wagstaff, the renowned curator this research accessible. Artist archives are, systematic approach the artist had towards and collector, and mentor of Robert Map- with certainty, a unique source, since they his project of capturing the streets and the plethorpe. An exhibition with a selection of give a direct insight, not only into the ar- architecture of the city. A research project masterpieces from Wagstaff’s photographic tistic ideas and the creative process, but spanning several years is investigating and collection is likewise on display for the dura- also enable an understanding of the artist’s interpreting the hitherto largely unknown ma- tion of the Mapplethorpe exhibition at the personality at the same time. Artist archives terial through an exhibition, workshops and Getty Museum. You can see that the museum are indispensable sources for research. Their a publication. Of particular importance is and the research institute work together and preservation poses significant challenges to also the large scale digitisation initiative with that we look for complementary archives, on all institutions who concern themselves with which the material and the research were the basis of which we can develop research the maintenance of these sources. We must made accessible. The series of artist books projects. nevertheless rise to these challenges, or else by Ruscha, which have been in the posses- a substantial part of our knowledge of the sion of the Getty Research Institute for quite A particular challenge is posed by the ar- artistic creativity of our culture will be lost. some time already, and the only known com- chives of artists who work with new media Collecting and conserving archives is good, plete edition of the journal “Orb”, edited and technologies. With the most recent ac- but it is not enough. Making them acces- by the artist, complement the archive and quisition of the archive of the New York per- sible, keeping them alive and researching lead to new questions and insights into the formance space “The Kitchen” a year ago, them are the very responsibilities that we research of one of the most important con- the GRI possess the most extensive video li- are confronted with. But it is also these tasks temporary artists. brary in the United States. The preservation which are most enjoyable to the researcher. of this collection requires particularly exten- Thank you very much. An example of one of the most recent projects sive and costly measures. The processing of developed from the heritage in the special videos by researchers is often no longer pos- collections concerns the legacy of Robert sible, since the technical prerequisites are

72 73 The archive of Alberto Moretti / sign sketches, photo documentation, audio Contemporary Art was founded; this also In the meantime, since 1998, the Cen- Galleria Schema in Carmignano recordings, and a rich library too. Overall, includes the CID/Centro di Informazione tro Pecci has begun its own art collection, (Prato, Tuscany) – a case study the archives span a very vast artistic pano- e Documentazione sulle Arti Visive (Visual which today boasts over 1,000 works rep- Desdemona Ventroni rama from Italy and abroad, more specifi- Arts Information and Documentation Centre) resenting over 300 italian and international Institute for Advanced Studies, Lucca, Italy cally, from the 1940s to the first decade of born in 1985 with the Municipality of Prato artists, including Alberto Moretti. Starting in the 21st Century. as an experimental project on contemporary 2010 the Centro Pecci has been entrusted Since 1994 these archives are located at art documentation. This first archive, which by the Tuscany Region with coordinating the The archive of Alberto Moretti / Galleria Schema1 Moretti’s home-studio in Carmignano (25 km served as the focal point for the cultural regional contemporary art network, intended Focusing on the state of contemporary art from Florence): this is the artist’s hometown, project of the Centro Pecci, has been a virtu- to map out and enhance archives, as well archives in Tuscany-Italy, this lecture is based where he had returned to live and work once ous model also with regards to the compu- as with promoting and spreading the con- on the PhD thesis in Cultural Heritage Tech- the gallery closed. Here he nurtured the idea terized management of its materials, which temporary art across this region. In this light, nologies and Management I presented in of establishing a foundation in his name. In have been mostly gathered or acquired by some of the activities of the Centro include 2010 at IMT (Institute for Advanced Studies, 2003, the Tuscany Region, the Municipality the Councillorship on Culture of the Munici- acquiring and reorganizing works and docu- Lucca) regarding the specific case study on of Carmignano, and the Province of Prato pality of Prato during the 1980s: these in- ments concerning the Florentine artist Mario the archive of the Tuscan artist Alberto Moret- – along with the Centro per l’Arte Contem- clude the Fondo Centro Di, the fund of con- Mariotti (active on the art scene in Tuscany ti (1922–2012) and the Galleria Schema, poranea Luigi Pecci / The Luigi Pecci Centre temporary art publisher Ferruccio Marchi, from the 1970s to the early 1990s, and ex- which Moretti opened and directed in Flor- for Contemporary Art – began the project who is credited with publishing catalogues hibiting on various occasions at the Galleria ence from 1972 to 1994 together with Raul “Cantiere d’Arte Alberto Moretti”, and pro- on important international exhibitions, such Schema), the architect Leonardo Savioli and Dominguez, his close collaborator. moted until 2008 a series of exhibitions held as Italy the New Domestic Landscape (ed- his wife, the artist Flora Wiechmann, in par- This archive is made up of two distinct funds in collaboration with the Alberto Moretti / ited by Emilio Ambasz, MoMA, New York, allel with research and acquisitions of the (one of the artist and the other of the gal- Galleria Schema Archive which aimed to 1972) and Identité italienne (edited by Ger- work by the Florentine artist Paolo Scheggi lery) that both collect documents and works carry on the undertakings of Schema and mano Celant, Centre Georges Pompidou, (exponent of the so-called Italian and Eu- of art and are closely related through Moretti to recreate the various periods in Moretti’s Paris, 1981). Today, the CID includes a ropean “New Tendencies”), as well as the and his versatility as an artist, ranging from work. Starting with these events, my studies library with over 60,000 volumes and an radical artists and architects Superstudio, abstract-geometric and informal painting covered a significant part of the history of impressive fund of documents on contem- Gianni Pettena and Lapo Binazzi/UFO (all to conceptual research. Over the course the Galleria Schema through archive materi- porary art and architecture that have been of them, like Mariotti, were also involved of its activity, which began with an exhibi- als, while also reflecting on the role that the implemented over time thanks, in part, to with the Schema gallery). tion of the radical Superstudio architects, foundation Moretti wanted to create could both donations by critics and gallery own- The Centro Pecci has held exhibitions and the Galleria Schema held numerous shows have played in Tuscany. ers and to an inter-exchange network set up issued publications devoted to many of by important artists of the international neo by the Centro with private collectors, galler- these experiences, which were conceived avant-gardes: Art & Language, Vito Acco- The role of the Centro Pecci in Prato2 ies, fairs, and other important museums in as tools aimed at research and spreading nci, Mel Bochner, Terry Fox, Joan Jonas, Urs Moretti’s project to create a Foundation Italy and abroad, many of which host, in knowledge. Lüthi, Dorothea Rockburne, just to mention a in Carmignano dates to the early 1990s, turn, contemporary art archives with docu- few. There were also various German art- when other important foundations already ments and/or works: beginning with italian The situation in Tuscany: a virtuous example ists, who were guests at the Villa Romana existed in Italy with work and archive docu- historic institutions, like the Galleria Nazion- In recent years, there has been increasing in- in Florence (the artist’s residence founded in ment collections devoted to safeguarding ale d’Arte Moderna di Roma/The National terest in Italy regarding contemporary art ar- 1905): these included Dorothee von Wind- and enhancing contemporary artists: such Modern Art Gallery in Rome (GNAM); the chives and the recognition of the importance heim, Anna Oppermann, and Deva Wolf- as the Alberto Burri Foundation, established Galleria Civica d’Arte Moderna e Contem- of this heritage for historical-artistic research. ram (an artist from Bonn). The works and in Città di Castello (Umbria), and the Lucio poranea in Turin/The Civic Gallery of Mod- In Tuscany, this is attributed not only to the documents found in the Moretti and Galleria Fontana Foundation in Milan. In Tuscany, ern and Contemporary art in Turin (GAM); Centro Pecci, but also to the role of the Uni- Schema archives, which have been invento- too, there have been foundations since the the Museo d’arte Moderna e Contempora- versity and research centers, which by pro- ried only partly, include drawings, paintings, 1980s, like the one devoted to the painter nea of Trento and Rovereto /the Museum moting specific research on archives (in par- sculptures, installations, films, photographs, Primo Conti in Fiesole, near Florence, and of Modern and Contemporary Art of Trento ticular, on artists and exhibition venues) have artist editions and multiples, alongside all one for the sculptor Marino Marini in his and Rovereto (MART); up to the CSAC (Cen- contributed to rediscovering crucial experi- kinds of material regarding the exhibitions hometown Pistoia. tro Studi e Archivio della Comunicazione/ ences and figures in the development of re- of Moretti and Schema, as well as the gal- Also in 1988 in Tuscany, more specifically Communication Studies and Archives Cen- gional and national art history, of which little lery’s own productions including invitations, in Prato, the Centro per l’Arte Contempora- tre) in Parma: the research center of the Uni- is still known. Young scholars and research- posters, publications, correspondence, de- nea Luigi Pecci / The Luigi Pecci Centre for versity of Parma. ers who, as in my case as well, have dealt

74 75 with the theme of contemporary art archives far as the foundations are specifically con- in Tuscany, have been engaged in contem- cerned, in 2014 the Comitato Fondazioni porary art research and training workshops Italiane Arte Contemporanea / Contempo- set up in Florence by the Senzacornice asso- rary Art Italian Foundations Comitee5 was ciation, also by participating in 2015 in the established, and was joined by some impor- project A city in perspective. Art in Florence tant contemporary artist foundations (like the between recent past and next future. Also above-mentioned Cittadellarte – Pistoletto with regards to contemporary art archives Foundation, Biella (TO). in Tuscany, an important role was played by the State Archive of Florence, which in the Conclusions late 1990s established a sector devoted to Alberto Moretti passed away in 2012, but contemporary architecture, art, and cultures, his project for a foundation is carried forth in and which in 2003 reassembled the archive Carmignano by Raul Dominguez, who has of the artist and gallerist Fiamma Vigo (with kept interest alive on the art of Moretti and whom Moretti exhibited and collaborated). the experiences of the Schema gallery by Finally, we should mention the work of the Ar- involvement with the archives and the ac- chive Superintendence of Tuscany, which in tivities of the Spazio d’arte Alberto Moretti/ 2013 signed an agreement with the Tusca- Schema Polis: an exhibition space opened ny Region, in collaboration with the Scuola in 2008, which the Municipality of Carmig- Normale in Pisa, “to enhance archive herit- nano dedicated to Alberto Moretti. It is lo- age, to coordinate interventions concerning cated right near the Church of San Michele archives, and to create a regional portal of in Carmignano (which hosts the famous Visi- archives in Tuscany”. tation by Pontormo) and Moretti’s home-stu- In the meantime, the Centro Pecci (which dio where the archives are found; and is 15 in February 2016 became the Fondazione km from the Centro Pecci in Prato, to whom per le Arti Contemporanee in Toscana / The the art historian and critic Lara Vinca Masini Contemporary Arts Foundation in Tuscany) (another key figure on the contemporary art has consolidated its own role as a reference scene in Tuscany, who also played an im- center for contemporary art archives across portant part in Moretti’s work and the activity Tuscany, and along with other institutions of the Schema gallery) decided to donate (also members of the AMACI – Associazione post mortem her own archive. The connec- Musei d’Arte Contemporanea Italiani / The tion and collaboration between the archives Association of Italian Museums of Contem- of Moretti and Schema in Carmignano with porary Art, like the Museo del Novecento in the Centro Pecci and other similar artist and Milan and the Galleria Civica d’Arte Mod- art venue archives in Tuscany, in Italy, and erna e Contemporanea in Turin3 and various abroad will be decisive so that the Moretti La vie est belle aber teuer. (Life is beautiful but expensive) From Ferdinand Macketanz to his future wife Frida (Lucia) Strimmer, 1958. Ferdinand Macketanz toured Italy for one month with his colleagues Carl Cristoph Hartig, Rose- artist archives (including those of Filippo De Foundation may realize its mission while Marie Schnorrenberg and the entrepeneur Walter Maurmann. Maurmann was a cofounder of the Singener Kunstv- Pisis, Pinot Gallizio, and Michelangelo Pisto- consolidating its bond with the region. erein (Singener Art Association) and a sponsor of Ferdinand Macketanz. Ferdinand Macketanz legacy, RAK letto) it is now a part of the Associazione Ital- iana Archivi d’Artista / Italian Association Trying to answer the first question advanced of Artist’s Archives4 established in December by the symposium – “Where should art 2014. This association, which, among its be housed?” – and in view of the events points represented by artist foundations, ac- one that originally gave birth to the archive main goals, shares good practices among that have transpired regarding the specific tual artist archives, and public and private or of which it is an expression. If as regards archives, also conducts research and study case of the archive of Alberto Moretti and institution archives, which are invited more historicized contemporary artists single foun- “to safeguard existing archives and foster the Galleria Schema, it can be said that in and more to dialogue and interface with dations and artist archives are widespread the creation of new ones, by also consider- Italy, as far as contemporary art archives are one another. That said, I personally believe and have proven to be effective operators, ing the difficulties in preserving the complex concerned, there is no single designated lo- that the locations of archives should coin- for the archives of artists that are not yet so it practices of contemporary art”. Instead, as cation, but rather a multitude of reference cide, or be as close as possible, with the may be of vital importance to facilitate their

76 77 assignment to an institutional archive (for ex- ample, in Tuscany, the Centro Pecci in Prato) – or, in any event, have their activity come under institutions – so as to keep them from being destroyed or dispersed, and ensure excellent preservation as well as provide them with proper exposure, while favoring their use and enjoyment on the part of schol- ars and researchers. This leads us to the other important matter, that is, “how” contemporary art archives, es- pecially artist archives, can be used in the near future, considering that these legacies of works and documents will play an increas- ingly important role not only in art history research - in so far as being inexhaustible sources of information and knowledge – but also for their role (together with libraries and museum) in what the philosopher, critic and writer Umberto Eco called “the continuity of memory”6. The birth of the Italian Associa- tion of Artist’s Archives, along with a network of various types of archives, though all act- ing in an institutional framework according to shared principles and goals, represents an important attempt in response to these issues. Hopefully, opening and expanding this network onto the international scene.

Endnotes

1 Alberto Moretti and the Schema Gallery: http://turismo.comune.carmignano.po.it/en/ ?act=i&fid=6988&id=20150910112817052 http://www.maxxi.art/wp-content/up- loads/2012/12/VENTRONI-Desdemona_Luc- ca.pdf https://www.rivisteweb.it/doi/10.7374/71509 2 Centro Pecci, Prato – Fondazione per le Arti Con- temporanee in Toscana: www.centropecci.it 3 Amaci – Associazione dei Musei d’Arte Contem- poranea Italiani: www.amaci.org 4 Aitart – Associazione Italiana Archivi d‘Artista: www.aitart.it 5 Comitato Fondazioni Italiana Arte Contempora- nea: www.comitatofondazioni.it 6 Umberto Eco, Sulla memoria/About memory. A conversation in three parts, directed by Davide Fer- rario. This conversation was presented at the Italian Pavilion, Codice Italia, curated by Vincenzo Trione for the 56th Venice Biennale 2015, entitled All the Ferdinand Macketanz in Ascona, circa 1956. Photog- World’s Future and directed by Okwui Enwezor. rapher unknown. Ferdinand Macketanz legacy, RAK

78 79 “I kindly ask [...] to take loving care of archive of this Research Centre for Media a culture of remembrance. With the gener- “All paintings, pastel drawings, graphics, my sister’s oeuvre and to grant her great and Performance Art is to be used as the ous bequest of documents from the estates engravings as well as copper plates of these talent the recognition it deserves.”1 basis for the academic review of artists’ life- of Emile or Therese and Robert Zuckerkandl engravings created by my sister, the de- Monika Mayer time estates and a springboard for research in 2017, some of the pieces saved by the ceased Johanna Kampmann-Freund12 […], I Gallery Belvedere, Vienna, Austria projects in the field of media and perform- Zuckerkandl family were returned to Austria shall donate to the Albertina Art Collection ance art.3 as rare testimonies of the Jewish collecting in Vienna, according to her last will. Should In February 2016, the Austrian Republic ac- The BRUSEUM, which opened in 2008 as culture in Vienna that was destroyed by the the Albertina have no interest in the oil paint- quired the estate of the late architect and de- another part of the collection of the Neue National Socialists.8 The acquisition of the ings or other large paintings, I leave these signer Hans Hollein, who passed away in Galerie in Graz, dedicated to the work of Neue Galerie business archive in 1976 to the Austrian Gallery Belvedere, which 2014. His legacy will be reviewed academi- the Styrian artist Günter Brus, has a perma- turned out to be a godsend for art histori- the current director has already promised to cally by the Architekturzentrum Wien (Az W, nent exhibition area, and is a prominent cal research. The art historian Otto Kallir-Ni- accept […]. I kindly ask [...] to take loving Viennese Centre for Architecture) in coopera- example of the “museumisation” of artists’ renstein (1894–1978) founded the Neue care of my sister’s oeuvre and to grant her tion with the MAK Museum for Applied Arts. lifetime and posthumous estates.4 Galerie in Vienna in 1923. With his ambi- great talent the recognition it deserves. Prof. This serves as a reference model, and not tious exhibition programme, he is regarded Grimschitz had previously given me hope only in terms of the resources provided for The acquisition of lifetime and posthumous as an important patron of Austrian art during for a collective exhibition”13. digitisation: “Hollein created a work of the estates of Austrian artists on behalf of the the period between the two World Wars century; the processing of it will therefore be archive of the Austrian Belvedere gallery, is (e.g. Egon Schiele or Richard Gerstl). Driven In her last will and testament, dated 14 the task of the century.”2 Given the extensive an essential part of the museum’s collection out of Vienna with his family by the Nazis March 1946, Pauline Lange-Freund decid- fond of 400 pallets, which necessitated the and acquisition policy. Collections include in 1938, he emigrated to the United States ed to donate the artistic estate of her sister extension of the Az W warehouse, former the (partial) estates of Gustinus Ambrosi, (via Switzerland and France), and opened Johanna Kampmann-Freund to the Albertina director Dietmar Steiner spoke of a “material Franz Barwig, Johann Peter Krafft, Emilie the Galerie St. Etienne in New York.9 The Art Collection and the Austrian Art Gallery. shock”. This is a problem many institutions Mediz-Pelikan, August Schaeffer von Wien- extensive collection of business records, Johanna Kampmann-Freund passed away in have to face, even when acquiring smaller wald, Trude Waehner or Alfred Zoff, for ex- which includes correspondence, exhibition 1940, and “bequeathed her estate to the lifetime and posthumous estates. ample.5 The Belvedere also actively pursues materials, newspaper clippings and cata- Albertina Art Collection.”14 In June 1941, in Institutions in Vienna, such as the Oskar the acquisition of estate holdings of art his- logues, is an invaluable source for the art response to a request from Director Anton Kokoschka Centre (which was founded in torians and art dealers (or business archives market and provenance research in particu- Reichel of the Albertina, the National Direc- 1996 at the University of Applied Arts), the of galleries). The artist documentation of the lar.10 The value of the lifetime and posthu- tor (Leopold Blauensteiner) for Fine Arts in Friedrich and Lillian Kiesler Foundation or the Belvedere includes extensive material from mous estates bequeathed to the archives is Vienna, forbade acceptance of the estate: Arnold Schönberg Centre are proof of the more than 20,000 predominantly Austrian clear from their inclusion in internal and ex- “Johanna Kampmann was a grade-1 ‘Mis- increasing awareness also in Austria, of the artists.6 It was formed on the basis of the ternal research and exhibition projects. Sub- chling’ [person deemed to have 2 Jewish importance of acquiring and managing the partial estate of the art historian Hans Ank- collections and valuable individual objects and 2 “Aryan” grandparents]. Under the Re- artists’ lifetime and posthumous estates, and wicz-Kleehoven (1883–1962), which was are didactically prepared for temporary ich Chamber of Culture regulations, grade-1 of making them more accessible to research bequeathed in the 1960s, as well as the presentations, thus making them accessible ‘Mischlings’ cannot be admitted to the Re- and the interested public. In this regard, the partial estate of the sculptor Rudolf Schmidt to an interested audience. The processing ichskammer of fine arts. Public activity within recovery of the estates of artists who had (1894–1980), which was acquired in of estate holdings also leads to academic the artistic domain, or the distribution of their been expulsed by the National Socialists is 1981. Ankwicz-Kleehoven’s documentary synergies with research work on various works in any form, is therefore prohibited. a not insignificant aspect of a culture of re- collection on more than 6,000 artists and catalogues of works: The recently published Whether this takes place during their life- membrance enforced even by public institu- art institutions, and Schmidt’s 15,000 entries catalogue on the works of Austrian painter time, or – by last will and testament – after tions. in a type script for a planned encyclopae- Alfred Wickenburg, for example, is based death, is insignificant.”15 There are also a number of private founda- dia on Austrian artists are also an invalu- largely on documentary material donated by In 1950, in line with Pauline Lange-Freund’s tions that are dedicated to the preservation, able source for biographical research.7 The the family to the Belvedere archive.11 testamentary bequest, a total of ten paint- care and communication of the estates of acquisitions of the partial estates of Georg ings and nine drawings by Johanna Kamp- well-known Austrian artists such as Maria Mayer-Marton and the artist couple Georg To conclude, we discuss the acquisition histo- mann-Freund were officially accepted in the Lassnig, Franz West or Fritz Wotruba. and Bettina Ehrlich demonstrate the efforts ry of the estate of artist Johanna Kampmann- museum’s holdings and then inventoried in Media attention was most recently drawn being made to also “retrieve” documentary Freund in more detail. Additional documents 1956.16 Thus, 16 years after her death, the to the creation of the VALIE EXPORT Center material alongside artistic works on those about the persecution of the artist during the artistic work of a painter who suffered racial Linz -Forschungszentrum für Medien- und displaced by the Nazi regime and make Nazi era can be found in the above men- persecution under the National Socialists Performancekunst in November 2017. The it available for research in the interests of tioned estate of Hans Ankwicz-Kleehoven. could be preserved.

80 81 Endnotes

1 Archive of Belvedere Vienna, no. 560/1948; last 15 Archive of Belvedere Vienna, estate of Hans An- will and testament of Pauline Lange-Freund, 14 kwicz-Kleehoven, folder Johanna Kampmann-Fre- March 1946. und; letter from Leopold Blauensteiner, Landesleiter 2 Dietmar Steiner, transmission by the Austria Press für bildende Künste, to Director Anton Reichel, Al- Agency, APA 0244 5 Kl 0530, 12 February 2016: bertina, dated 16 June 1941. Despite this, in August processing, bursaries, awards: Republic acquires 1942, three boxes containing works of Johanna Hollein-Nachlass. See https://www.azw.at/de/ Kampmann-Freund were accepted by the Austrian artikel/forschung/. (12.7.2018). Gallery for storage. See the archive of Belvedere 3 See https://www.ufg.at/VALIE-EXPORT-Center-Linz. Vienna, no. 379/1942. 13920.0.html. (12.7.2018). 16 See the archive of Belvedere Vienna, no. 574/1950. 4 See https://www.museum-joanneum.at/neue-gale­ At the same time, the Albertina also accepted nu- rie-graz/bruseum (12.7.2018). merous works on paper by the artist. See http:// 5 See https://www.belvedere.at/de/forschung/research- sammlungenonline.albertina.at/#a6e18774-eabd- center/archiv-kuenstlerdokumentation/ (10.7.2018). 4d30-8607-3a915e0ab047 (10.12.2018). 6 For research purposes, the inventory can be ac- cessed through an online database. See http://ar- chiv.belvedere.at/?spr=de (10.7.2018). 7 Only the first volume could be published before Schmidt´s death: Rudolf Schmidt, Österreichisches Künstlerlexikon. Von den Anfängen bis zur Gegen- wart, Vol. 1, A-D, Wien 1980. 8 See Monika Mayer, Nicht nur Klimt. Die Zucker- kandls als Förderer und Sammler der Wiener Mod- erne, in: Bernhard Fetz (Hg.), Berg, Wittgenstein, Zuckerkandl: Zentralfiguren der Wiener Moderne, Vienna 2018, p. 251–266. 9 See Jane Kallir, Saved from Europe. Otto Kallir and the History of the Galerie St. Etienne, New York 1999. 10 The fond is accessible (with a search function) online in the Belvedere digital library. See http:// digitale-bibliothek.belvedere.at/viewer/browse/ (10.7.2018). 11 Lucia Beck, Alfred Wickenburg. Monografie und Werkverzeichnis, Vienna 2018. Also available as an online version: https://werkverzeichnisse.belve- dere.at/online/279064/alfred-wickenburg/con- tent (10.7.2018). 12 Painter and graphic artist Johanna Kampmann- Freund (Vienna 1888–1940) was educated at the Wiener Frauenakademie and in Munich. By let- ter dated 12 June 1939, Johanna Kampmann was rejected for inclusion in the “Reichskammer der bildenden Künste” (the Third Reich‘s Imperial Cham- ber of Fine Arts) and “prohibited, with immediate effect, from any further professional activity in the field of fine arts, including teaching“. See the ar- chive of Belvedere Vienna, estate of Hans Ankwicz- Kleehoven, folder Johanna Kampmann-Freund. 13 Archive of Belvedere Vienna, no. 560/1948; letter from Notary Anton Klasarek to the Austrian Gallery dated 4 November 1948. 14 Archive of Belvedere Vienna, estate of Hans An- kwicz-Kleehoven, folder Johanna Kampmann-Fre- Walter Petersen, Portrait of Frau von B., photogravure und; letter from Director Anton Reichel, Albertina, from special print: Walter Petersen. Die Kunst unserer Zeit. to Leopold Blauensteiner, Landesleiter für bildende (The Art of Our Time) Eine Chronik des modernen Kun- Künste (Country Manager for Fine Arts), dated 11 stlebens (A Chronicle of the life of modern art), XXIII/7, June 1941. Franz Hanfstaengl, Munich. Walter Petersen legacy, RAK

82 83 mented the architectural heritage of Switzer- nearing completion, whilst those on the sculp- land since 1880. The Swiss Institute for Art tures, objects and installations of Markus Ra- Research was founded under the shadow of etz and illustrations of Felix Vallotton have the devastation of World War II and the re- recently begun. Publication projects, scien- sult of a realization that the cultural heritage tific conferences, expert opinions and- ap of Switzerland was insufficiently safeguard- praisals, as well as photographic and resto- ed and documented. For example, parts of ration projects are also part of the institute’s the collection of the Museum zu Allerheiligen day-to-day work, the revenue from which in the city of Schaffhausen had been burnt contributes towards the upkeep of the entire in an accidental bombing raid by the Allies institute. The institute also fosters an active in 1944. And after the war, as well as the dialogue with the art community5 prospect of Switzerland continuing to serve as a hub for stolen art, there was also the The collections of the Swiss Art Archives6, fear of Swiss cultural assets disappearing founded in 2012, also stand on the shoul- abroad.4 ders of the 60 plus-year history of SIK-ISEA. The holdings, which date back to before the From the 1950s, therefore, the institute built founding of SIK-ISEA, also include the work a library, a manuscript legacy archive and archives of Swiss art lexicography. Whilst a collections inventory department. It also only a few documents from the work on the made a name for itself as a center of com- Schweizerisches Künstler-Lexikon (Lexicon of petence for art technology with its own res- Swiss Artists), published by the Swiss Kun- toration studio and laboratory for the physi- stverein under the editorship of Carl Brun cal and chemical analysis of works of art. between 1905 and 1917, have been pre- In addition, art research and art technology served, the entire document archive that was Group photo taken in Collioure, Southern France, Photo: Otto Abt, 1932. From right to left: Walter Bodmer, Kurt research findings were regularly published created by the director of Kunsthaus Zurich, Wiemken, Oswald Petersen, Serge Brignoni. Oswald Petersen Legacy, RAK in collection catalogues, conference reports Wilhelm Wartmann, in the 1920s for the as well as specialist journals. In the 1980s, “Künstlerlexikon der Schweiz XX. Jahrhun- a French-speaking satellite office (Antenne dert” (Swiss Artists Lexicon, 20th Century), Romande) was established in Lausanne, in- which was published between 1958 and creasingly taking on the art historical docu- 1967, has been preserved and integrated The Swiss Art Archives of SIK-ISEA. the establishment of a ‘Swiss Institute for Art mentation and research activities in western in SIK-ISEA. The questionnaires completed Cultural heritage and Research’, the founders analyzed the current Switzerland. In the early 1990s, the insti- by the artists and the details they provide research infrastructure situation of art research and documenta- tute was reorganized as an independent about exhibitions, catalogs and the loca- Michael Schmid tion in Switzerland, while at the same time non-profit foundation, recognized by the tions of sold artwork in private and public Schweizerisches Institut für Kunstwissenschaft outlining the fields of activity of the newly federal government as a research institution collections merit particular attention. These (Swiss Institute for Art Research (SIK-ISEA)), founded institution. Despite the admonished of national importance and supported with form the backbone of the documentation Zürich, Switzerland urgency, a further five years passed before, research credits for the provision of non-com- on artists and art institutions in Switzerland, on 14 June 1951, the institute was founded2 mercial infrastructure services. Since 2006, which has grown to around 19,000 dos- in Zurich as an association with the aim of these have included the SIKART online lexi- siers to date with a uniquely large collec- “Following many years of engagement (...), documenting and researching art collections con and database, the library and, since tion of newspaper articles, invitations, press the Kunsthistoriker-Vereinigung Zürich (Zurich in Switzerland as well as imparting practical 2012, the Swiss Art Archives. releases, vernissage speeches and other association of art historians) has reached the knowledge on art history and technology.3 Since its foundation, one of the institute’s biographical and bibliographic information. conclusion that there can be no further delay The Swiss Institute for Art Research (which activities has been the compilation of cata- Since the 1980s, all dictionaries on Swiss in a methodical expansion of art history stud- since 2008 has had the official abbrevia- logue raisonnés on Swiss artists. Catalogues art have been published by SIK-ISEA, which ies towards greater practice orientation or tion SIK-ISEA) thus assumed a complemen- have recently been completed on the paint- is why the Documentation7 part of the col- the systematic recording of the entire body tary role to the activities of the Gesellschaft ings of Felix Vallotton, Eva Aeppli and the lection, maintained since 1976, has grown of significant Swiss art (…).”1 On 10 De- für Schweizerische Kunstgeschichte (Society early work of Cuno Amiet. Catalogues for to over one million documents. Every day, cember 1946, within a project outline for for Swiss Art History, GSK), which had docu- Ferdinand Hodler and Niklaus Manuel are staff of the Swiss Art Archives in Zurich, the

84 85 Antenne Romande in Lausanne and the Uf- eral)] and, pursuant to the rules on the cata- ficio di contatto in Ligornetto evaluate Swiss loguing of legacies and autographs [RNA], daily newspapers, invitations, e-mails and some have been catalogued to document newsletters from galleries and museums, cat- level. The legacies have been available at alogue the exhibition and work documenta- holding level on the SIK-ISEA website9 since tion submitted by the artists, and research the late 1990s. Prior to that, the holdings of officially secured personal data to be added the Swiss Art Archives had been published in to the archive’s physical repository as well the 1970s in the Repertorium der handschrift- as the online databases of SIKART and the lichen Nachlässe in den Bibliotheken und Swiss Art Archives. Archiven der Schweiz (Index of manuscript collections held in libraries and archives of In addition to Documentation, the Swiss Art Switzerland). The holdings can also be re- Archives also houses the manuscript archive8, trieved from the Helvetic Archives10 portal of conceived shortly before the institute’s found- the National Library. ing, which has, over the course of its 60-plus- year history, collected significant documents In addition to the expert safeguarding and by Ernst Stückelberg, Rudolf Koller, Giovanni preservation of the physical and digital hold- Segantini, Ferdinand Hodler, Giovanni ings, the most important task of the Swiss Art and Augusto Giacometti, Otto Meyer-Am- Archives is to communicate the documents den, and Aldo Walker as well as diaries, and information collected. Without knowl- sketchbooks, correspondence, documentary edge of the hidden treasures residing in the photographs, art production and distribution vaults of the art archives or the vaults of oth- documents from more than 200 other Swiss er archives, libraries or art museums, there artists and institutions. Most of the holdings would be no opportunity for researchers, are stored in the vaults of the Swiss Art Ar- journalists or collectors to gain new insights. chives in Zurich, and almost 20 fonds of artists and institutions from the French-speak- In 2008, SIK-ISEA therefore began to pub- ing part of Switzerland are managed by the lish significant legacies in online exhibitions Archives Suisses de l’art in Lausanne. Each known as Virtual Showcases on the SIK-ISEA year, new holdings are added, which are website. The legacies are presented in short evaluated, catalogued, archived and, in introductory texts which briefly commemorate part, published online. Some fonds contain the work of the artists, describe the content only narrow bundles, while others take up of the collection and outline the research po- several meters of shelf space. As these per- tential. In addition, selected documents are sonal papers have usually been bequeathed digitized, presented in a slideshow and are by the estates of artists, this archive has be- also freely accessible on the Swiss Art Ar- come known as the Nachlassarchiv (legacy chives11 online database, which has a key- archive). word search and full-text search option.12

The main role of an archive is to collect, The Interview Documentation project was catalogue, preserve and impart holdings: also initiated back in 2007, conducting in- Alongside the previously mentioned collec- terviews to make up for the lack of source tion and evaluation activities of the Swiss Art materials in some cases for young Swiss Jean Matisse, Otto Abt in Collioure, Southern France, photographer unknown, 1932. Oswald Petersen Legacy, Archives, recording of the collections also artists. Over three seasons, 20 one-hour RAK. Between 1926 and 1933 Oswald Petersen lived in Paris. In the summer months of 1931 and 1932, he plays a central role. In recent years, almost interviews covering the artists’ biographies, travelled to Collioure on the Southern French Mediterranean coast with his friends, the Swiss painters Walter Bod- all of the legacies have been catalogued to works and the art scene have so far been mer, Kurt Wiemken, Otto Abt and Serge Brignon, who were also living in Paris at this time. There they became acquainted with the sculptor Jean Matisse, who was friends with the young artists in Coullioure. A short while later the ISAD (G) application standard [Interna- conducted, transcribed and provided with the Swiss painters founded Group 33 in Basel. Oswald Petersen Legacy, RAK tional Standard Archival Description (Gen- detailed annotations. The interviews focus

87 on production conditions, connections be- villa. Since that time, the booklets, in which work of manuscript-holding institutions in land. Worth mentioning are the legacy col- tween the various artists, the structures of Giacometti sketched every painting he sold Austria, Germany and Switzerland. A regu- lections ArchivArte and ART-Nachlassstiftung the art market and distribution opportunities. and added the most important information lar exchange of experience also takes place in Bern, the Galleria il Tesoro in Altendorf The Interview Documentation project affords such as title and date, can be viewed in high with art museums and graphic collections, or the Art-Dock in Zurich. In 2012, Debo- a direct insight into the creative process of resolution and compared with the reproduc- such as the Graphic Collection of the Cen- rah Favre, a research associate at the Swiss artists and also provides a wealth of contex- tions of the original images. On the open- tral Library in Zurich, the Graphic Collection Art Archives, wrote a licentiate thesis at the tual information accompanying the produc- ing of the archives, an information booklet of the National Library in Bern or even that University of Zurich entitled “Sieben Mulden tion and distribution of a work of art, which was also printed in German, French, English of the Zürich Kunsthaus. At an association und ein Pantheon. Chancen und Schwierig- is however rarely made public. From a his- as well as a series of postcards, serving as level, the Swiss Art Archives uses the continu- keiten im Umgang mit Künstlernachlässen in torical perspective, the interviews document an additional showcase for the archive. The ing education courses and workshops of the der Schweiz” (Seven dumpsters and a Pan- artistic development and make it possible to website of the institute provides information Association of Swiss Archivists (VSA) and the theon. Opportunities and challenges in deal- answer questions or formulate research hy- about the working areas of the art archives Association of Swiss Museums (VMS). ing with artist legacies in Switzerland) 15. potheses.13 in four languages. Franz-Josef Sladeczek also published books At an international level, the Swiss Art Ar- and journal articles on the management and Since 2012, the Swiss Art Archives has Another important aspect of communication, chives has fostered relationships with other aftercare of artists’ legacies with a special broadened its communication activities however, is bringing the archival material to art archives for many years, especially those focus on the situation in Switzerland. Wor- through two series of events: The first, Ar- a wider public through loans to exhibitions in German-speaking countries, in particular thy of note in this regard is the publication chives on Stage, is an event at which re- at art museums and art spaces. In recent with the Deutsches Kunstarchiv in Nurem- “After Collecting. Leitfaden für den Kunst- searchers are invited to report on the find- years, therefore, SIK-ISEA has also been in- berg, whose communication activities were nachlass” (After collecting. Guide for artists’ ings of their research into documents from creasing its presence outside of its premises an important driver for the launch of Swiss legacies), 2013.16 It was not until 2014, the Swiss Art Archives. A number of these to raise awareness of the archive’s holdings. Art Archive events. Also of particular impor- however, on the initiative of Remo Galli and events have taken place over the past four In recent years, archival documents have tance are the regular training courses of the the Swiss Federal Office of Culture, that the years with presentations given on research been on display at the Museum Langmatt in Arbeitsgemeinschaft Kunst- und Museumsbib- most important initiatives and individuals in into the documents of Giovanni Segantini, Baden, the NAIRS Contemporary Art Center liotheken (AKMB) and the annual meetings the field of artists’ legacies in Switzerland Otto Meyer-Amden, Sophie Taeuber-Arp, in Scuol, the Musée historique de Lausanne, of the European Artnet (www.european-art. again came together to discuss the subject. Aldo Walker or Max Hunziker, to name Kunsthaus Zürich, Kunstmuseum Bern, the Art net), which are regularly attended by em- It was also in 2014 that the SIK-ISEA was just a few. Thematic approaches such as Dock in Zurich, the Galerie l’elac in Renens, ployees of the Swiss Art Archives, both as commissioned by the City of Zurich to com- research of the art scene in Zurich from a the Kunstmuseum Winterthur, the Center cul- speakers and participants, maintaining a plete a study on “dealing with artists’ estates sociological perspective, Swiss art funding turel suisse in Paris, the Schlossmuseum Mur- collegial exchange with collections manag- in Switzerland”17. In their recommendations, since 1950 or even strategies for informa- nau and the art fair ‘artgenève’14. ers in art libraries and art archives. Since Deborah Favre and Roger Fayet suggested tion visualization have been pursued on the 2016, the Swiss Art Archives has also been setting up an information center to deal with basis of the Swiss Art Archives’ holdings and The Swiss Art Archives are well integrated a partner of the recently founded Arbeitskreis artists’ legacies. Only a few months ago, presented in lectures. The second event se- into national and international networks, Kunstarchive. SIK-ISEA was commissioned by several ma- ries, Archivist’s Choice, has given employ- regularly liaising with various other ar- jor Swiss cultural foundations to put this idea ees of the Swiss Art Archives themselves the chives, collections, art museums, colleges Due to its intensive work with the written leg- into practice. opportunity to present documents and draw and associations, as well as institutions that acies of artists, the Swiss Art Archives has attention to the legacies of Rudolf Koller, exclusively manage the heritage of artists. been involved in the debate about dealing A platform by the name of Schweizerische Ernst Stückelberg, Giovanni und Alberto Worth mentioning in this regard is the con- with artists’ estates for many years. In 2007, Beratungsstelle für Künstlernachlässe (Swiss Giacometti, Petra Petitpierre, Walter Kern, tact with other special archives, such as the Switzerland hosted a major symposium on information center for artists’ estates) is cur- Alfred Heinrich Pellegrini, Fritz Pauli and Au- Schweizerisches Sozialarchiv (Swiss Social the topic of artists’ legacies on the initiative rently being set up to provide artists and in- gusto Giacometti. Archive), the Swiss Literary Archives, the ar- of the Swiss artist associations VISARTE and stitutions that manage the heritage of artists chive of the Hochschule der Künste in Zu- SGBK. As a result, the artists’ associations in particular with information to support the Upon the opening of the Swiss Art Archives, rich, the archive of the Institute for the History and SIK-ISEA formed a task force and de- independent handling of artist legacies. The a third communication medium was creat- and Theory of Architecture at ETH Zurich veloped the guide entitled “Was will ich mit goal of the project is to create a straight- ed: Entitled Touch the Archives, the digitized and the archives of the ETH-Bibliothek, the meinem Werk?” (What do I want to happen forward, practical guide on how to profes- “Registri dei quadri” (index booklets of paint- Burgerbibliothek Bern or the Bundesarchiv. with my works?). A number of institutions sionally process and manage art legacies ings) of Giovanni Giacometti were presented The Swiss Art Archives recently became a were founded successively to collect and im- in Switzerland, including inventory taking, on a touch screen in the entrance hall of the member of Koop-Litera, a competence net- part the written legacies of artists in Switzer- documentation, archiving, legal and fiscal

88 89 aspects. In addition, SIK-ISEA has, since 6 See Michael Schmid, “Das Schweizerische Kun- 2017, been holding events at various loca- starchiv”, in: SIK-ISEA. Jahresbericht 2012, Zurich tions in Switzerland, the aim being both to 2013, p.16–21. 7 The collection area was originally called the “Docu- raise awareness of the subject of art herit- mentation Center for Contemporary Swiss Art” and age and to encourage a dialog among the from 1976/77 was managed as an independent various different parties – with differing inter- department of the “Art History” division alongside ests – involved in legacy matters. the library, the photo archive and the editorial office (see Swiss Institute for Art Research, annual report The information center seeks to partner with 1976, p.9–10. See also: Documentation Center for cultural and artistic associations, institutions Contemporary Swiss Art”, in: AICARC Bulletin. Or- and other stakeholders in Switzerland, and gan for Contact and Collaboration in the Field of to discover and become acquainted with the Documentation of Modern and Contemporary Art 9 (1978), p.1–7. useful corporate, private, and technical or- 8 See note 1, p.10. ganizations that have an involvement with 9 http://www.sik-isae.ch/de-ch/ Kunstarchiv-Bibli- artists’ legacies. It does not, however, pro- othek/Kunstarchiv/Nachlassarchiv/Beständeüber- vide direct valuation services or specific al- sicht (retrieved on 13.10.2016). 10 https://www.helveticarchives.ch (retrieved on locations of estates or parts thereof. 13.10.2016). 11 See http://www.sikart.ch/kunstarchiv (retrieved on Through the above, the Swiss Art Archives, 13.10.2016) for its part, hopes to be relieved of coordi- 12 see http://www.sik-isea.ch/de-ch/Kunstarchiv-Bib- liothek/Kunstarchiv/Nachlassarchiv/Virtuelle-Vit- nation work within institutions that manage rine (retrieved on13.10.2016). the heritage of artists in Switzerland and to 13 See Michael Schmid, “Interview Documentation: be able to fully concentrate on its mission to Discussions with young artists in Switzerland”, secure the documents of Swiss artists and to in: SIK-ISEA. Annual Report 2015, p.24–27. See also: http://www.sik-isea.ch/de-ch/Kunstarchiv- make them freely accessible for art research Bibliothek/Kunstarchiv/Dokumentation/Interviews and the general public. It follows the vision (retrieved on 13.10.2016). outlined in 1946 by the initiators of the 14 See Michael Schmid, “SIK-ISEA als Leihgeber von Swiss Institute for Art Research of a “work Originalen”, in: SIK-ISEA. Jahresbericht 2015, Zu- rich 2016, p.16–19. center for the documentation of Swiss art”, 15 Deborah Favre, Sieben Mulden und ein Pantheon. which, in addition to a photo library and Chancen und Schwierigkeiten im Umgang mit Künstler- library, envisaged an archive of the “letters” nachlässen in der Schweiz, Liz.-Arbeit, Zurich 2012. and “notes” of Swiss artists.18 16 Franz-Josef Sladeczek, After Collecting. Leitfaden für den Kunstnachlass, Zürich 2013. 17 Roger Fayet / Deborah Favre, Umgang mit Küns- tlernachlässen in der Schweiz, study on behalf of the Präsidialdepartement of the city of Zürich, Visu- al Arts section of the Culture department, Zurich. Endnotes 18 See Note. 1, p.10.

1 Schweizerisches Institut für Kunstwissenschaft. A project, typescript, 18 pages, Zurich, 10.12.1946, p.9 (SIK-ISEA, Swiss Art Archives, HNA 73.2.5). 2 Schweizerisches Institut für Kunstwissenschaft, certifi- cate of incorporation, typescript, 3 pages, Zurich, 14.6.1951 (SIK-ISEA, Swiss Art Archives, HNA 73.2.5). 3 Association for the Swiss Institute for Art Research, articles of incorporation, typescript, 5 pages, Zu- rich, 14.6.1951, p.1–2 (SIK-ISEA, Swiss Art Ar- chives, HNA 73.2.5). 4 See note 1, p.4 Walter Petersen in his studio in Düsseldorf, circa 1892. 5 See Regula Krähenbühl with the assistance of Ta- Photographer unknown. Oswald Petersen’s father had pan Bhattacharya, “Chronik”, in: Kunst und Wis- an excellent reputation as a portrait painter, which af- senschaft. Das Schweizerische Institut für Kunstwis- forded him a living as a prince among painters. Walter senschaft 1951–2010, Zurich, p.279-320. Petersen legacy, RAK

90 91 Artists’ legacies in Tate Archive Arts (ICA) are also collected. Additionally, The national repository for British art the papers of art historians such as Sir Ken- archives – within a landscape of neth Clark and Peter Fuller, printmakers like increasing care and protection in the UK S. W. Hayter and Stanley Jones, and the Adrian Glew records of magazines such as Art Monthly Tate, London, United Kingdom and Studio International complete the picture of fine art practice in the UK.

Established in 1970, Tate Archive was cre- Our collections contain all manner of arte- ated to save British artists’ and art institution- facts: personal manuscripts like diaries and al archives from being sold abroad. notebooks, correspondence, sketchbooks, drawings, maquettes, artists’ materials and At the outset Tate Archive was open to the effects, photographs, press cuttings, printed public, as well as to staff in the gallery, ephemera, publications and some artists’ li- alongside an extensive library. From small braries. Tate Archive also houses the public beginnings, Tate Archive has grown to be- records of Tate, documenting the history of come the largest art archive in the UK and the Tate Gallery across the breadth of its ac- the second largest such repository in the tivities since 1897. word housing over 800 archive collections containing more than 1 million items and 20 More recently, through funding from the UK’s million pieces or pages with artificial collec- Heritage Lottery Fund, 52,000 items and tions of more than 100,000 documentary pieces have been placed on Tate’s web- photographs of artists, their studios and in- site,1 opening up our collection to a much stallation shots, 3,500 audio-visual arte- wider public and providing the infrastructure Invitation to the exhibition of Oswald Petersen in the Storran Gallery in London, 1935. Oswald Petersen legacy, RAK facts, 2,500 artist-designed posters, 1000s for future digitization of artists’ legacies such of single items and 100s of microforms. as another émigré artist, Marie-Louise von Motesiczky. The funding from the HLF also Containing original, unpublished material re- opened up the building at Tate Britain pro- lating to the national collection of British art, viding us, for the first time, with a dedicated chivists and curators regularly visit and meet disseminated. Other initiatives include a Tate Archive’s collections provide a unique gallery for the display of our treasures, a site with artists, their families and estates to en- presence on the back page of our in-house insight into the lives and practices of artists timeline for the Tate Britain and a digital cor- sure that Tate Archive continues to be the re- magazine, TATE, Etc. where an author or who have lived and worked (though not nec- ridor where visitors can turn pages of digi- pository of choice for the history of fine art artist is invited to write about a particular essarily born) in Britain from the end of the tised volumes from the Archive.2 Alongside practice in the UK. This work is greatly sup- item from our holdings. In addition to dis- nineteenth century such as: Francis Bacon, these physical manifestations, HLF funding ported by colleagues in our Development plays in the Archive Gallery, we also mange Henri Gaudier Brzeska, Barbara Hepworth, has also enabled us to recruit a team of con- and External Relations departments, who increasing requests for archival material in L.S. Lowry, Henry Moore, Stanley Spencer, servation volunteers, a new cohort of hugely manage relationships with artists, families temporary displays and exhibitions at Tate and Paule Vézelay, among many others. A popular guides called Archive Explorers3 and estates inviting key people to openings and elsewhere. With tours, learning events, particular strength is our holdings of émigré and to provide learning outcomes in five and events on all Tate sites as well as deal- blogs, press releases and the fact that 75% artists such as Jankel Adler, Josef Herman, regions/nations of the UK together with an ing with potential donations, purchases and of our collections are catalogued ensures Naum Gabo, Klaus Hinrichsen and Kurt amazing series of films called ‘Animating the bequests with associated tax implications. that artists’ legacies or archives never remain Schwitters. There are also records of major Archives’.4 in their boxes for long. galleries such as Lefevre, Goupil and Tooths In addition, through the department’s month- as well as artist-run or curatorial spaces such Tate archivists work very closely with col- ly ‘Show and Tell’ programme, public, staff Tate Archive also liaises with other art ar- as the Artist Placement Group (who held leagues in our curatorial department so that and VIPs attend special events in the Hyman chives in the UK such as the Art and Design workshops in Germany), BANK, and City the consideration of artists’ legacies (both Kreitman Reading Rooms where the Library Archive at the V&A Museum, London and Racing. The papers of other cultural institu- artworks and archives) becomes a seamless & Archives’ treasures are held. These dis- the Henry Moore Institute, Leeds and new tions like the British Council, Commonwealth part of developing Tate’s collection. Working plays provide tangible evidence of how art- initiatives like Art360 within a climate of Institute, and the Institute of Contemporary from strategy documents and priority lists, ar- ists’ legacies are catalogued, utilized and great interest in artists’ legacies.

92 93 Advertisement for the Galerie Abels in Cologne for an exhibition with works by Werner Peiner. “Die Kunst“, Novem­ ber 1927. Hermann Abels and Peiner worked closely together. Werner Peiner legacy, RAK

Endnotes Opposite side:

1 http://www.tate.org.uk/art/archive Illustration for an article by Luise Straus-Ernst 2 http://www.tate.org.uk/context-comment/blogs/ archives-access-project-archive-gallery-digital-life- about Werner Peiner in the magazine Die and-back-again Kunst from November 1928. Straus-Ernst 3 http://www.tate.org.uk/whats-on/tate-britain/ writes: “The first pictures, in which Peiner ful- talks-and-lectures/archive-gallery-tours ly came into his own, were still lifes, delicate 4 http://www.tate.org.uk/context-comment/blogs/ archives-access-project-animating-archives-new- compositions with flowers, grasses, fruits video-series and fabrics. With time here he achieved a luminosity of colour, a compelling realism in the treatment of the material, the effect of which is greatly pleasing. It was then por- traits of women that enticed him into artistic creation, the reserve in their features penet- rated by his gaze, often revealing to us a secret life from these visages, which seek to appear so cold and smooth at first glance […]. It is a pleasure when, by contempla- ting his works, one can follow so easily the path taken by the artist, a path which leads the artist back to themselves and in which, throughout all its different twists and turns, the deepest, most natural connection can be recognised between the artist and the world with its phenomena. Werner Peiner legacy, RAK. VG Bild-Kunst, Bonn 2018

94 Artist legacies in the Netherlands moved and saddened when the high cali- sentative, publicly accessible collection. The The institute manages six hundred legacies. Frank van de Schoor bre artist is no longer among us. The artist’s most famous works, a Rainbow Machine Around thirty more are added annually. The Curator for Modern Art, Nijmegen, life, creativity and social engagement are and Tarim Machine were acquired by TU foundation only employs two archivists. As Netherlands highly praised, but the “orphaned” work Eindhoven. The Kröller-Müller Museum and such, it is important that new legacies are stored in the studio goes largely without Centre Pompidou have also purchased in- delivered in a finalised, ordered form. Such My talk concerns taking stock of how the consideration. dividual works. The proceeds allowed the legacies can be given as bequests or of- practice of handling artistic heritage looks in – In the largest cities, artist’s studios are foundation to archive and document the col- fered as long-term loans. There are no funds the Netherlands today. almost unaffordable today. As a result, artists lection and to organise exhibitions. with which to make purchases. What is the operative practice with which are often forced to reduce their collections 4. Shinkichi Tajiri (1937-2009) The legacy on offer should be of national descendants of the artist are confronted and bring them into order within their own Los Angeles, Chicago, Paris, Amsterdam, significance. Donations and bequests are when they are looking to protect and con- life times. Berlin, Kasteel Baarlo (NL). preferably to be put in a museum straight serve the artist‘s estate? In the Netherlands, In the studio of an older artist, in the best Tajiri was born in Los Angeles (California) to away. Legacies for placement in the ware- museums and archives do not offer good so- case there is a core collection, an overview Japanese parents. He struggled his entire life house of the RKD are only accepted, which I lutions in the long term. of all the important periods of artistic crea- with his Japanese-American identity. will stress once again, if the legacy on offer Without a doubt, the storage of sculptural tion and, in all probability, often many un- As an artist, Tajiri developed his skills in is of national interest and if there is no fur- bequests is spatially more problematic than saleable individual pieces. Reducing all this multiple disciplines, first and foremost as a ther interest from museums. As time goes by, that of paintings and graphic work. to a definitive oeuvre is a precarious proc- sculptor. His extensive oeuvre stems from a the RKD is nonetheless constantly working to What precisely should be the purpose of ess, which demands knowledge of art his- lengthy, persistent examination of the insan- have complexes of documentary legacies saving and managing artistic heritage? How tory, rationality and a lot of patience. ity of the Second World War, which he ex- housed in museums. long should the core of an artistic oeuvre be perienced first hand as an American soldier preserved? What future can there be for an Four examples of sculptural heritage on the Italian front. Museums artist‘s legacy? In the long run, doesn‘t an 1. Klaus van de Locht (1942-2003) Beuys’ After the war he lived in Paris for ten years. Museums are regularly contacted by the rel- institution or centre for artistic heritage also pupil, died far too young and left behind an In a studio inside the Parisian artistic quarter atives of artists with the request that a collec- become a museum, albeit one without artis- extensive legacy in his studio. Montparnasse, he moved in the same circles tion be taken on in its entirety. For the most tic focus or identity? 2. Paul de Swaaf (1934-2008) academic as many artists who went on to become fa- part, museums in the Netherlands do not The central question in all cases is, which figure-sculptor. Died unexpectedly early. He mous. As a sculptor he was an important rep- have sufficient capacity to accommodate heritage is sufficiently interesting, both artisti- left behind a collection of monumental sculp- resentative of the international Cobra Group. entire collections. cally and in terms of quality, in order for it to tures and hundreds of sketches and studies. From 1962 he lived in Castle Scheres in This applies as much to storage as it does be conserved. 3. Gerrit van Bakel (1943-1984) was an Baarlo. Tajiri, a friend of Friedensreich Hun- to insufficient labour; there are considerable internationally renowned artist. Documenta dertwasser and Karel Appel among others, problems relating to managing and devel- What are the difficulties when curator Rudi Fuchs featured four of his large was a distinguished personality in the inter- oping collections. For the most part, foreign dealing with legacies? sculptures in Documenta 1982. Gerrit van national art world. His sculptures are repre- artists and new collections are not a good – The inheritance tax in the Netherlands Bakel died unexpectedly and left behind a sented in large collections in the Rijksmuseum fit for the acquisition/purchasing profile of a is often an unexpectedly high sum and a large complex of works. In order to com- Amsterdam, Stedelijk Museum Amsterdam, museum either. The work must ultimately cor- heavy burden for families and heirs. This is bat the inheritance tax, the family decided Kröller Müller Museum, etc. In the family’s respond with the collecting policy of a muse- how it starts. Do we need to sell works? And to establish a foundation and keep the col- country house in Baarlo (Tajiri Foundation) um. It’s a question of capacity and quality. at what price? The tax authorities calculate lection in the building. Gerrit van Bakel col- there are still a great deal of works exhibited Museums must certainly be selective. Each the total value on the basis of the entire in- lected and stored a never-ending amount of and stored, awaiting their final resting place artwork they acquire poses the question of ventory of the workshop. Inheritance tax is materials and prototypes in his studio. For with good prospects for the future. whether it is representative of the work of the levied on the value of the entire estate. outsiders, his studio was an unmanageable respective artist. It is certainly better, to ob- – The Netherlands Institute for Art History chaos. Early on, the family seized on the The Netherlands Institute for Art History (RKD) tain as many works of an artist as possible (RKD) in the Hague only takes on documen- opportunity to secure the condition of the For reasons of clarity, for many of those with and display some of these in the museum tation and paper archives, no collections items and document them. After some time, potential interest, the RKD is very clear in collection. In this way it is possible to ac- and no works of art. multiple local museums and private individu- communicating that only documentary lega- quire important information about the artist. – For the most part, museums have no als have shown interest in buying a piece. cies are accepted, no art collections. An This information is very important for future space and no interest. The family hesitated. Their preference was exception is made here for the studies and exhibitions. – The professional circle, the friends and for the oeuvre to remain as an ensemble and sketches of important artists. The RKD con- There are a lot of works of art, national and the family of an artist in the Netherlands are for it to be put into a museum as a repre- centrates on documentation and research. international. There are too few public collec-

96 97 tions of art, to exhibit all applicable material Our initiative is looking for a multi-purpose as good additions to a collection in a museum. space. Not only for functional use, but also as a meeting point for art lovers in the broad- Two positive examples est sense of the word. Alongside the work of The new art warehouse in Rotterdam. The saving art, there will then also be a space Museum Boijmans Van Beuningen exhibition for exhibiting, managing and selling the art- space, which will open its doors in 2018. work. This space can also be used in con- The architect is Winy Maas. The building nection with concerts, lectures and special will provide an area of 15,000 m² of which events, thus playing a unifying role in the twenty to forty per cent will be publicly ac- cultural life of the art community. cessible. Costs: 52 million euros.

Friesland. Four museums of art and culture and one historic institution in the province of Friesland, in the north of the Netherlands, are building a communal space for their col- lections. Costs: 7.4 million euros. Hopefully this initiative will be a model for similar col- laborations and new collection buildings in the remaining Dutch provinces.

Maintenance of artistic heritage in the region of Nijmegen Since the beginning of 2016, there has been a new initiative group in the region of Nijmegen, who looks after “orphaned” art: works of art and studio legacies, which no longer have a place to be housed. Naturally, it is also important to maintain a high qual- ity and consistency in the artwork here too. After the death of an artist, their work is mostly “orphaned”, without experienced management. All that remains is the estate of the family, heirs or the or the owners of a foundation. Often there is an extensive oeu- vre, which needs care and expertise. The objective of the new initiative in my re- gion, in Nijmegen, means doing everything in the closest possible cooperation with the family, in order to accommodate the remain- ing works in a special multi-purpose space. The motto is: ‘Inspiration for the present and the future.’ The initiative wants to save the artwork from a “deep sleep”. The artist’s heirs remain involved and, through the work, are also encouraged to play an incisive role From Fritz Rahmann to Norbert Tadeusz. Rahmann lived in the creative life of the city. Art as a bridge from 1962 until 1979 in Hichtum, in the Netherlands. between the past and the future. Norbert Tadeusz legacy, RAK

98 Twofold Death, Artistic Heritage in France In the spirit of Marcel Duchamp, the work Jeanette Zwingenberger here is part of the procedure of the contract Art critic and independent curator of sale between the „artist-entrepreneur“ and the collector. In this way the artist seeks to maintain an overview of the future life of An artist experiences two deaths: one physi- his/her works outside of the studio. cal and one symbolic. The focus here is the The attitude of Buren, who has already dig- legacy – and also the obituary. How can itally organised his legacy during his own these be secured? Using two case studies, lifetime and created a network, is sympto- the artists Daniel Buren (*1938) and Alina matic of our multimedia age. The partici- Szapocznikow (1926–1973), I would like pants of this network are the protagonists to present differing approaches to handling with whom Buren works: public and private artistic heritage in France. institutions, gallerists, art colleges, collectors and art critics. Daniel Buren Buren‘s studio is his computer and the spa- The website of Daniel Buren (www.daniel- tial implementation of his installations take buren.com), one of France‘s most important place „in situ“ in the public sphere. His contemporary artists, is accessible in four works are transient – what remains are the languages and presents a geographical picture documents, for which he provides map that lists all exhibition sites – both pub- a „digital timelessness“ via his internet plat- lic institutions and private collections. On his form. Buren‘s geometrically designed uni- website can be found both his exhibitions verse with its variations is also manifest in with detailed lists of his works, in addition the body of his work – as well as in the to the catalogue of works, archive material meticulously precise system of archiving. and his conferences. For the concept artist and art theorist the text and the picture cor- His artistic colleague Michael Parmen- pora carry the same importance. tier (*1938) applies a similar protocol. In Buren‘s signature feature are vertical stripes 1965, together with Olivier Mosset, Michel with a width of exactly 8.7 cm, alternating Parmentier and Niele Toroni, Daniel Buren between white and colour, in the style of founded an artist community „BMPT“. Its traditional awning cloth. These vary consid- visual vocabulary was based on recurring erably in height and material composition; basic geometric forms, which reject any since 1980 mirrors, plexiglass and trans- individual artistic hallmarks. The statement: parent foil have all been used in his work. „No painting from Buren“ rejects the illusory His consciously „meaningless“ and neutral content of figurative art. In a pamphlet, the works are unsigned, since his conceptual artist community distanced themselves from art incorporates both the sale and an exhibi- any kind of institutional affiliation. tion record. Today, the four-time documenta participant His sales contract, introduced in 1972 and Daniel Buren is a living institution. In 1986 called „L‘Avertissement“ (Warning), is com- with his being awarded the „Golden Lion“ prised of a certificate of authenticity, signed at Vienna‘s Bienniale, he became a con- by both seller and buyer. This tapuscript stant presence in countless international mu- contains a detailed description of the work seums. A further example is the minimal art- as well as a protocol, which specifies how ist and later concept artist Sol LeWitt, who, the work should be exhibited. An additional during his lifetime, trained assistants who clause stipulates that the artist is to be in- now, after his death, continue to execute formed about every exhibition loan, as well his colourful wall drawings in exhibitions From Fernand Léger to Hanns Pastor, 1952. Léger attests that Pastor studied at his art school in Paris. Hanns Pastor as any publication and sale. across the globe today. legacy, RAK

100 101 Alina Szapocznikow How is the posthumous value An entirely different fate befell the Polish of an artist created? artist Alina Szapocznikow (1926–1973), Individual exhibitions and placement of the who died in France in 1973. In her figu- works in renowned group exhibitions in mu- rative work, encompassing sculptures, seums or galleries create visibility. The gal- drawings, paintings and graphic work, the leries and their participation in international central themes are identity, sexuality, and art fairs hereby play a decisive role in the boundary experiences of the human body. rediscovery of forgotten artists and the de- After her death however her work faded velopment of a body of collectors who sup- into obscurity. Today, her legacy lies in the port the works. hands of her adoptive son Piotr Stanislaw- The auction houses take care of the valu- ski and, since 2010, has been managed ations for the works on the art market and by the Galerie Loevenbruck in Paris, which their placement in the artist index. It is im- is likewise creating the catalogue of her portant here that the market is first purged works. In New York the artist is represented of forgeries. In this respect, public auctions by the Andrea Rosen Gallery. create the market, but the sale value is rela- To date, the Parisian Galerie Loevenbruck tive. It is dependent on the state of the inter- has registered around 600 pieces that are national market at any one time, in addition still acquirable. The rediscovery on the in- to the changing groups of buyers and the ternational art market had its origins in an variable level of recognition for the artist. international travelling exhibition, which The results may be subject to speculation, began in the Wiels art centre in Brussels which in part can even be manipulated by in 2011 and then went on to be seen in the auction houses and trigger unrealistic the Hammer Museum LA, Wexner Center estimations of value. for the Arts, Ohio, MOMA NY and in the Parisian Centre Pompidou in 2013. Both the exhibitions and the catalogue caught What is the approach towards the attention of the international press and artistic heritage in France? generated a great response. The ADAGP (La Société des auteurs dans The rediscovery of Alina Szapocznikow is les arts graphiques et plastiques/ Society based on the art historical work of multi- of Authors in the Graphic and Plastic Arts) ple female curators and art critics such as was founded in 1953. The non-profit soci- Joanna Mytkowska (Musée d‘Art Moderne ety administers the copyright, civil law and in Warsaw), Elena Filipovic, Corenelia But- resale rights, 3%, and in this regard looks ler, Jola Gola and Allegra Pressenti. Muse- after approximately 100,000 artists. ums, art historians, galleries, collectors and The artwork is subject to a droit moral auctions houses, as well as the international (copyright). Artists have a right of publicity, press, all contributed to the successful recep- which defines how their work and names tion of the legacy and exhibitions. A clear may be used and distributed. The rights of increase in value in her artwork can now ownership of the artist govern questions of be observed on the art market. The French copyright and allow the use of his/her work artist Annette Messager is currently produc- in return for equitable remuneration. These ing a film about her late artist friend, Alina rights are limited to a period of 70 years Szapocznikow, who died 43 years ago. after the death of the author.

Portrait photo of Hanns Pastor, undated. Photographer: Frans Driessens. Hanns Pastor legacy, RAK

102 103 What happens after the death on an artist? Changeux. This interministerial committee are absorbed by the Fondation de France. Which institutions in France look after artis- examines both the artistic and market value It unites 808 foundations and 100,000 or- tic heritage? These include: of the offered artwork. ganisations underneath its roof. The areas Bibliothèque Kandinsky in Centre Pompi- Among others, the „Dation“ law gave rise to of environment and healthcare encompass dou, L‘IMEC Institut Mémoires de l’édition the Picasso and Marc Chagall Museum. In around 150,000 projects. The organisa- contemporaine, Association as well as the this procedure, the uniqueness of the works tion is typical for France, which continues to BNF – Bibliothèque nationale de France. established the financial basis, which could be very centralised. Lawyers, art experts, auction houses and cover the subsequent costs of national mu- heirs, often the family too, create an inven- seums, exhibitions, staff and building costs. Fonds de dotation tory. A market value for the estate is calcu- In this way the Louvre received a second The Fonds de dotation has existed since lated from the value of previous sales. This Vermeer, the Centre Georges Pompidou 2008. This endowment fund gives the heirs in turn is relevant for the inheritance tax and received the André Breton‘s office furniture an exemption from the inheritance tax under simultaneously determines the distribution of and the Musée d‘Orsay received „L’Origine certain conditions and resembles an asso- the estate among the heirs as instructed in du monde“ (The Origin of the World) by ciation with its own management. Like the the will. Gustave Courbet from the estate of psycho- artist Jean-Jacques Lebel for example, son of In the case of the late sculptor César Bald- analyst Jacques Lacan, who died in 1981. the collector Robert Lebel, who founded his accini, who died in 1998, allegedly 230 Thanks to the „Dation“ law more than Fonds de dotation in 2013. The administra- pieces from the estate went undeclared. 10,000 pieces of art, books and various tive board of the Fonds consists of the artist Therefore, in 2000 the tax authorities de- cultural assets have become national cul- and his son as well as six administrators: manded massive additional payments. This tural heritage. However, in point of fact the Laurence Bertrand Dorléac, Blandine Cha- inheritance dispute divided the direct heirs: Dation only pertains to works of a high ar- vanne, Philippe Dagen, Laurent Le Bon, Jean César‘s daughter and wife, along with the tistic value, that is, those of very prominent de Loisy, Alfred Pacquement. Since 2014 artist‘s last girlfriend, Stephanie Busuttil, artists. Just one per cent of artistic heritage the Fonds de dotation of Jean-Jacques Lebel who finally was awarded with the moral is deemed eligible by the state for this proc- has been accommodated at the Musée de right of authentication for the works. As the ess. Where is the remaining 99% of artistic Beaux-Arts de Nantes for five years. legal proceedings were closed in 2006, heritage kept? The digital preparation of a legacy, the the tax authorities forewent the additional transparency and accessibility for art his- tax claims. What institutions, public or private, exist in torical research are conditions for successful France that look after the legacies of more legacy administration. Today, artists secure DATION or less famous artists? The most common their obituaries through donations and long- In France, there is an unusual method of pay- form are associations – non-profit organi- term loans to institutions. However, the in- ment, the DATION, thanks to which insuffi- sations, which are prohibited from making stitutional visibility affects only one per cent cient finances for the payment of tax liable financial gains. of the most prominent artists, who have es- on assets can be balanced by artwork with The Fondation d‘art is a charitable, not for tablished themselves on the market and in a high artistic and historical value. The DA- profit foundation. Often a financial basis of exhibitions. TION allows the heirs to amortise their debt more than 1 million euros is necessary to The current speculative market is based on a to the state and simultaneously enrich pub- establish such a foundation. It is subject to class of buyers, whose main focus is on as- lic exhibitions. Here civil meets public law. audit by state inspectors, the ministries and sets that preserve value. In the background, The law of the DATION was signed by the Council of State. Frequently, it takes six the international capital market plays a General de Gaulle and his culture minister to 24 months to gain state approval for le- huge role, searching for assets, which not André Malraux on 31 December 1968. gitimate institutionalisation. The Giacometti only constitute an equivalent value but also How does this state procedure, which can Foundation is an example. The Venet Foun- give hope for an appreciation in value. take two to three years, function? The Minis- dation is domiciled in the USA, although the try of Finance sends the offer from the heirs collection is on display in southern France. Art market to a committee, composed of two repre- Why are there increasingly more galleries sentatives from the Ministry of Finance, two „Fondation de France“ today that take care of legacies? How can Benno Werth, bronze, height: 105 cm, 1963. Photo: representatives from the Ministry of Cul- Today, many foundations with a smaller the increasing orientation of the contempo- Benno Werth. Benno Werth legacy, RAK ture and its President, currently Jean-Pierre basis or foundations with insufficient capital rary market towards historical artist positions

104 105 be explained? Since 2008 the French art bolic level is preserved by museums, art his- market has been subject to a crisis, which torians, galleries, collectors, auction houses has led to a preference for publicly well- and publications, which, in the case of Alina known artists on the secondary market, who Szapocznikow led to a rediscovery. But she represent a relatively secure market value. is an exceptional case. The rediscovery of The gallery as a shop window to the out- forgotten artists, their reappraisal and re- side world is an interface between artists, membrance is welcome. However, this af- heirs, institutions and collectors. It embodies fects only a small number of artists and is a market dynamic with the goal of increas- contingent on times ahead allowing new ing its visibility, by means of a strategically focuses for contemporary history, interpreta- targeted positioning of works in important tions, evaluations and academic insights. public and private collections and interna- tional exhibitions and auctions. Here, gal- Daniel Buren and Christian Boltanski are leries and artists represent the same inter- emblematic of our multimedia age, which est: optimising the value and the sale of a on the one hand characterises an immaterial work. The new evaluation and weighting dimension and on the other contains a dig- of historical positions is however a costly ital eternity. Here lies a chance give artistic long-term project, which requires the artists heritage a new visibility, inexpensively and to have financial capital at their disposal. on a broad level. The public purse is currently empty, the state is increasingly no longer a customer. The market – in particular the mega galleries as blockbusters – frequently takes on initiatives today which were previously reserved for the state.

The deal with death For a few years now, four fixed installation webcams have been filming the Artist Chris- tian Boltanski in his Paris studio and will con- tinue to do so until the end of his life. The recordings are broadcast directly in a grotto inside the „Museum of Modern Art“ (MoMA) in Tasmania and saved on DVD. The Aus- tralian collector, multimillionaireand gam- bler David Walsh paid Boltanskia monthly life annuity for this (sum unknown). Christian Boltanski‘s „final“ artwork will only attain a market value after his death, as only then can it be exhibited or marketed. Boltanski thematises here his obsession with death and remembrance, the passing of time and with the finiteness of life, in that he elevates an excerpt from his life into a work of art. For one thing, the legacy has an additional intellectual value, which lives on, on a per- sonal level in the memory of partners, the Benno Werth, landscape sculpture, iron, bronze, witnesses of the artist, the heirs. The sym- 1967. Benno Werth legacy, RAK

106 tains documents from institutions (museums, pensable source for all writers, who have schools, universities, factories), as well as the or had any kind of connection to art (critics, order/purchase documents associated with journalists, chroniclers, art theorists, art his- the acquisition of artist archives from the re- torians, lecturers), in addition to the publish- spective responsible ministries. Among these ers of art books and journals, galleries, art are countless dossiers and drafts from artists. establishments and... artists. The French National Library (BnF) possesses – And last but not least the Bibliothèque Kan- notable manuscripts from important authors dinsky. (e.g. Victor Hugo, Emile Zola, Gustave Flau- bert, Marcel Proust) as well as private and/ The BK is the only resource centre for con- or professional documents written by promi- temporary and modern art, whose offering nent individuals (e.g. Louis Pasteur, Jules of documentation of artistic heritage opens Isaac). As such, it is writers that are of most up the possibility of accessing the creative interest to the BnF; visual artists are more of private sphere of artists. How did a function an exception, such as in the «Fonds Robert like this develop within the Centre Pompidou? et Sonia Delaunay» which was donated by Sonia Delaunay. A part of this legacy The Bibliothèque Kandinsky has only borne is stored and conserved by the department this name since October 2002. On the oc- for manuscripts, another in the Bibliothèque casion of the reopening of the documenta- Kandinsky. The very recent, expensive ac- tion department of the Musée national d’art quisition of the archives of theorist, writer moderne, following two years of renovation and visual artist Guy Debord, however, re- work, in the course of which the capacity veals a new trend concerning the tasks and of the reading room and its shelves were Invitation to the Galerie La Roue, Paris for a standalone exhibition by Hubert Werden, 1959. Hubert Werden legacy, RAK traditions of the BnF. doubled (with the shelf space being filled down to the last metre in the meantime), the With regard to the history of art and the Director of the MNAM museum wanted a 20th century, artists archives are more of- name for the department. It needed to be Bibliothèque Kandinsky ten found in private, monographic structures the name of an artist who was very present Didier Schulmann Recently, archives from private enterprises, (Archives Matisse, Archives Yves Klein, Fon- through donations and collections of their Centre Pompidou, Paris, France associations, trade unions and other activ- dation Jean Dubuffet), to which sometimes, work; an artist of the avant-garde, who si- ists/socially engaged actors also found en- but not always, art collections are attached. multaneously worked as an art theorist them- If you wish to understand the nature, the ori- try into an extension of the National Archive Fundamentally, this is the case with the state selves. The artist chosen was Vassily Kand- gin, the status and the significance of the art- in Roubaix. They were named the AMT (les museums (Musée Picasso, Musée Zadkine, insky, whose archive had been integrated ist archives of the Kandinsky Library, it is first archives du monde du travail = The Archives Musée Bourdelle). However, there are four into the Centre Pompidou back in 1981, necessary to take a slight detour through the of the World of Work). Some large national institutions above all, whose core remit is the including the majority of his studio inventory: history and geography of the archives and institutions, above all those with a cultural academic analysis and conservation of artist 1,600 pieces, including 150 paintings, facilities. or educational focus, likewise brought their archives: which the artist’s widow Nina had donated administrative archives into the National Ar- to the museum. This gift complemented the The French system of archiving was estab- chive, however they retained their “archives – The Bibliothèque Littéraire Jacques Doucet long-term inventories of the Musée national lished as a public sector service in order to patrimoniales”; these are important and in- has collected entire estates and scattered indi- d’art moderne (of which much were already conserve, manage and make publicly ac- tellectually/academically very significant vidual pieces from Dadaist and surrealist art- there before Kandisky’s work was trans- cessible archives built up by public authori- documents, to which belong the private ists and writers and continues to do so today. ferred to the Centre Pompidou), in particular ties and institutions. The National Archives documents of certain employees or former – The Institut Mémoire de l’Edition contem- material from Robert and Sonia Delaunay, and the collections of the regional authori- employees. This is the case for the Ecole poraine (a private establishment) possesses Jacques Lipchitz, Michel Larionov, Albert ties, however, follow a proven tradition of nationale supérieure, the Institut de France some artist’s legacies (among others the ar- Gleizes, Jacques Villon and Raymond Duch- taking on, even collecting, private archives and the Collège de France. In the National chive of Otto Freundlich). amp-Villon. Little by little more was added which are primarily composed of documents Archive there is also an entire series, F21, – The foundation of the Archives de la Cri- with first the archive of Victor Brauner in written by politicians, diplomats or soldiers. which is dedicated to the “fine arts” and con- tique d’art (an association) remains an indis- 1986 and then that of Brancusi in 2001.

108 109 All of these artists (with the exception of Vic- have regained their original meaning, either that of Philippe Thomas (1951–1995, a tor Brauner) were born in the 19th century as a testimony of their age or because of French concept artist and founder of fiction- (between 1866 and 1896), and this had their dedications. alism and the agency “readymades belong an influence on the form and features of their to everyone”). archives, in addition to that fact that they A double movement between 1995–2000 were all immigrants, who chose to live and established a paradigm shift which resulted But the BK also accepts archives from other work in France. Four common points char- in this material being evaluated in more de- creative minds: from architects and design- acterise the existence of these four funds in tail from an archival perspective, beyond ers, art dealers, gallerists, authors of jour- the BK: their purely documentary value: nals, art publishers and book dealers and, above all, art photographers. Among these – a large pool of artwork is related to the – the development of international university are 250,000 glass plates from the Fonds artwork in the collections of the BK in the research, based on the academic methods Marc Vaux, the Fonds Jacqueline Hyde and museum; of research and investigation of the material, recently the photo archive of Harry Shunk & – their integration into the fund could be car- inspired by historiography and other humani- Janos Kender, the Fonds Véra Cardot-Pierre ried out thanks to generous donations (gifts tarian disciplines; this includes the processes Joly, the Fonds Sottsass; all these increase or bequests) which were approved by the for reevaluation and academic assessments, the significance of the works and the artists artist and/or their families; which are presented in corresponding publi- themselves in equal measure. For art criti- – none of the funds are “standalone” (céli- cations and in colloquia; cism, such collections of photographs are bataire): they all communicate with one an- a serial instrument of analysis, explanation other thanks to correspondences exchanged, – the increasing recourse to material ar- and the distribution of works, especially, if it at least in a “twosome”. chived in public museums for the explana- is not only the prints being stored, but also – for all the archived manuscripts (corre- tion of artwork and for the visualisation of the negatives and the contacts. They reveal spondence, appointment calendars, theo- respective contextual references. the indispensable dialogue between archi- retical texts, diaries, notebooks and drafts) tecture, designers and visual artists with the there are documentary and family photos, li- This new context facilitated the archival con- photographers, who photograph the works braries and magazines, which bear witness sideration of the collections of a younger in order to distribute them further. to the private sphere and intellectual environ- generation of artists, some of whom are still ment of the artists. alive. For five years, these collections, the nature of which is very similar to the legacies So much for the funds and for the artists (and of their predecessors, have massively con- their networks), whose primary sources can tributed to the research and design, for ex- only be researched in their entirety by com- ample, of art exhibitions (expography). They ing to the Centre Pompidou, into the reading are valuable sources that explain the artis- room of the Kandinsky Library. tic production of the avant-garde between 1960 and 2000: e.g. the archive of Guy de But as these significant and comprehensive Cointet (1934–1983, one of the – French Invitation to the Galerie La Roue, Paris for an exhibition primary sources came into the Musée na- – creators of Californian performance art), with works by Karl Fred Dahmen, Hanns Pastor and tional d’art moderne between 1970 and that of Jean Dewasne (1921–1999, one of Hubert Werden, 1959. Hubert Werden legacy, RAK 1980, the question of the collections, how the creators of abstract op-art, which arose to handle them and their public accessibil- from the strong, rationalising break with ity was not posed: this material was seen “lyrical abstraction”), that of Hervé Fischer In 2003, following the many fragmentary as purely documentary in nature and was (born 1941, creator of sociological art and individual purchases of the studio holdings at best used as a reference for selective or one of the really big activists within the mail of André Breton, a fund was established, in chronological audits and for the authentica- art movement), that of Isidore Isou (1925– which the individual pieces already bought tion of artwork. Many artist’s libraries were 2007, founder of the lettrist movement), that and the objects in the possession of the added to the general pool of printed mate- of Aurélie Nemours (1910–2005, pioneer general fund of the library (Fonds Général rial and thus lost their identities (e.g. those of of geometric abstraction, who synthesised de la bibliothèque) could be combined. Survage and Larionov): today these books the allover and research into colour) and

110 111 ‘Prospects for the future’ – die Nachlass- purely in terms of statistics, the number of versorgung aus Künstlersicht fonds will increase exponentially in the near Frank Michael Zeidler future. Not when you consider the number Deutscher Künstlerbund (Association of Ger- of academies that every year churn out man Artists), Berlin several hundred graduates, and have con- tinued to do so over decades. All of these Mr Schütz, Ladies and Gentlemen, fellow artists are taking part in the ‘exhibi- Esteemed speakers, tion merry-go-round’ and thus the production of art. It is worth noting, for example, that May I first thank you for granting me the between the years 1991 and 2014 alone, opportunity to speak here today. Artists are the number of fine artists insured by the KSK typically known for expressing themselves (German Artists› Social Security Fund) grew through their work and less for speaking from 18,700 to 63,000. Whilst the KSK’s about conservation or archival matters. Yet figures do not necessarily reflect solely pro- when it comes to protecting our heritage, fessional work, the growth in this area alone which is what we are speaking about here is indicative of a significant increase. These today in this symposium, things look a little rising numbers tell a similar story about the different. I want to try and outline in just a students at academies of the Federal Repub- few words the problems facing our artists or, lic of Germany in our federal education sys- to put it another way, some issues we can tem and the vast number of exhibitions in no longer ignore. galleries, institutes and museums. Added to this is the fact that the dawn of new artistic In 2012, I set up a symposium in Berlin media has further accelerated and expand- Theo Lambertin with his colleagues Peter Pick and Dietmar Schneider (from left to right) in Cologne, 2010. Schneider on behalf of the Deutscher Künstlerbund ed the variety, handling and generous use was the publishes of Kölner Skizzen, art agent, friend and sponsor to Theo Lambertin. Photo: Christiane Schneider. on the subject of artists’ estates. The event, of all kinds of materials. All of this raises the Theo Lambertin legacy, RAK which was held in the Berlinische Galerie, question of space for the artists’ legacies, or was fully booked; more than 250 attend- fonds. Fonds need space. Not only do they ees, most of them colleagues and their require private space, they also eventually not afford to store the oeuvre of a deceased permitted discussion on such commonplace families, sat tightly packed together in the need publicly funded space. artist however much they may wish to do topics as a legacy or archiving with the artist hall, many hundred having tried to register. so for a number of reasons. The perceived him or herself. I am glad of my role in raising I mention this because it appears to me that With regard to the management of fonds, value of the works on the art market alone the subject of legacies and instigating this the event on the subject of ‘artists’ estates it is worth noting that there is a widely-held is no reliable guarantee that there is suffi- debate on behalf of the Deutscher Künstler- served as an important and, at the same and very much mistaken believe that the cient money available to maintain a legacy. bund; my telephone has been ringing off the time, stark reminder of a problem affecting legacies of anyone who has enjoyed some Whilst I may be repeating myself here, there hook ever since the symposium. When they myself and fellow artists that is heading in- degree of success in the art market and on is an urgent need to keep bringing up these call me, colleagues often say, ‹Mr Zeidler, exorably and rapidly for us, but which has, the exhibition merry-go-round have already unpleasant examples because many gallery you can put yourself in my place – you your- in the past, been sadly and all too often been secured. It is important to me to point owners and museum directors continue to la- self are also affected.› ignored by many. out that this is completely untrue and mis- bour under the delusion that a presence on judged by many who contribute to the de- the market ensures the safeguarding of any And this represents the first step in tackling I am not overstating it when I say that, over bate on the problem of artists’ estates. As a possible estate. the problem; if we want to talk about pre- the next few years, we will be facing a del- fellow artist, I can quote countless examples serving artists’ legacies. I’m talking here uge of artists’ legacies because the studios, of artists and their circumstances, and I can Today, in light of the increasing professional- about legacies that my colleagues are deal- the profession and art education are being tell you that many of those affected have no ism of the industry, the debate on legacies ing with today and will have to deal with in managed much more professionally than in space and no provisions for their estates. As and the parties concerned requires a differ- the future; I am not talking about cases from earlier times such as the 1950s and 60s. honourable and right it may be to want to ent approach than that taken in earlier dec- the depths of art history which are virtually The holdings of studios alone are already ex- secure these legacies, let us not forget that ades and centuries, when the concept – pro- anonymous today. I am not talking about re- tensive and, to a large extent, exceptionally managing fonds costs time, energy and pounded by the Renaissance – of the artist solved and secured cases from art history. well organised. It is not hard to imagine that, money. Many family members simply can- as a genius or demi-god would not have I am not talking about cases that merit re-

112 113 searching with considerable emotional de- identity potentially making them unwilling to diverse and, for the most part, too unique for Can I just state, here and now, that my clear tachment; I am speaking about legacies and even consider self-limitation. Nonetheless, this. Of paramount importance is both the preference is for a government-supported ad- the parties concerned, about the misfortune we would all do well to take the prospect of social and individual discourse about focus- visory on artists’ estates which, like the work suffered by the artists’ families, about seri- a core oeuvre seriously and as a suggestion ing on the artist›s message. done by Stiftung Kunstfonds, is organised ous deficits in the securing of valuable evi- that merits support. by and on behalf of artists. This foundation dence of contemporary art history. Empathy And as an affected artist, I must allow is- is a shining example of competence and is a key to understanding the problem if we The arrangement, inception, establishment sues to be discussed that I may find uncom- performance; of just what can be achieved want to approach this subject of artists’ lega- and maintenance of an estate is a serious fortable, I must be prepared to talk about when you leave things to the artists them- cies constructively and head on. I know how undertaking in and of itself. matters that are alien to me and may cause selves. Despite the considerable scepticism these matters might well be dealt with by anxiety for me. I must be able to imagine the that initially surrounded this form of organisa- outsiders, curators, museum staff, archivists, Managing an estate is difficult for archivists, time after my death and think about death tion, it has admittedly proven itself among gallery owners and remote family members: almost unmanageable for artists and, for without it suffocating me. Besides the social the public and politicians, not least because From a social, psychological and even an family members, often an insurmountable discourse that is taking place here and now, this body is best placed to empathise with art perspective, these people will always be problem – this is something we must all learn there is also call for a personal discussion the artists’ situation and has the requisite third parties, always outsiders – essentially to deal with. The problem of estates, how- as there is, in practice, always something awareness of artistic working methods. This ‘exploiters’ in the best sense of the word. ever, can also be a useful one: As an intel- intimate about working on an estate; after is also apparent from the archive for artists’ For people in this position, it will always be lectual undertaking, it provides a window all, work on an estate always takes place, estates in Brauweiler near Puhlheim, which difficult to convince living artists to take steps into ourselves. We must, in due time, learn initially at least, in the enclosed space of the is attached to the foundation and which we that could mean sorting, paring down and to keep the idea of heritage, our legacy, in private individual. can visit afterwards. perhaps even ‘discarding’ their work. This mind, which itself should help us to focus group will always find it hard to say to art- more on the essentials. It is clear that this I don›t need to tell you, as experts in the But back to the issue of estates: Even when ists: ‹reduce yourself›. Even in regard to day- should begin right at the start, at the acad- field, that there is always an element of we have decided on our legacy and have to-day work, this is absurd, and in regard to emies, but I sadly see very little evidence at interpretation involved in the sorting proc- completed all the sorting and arranging, the one›s own estate, this is a task for the artist the present time of many efforts being made ess. Each omission is an act of moulding oeuvre will still follow its own path. This is community alone. It can only be performed in this direction. and weighting – and who could be better something we also have to learn to deal by the artist community. I shouldn’t have to qualified to do that than the creator him or with, something we have to accept; that repeat that this doesn›t always happen. Preparing the body of work that we will leave herself? Historians know only too well that things will be reformulated, arranged and as our legacy is a process of self-discovery sorting by third parties always runs the risk sorted, and we will not be able to discuss But how should one go about this? and cleansing: However, it is precisely this em- of historical misrepresentation. Sorting also the problem of lifetime and posthumous es- phasis on the ‹self’ that precludes the drawing always implies reinterpretation. tates in sufficient depth if society refuses to In the current legacy debate, the magic up of any form of practical tips or guidelines, talk about dealing with death. A society that word is ‹core oeuvre’. The task is to pare however much this might be desired. When No doubt many will now interrupt me and is incapable of holding a discussion about down the works to a core body to ensure it comes to putting together a definitive body say, yes but I know artists who are complete- matters concerning death will fail when faced that the oeuvre can be appropriately se- of work, there are no hard and fast rules. ly incapable of organising their estate, nev- with the matter of handling artists’ estates. cured and preserved for posterity. An oeuvre Estates will always be an individual problem, er mind getting themselves and their work Of what use to us is knowledge of the meth- that is liberated from seemingly superfluous just as the work of an artist is the broadest in order: ‹These artists need a sober view odology of an archive in a youth-obsessed sketches and unfinished pieces; a selection expression of an individual›s confrontation from outside.› There’s no question that such society that thumbs its nose at history and that gives a good representation of the core with existential questions. With regard to cases exist. If the artist is unable to manage anything to do with museums? What point is artistic message of the artist›s life›s work. one›s own estate, what matters is enlighten- the task of sorting on their own, it must be there in holding an expert debate on artists’ At first glance, this seems logical, appeal- ment; the perennial catalyst for reflection. worked through in a dialogue. All of us have estates if society as a whole, as a result of a ing and sensible, but when would be the a duty to talk about this and we, as artists, lack of education, is incapable of securing right time to do this? Those wishing to set And even more important: personal interac- have a responsibility to let the discussion the future of our cultural heritage. A society about the task are still alive, still working, tion. The most we can strive for is to invite happen. Here too, we can see clearly that it that is drowning in a mania of individualism still searching; taking pleasure in the crea- discussion among the artist community, spe- is not possible to overgeneralise contempo- doesn›t have to bequeath anything to any- tive process! These artists see their work as cialists and, ultimately, within society. There rary, professional work with estates; it is not one because the community will not want a daily elixir of life. Those invited to compile are unlikely to be any generalised solutions; anonymous work nor work that anyone can to read the signs. In this context, legacies a core oeuvre need breadth and exuber- the lives, working practices and social idio- do ‘on the side’. This type of work cannot be will purely become something that people ance in their artistic creativity; their sense of syncrasies of the protagonists are simply too learnt in passing in an evening seminar. can exploit for their own personal interests.

114 115 burden, we will similarly fail and the debate desire and calls for core oeuvres, and the on archives and art storage facilities will demands of artists to bring their work in or- continue ad absurdum. der, one thing is certain: However the future may turn out, our artists deserve their collec- So what needs to be done? The first task has tive statements to be preserved in this future, to be to record the life’s work of an artist, to as a whole and as an individual testimony, commemorate and categorise achievements and it is up to each and every one of us to that exist for a period of time. make sure this happens.

Of course, in some cases, it will also be But who will be responsible for making all necessary to make unpleasant decisions; we the decisions and for ensuring the future pres- all, even the best archivists, have to learn to ervation of the works? First things first – and accept that sometimes things will cease to I’m sure we’re all in agreement on this – the exist. Works of art will also disappear. They responsibility rests with me, as the creator of will disappear as a result of private con- the work, and it is up to me to decide what cerns, because it costs money to preserve should survive and what should not. Each them, because the sentimental or even the of us should be under no illusions that this material value is not recognised or because in itself does not offer any guarantees; how- the artists are not respected within their pri- ever, alongside my own decisions on what vate circle. They will disappear because a to preserve, the community will also have to different fate has been decided for the art- decide. And they must actively want to take works than what they deserve. All of these responsibility, they must speak out for it and forgotten artefacts will not be preserved in act accordingly. Storeroom containing the legacy of Theo Lambertin. Photographer unknown. Theo Lambertin legacy, RAK the future. They will simply cease to exist. The more intensive the dialogue, the more in- However much effort may be put into artists’ tensive the discussion on the value of art, the If we only ever focus on ourselves, estates preserving an estate with a view to ticking estates, this is also the fate of human testi- more profound the results. Let us ensure that are generally uninteresting unless you want boxes and earning as much money as pos- monies and their perpetuation. However, the we preserve the artefacts that paint a sub- to exploit them for your own ego. Work with sible is plainly not enough. For if we treat question that we artists must ask ourselves is, stantive picture of the richness of our age, estates requires a willingness to engage in estates purely as a material problem, in the do we have a right to take part in this per- artefacts that tell of a spiritual diversity and a cultural debate, a readiness, driven by a sense of generating profits and riches for the petuation; if so, how should it be organised, not only of pecuniary success stories such sense of public-spiritedness, to discuss cul- art market, if we only view estates with dollar and if not, how do I, as someone directly as the diamond-encrusted skull of Damien tural and existential questions. signs in our eyes, then we are approaching affected, deal with that? There are certainly Hurst. Our age is richer than the mainstream the debate from entirely the wrong angle. many examples of artists who, even during or the material excesses of the art market In its truest form, art today, and I hope also their lifetime, have had to face the fact that would have us believe. in the future, always provides a bridge to an This returns us to the unsecured estates men- they do not belong to those whose legacy understanding of human existence: If these tioned back at the beginning: all the pro- is assured. Unfortunately however, it is easy to fool questions are no longer asked or given the tagonists on the art market who were once ourselves into seeing success only in terms light of day, and pecuniary value is all that able to show their works, whose works were Despite all the unknowns, what we can say of national and international market suc- matters; if it›s more about entertainment and once important, and whose estates cannot today with certainty is that the liberal thinking cess and presence. Given the diversity of value creation, then there›s no need for me be preserved due to a lack of funds. If we that is, or rather, that can be formulated in individual identities and localities, it will be to manage any estates, nor is there any are discussing artists’ estates, then we need the artistic works of today is, without doubt, extremely important in the future to establish need for us to compile any bodies of work to talk about cultural values outside of mer- worth preserving in the future. regional archives and collections. In the con- in the first place. cantile interests. We must be willing to see text of globalisation in particular, regional the artists’ messages of yore as part of a Given that the title of this talk is ‘Prospects identities are at risk of being left behind. It It is only the desire for a shared intensive whole, and must be willing to see artists’ for the future’, I leave you with this: Despite would, however, be mistaken to believe in discussion about all these matters that also estates as a comment on our existence. If all the criticism of volume, despite the bur- the decreasing relevance of local identities unites us in the task of preservation. Simply we consider legacies to be purely a material densome mountains of material, despite the within a multi-cultural society. Museums will

116 117 not be the archives of the future; regional archives will have to preserve our common cultural heritage. This will, primarily, need to be determined by the experts, the artists themselves; the task then will be to convince the responsible politicians to stand up for the type of concepts that we have been able to witness with Stiftung Kunstfonds. The task will also have to be to ensure that the value of art is discussed even more intensively within society. In this sense, I am extremely relieved by the broadly increasing focus on artists’ estates. Not least because this debate could prove to be catalyst for a more thorough and critical analysis of art and its significance, its social significance and, ultimately, its sub- stance. The onus is on us to demonstrate that art is not only an economic factor and just another item on the political agenda.

If we move past a debate about estates and enter into an existential confrontation with and about art, then we could do justice to something that has been the pride of our na- tion of culture for centuries: Art has always also been an elixir of life, an inspiration, a signpost and a utopia to stimulate forward- looking discourse. Art has always provided for discussions that both divided and brought people together again. Artists’ estates have the potential to achieve all this in a way that transcends time.

For me personally, the most important aspect of this debate, besides all the individual, practical and cultural issues, is the recurring theme of the need for tolerance among each and every one of us involved in the cultural heritage debate, permitting the messages of different artists to coexist as equal and un- contested.

Thank you.

Decorative header on a print sample of the magazine La Revue Moderne illustrée des Arts et de la Vie, 1956. Helmut Lankhorst legacy, RAK

118 Federal Association of Artistic Heritage fined artistic diversity, which must unequivo- (Bundesverband Künstlernachlässe – BKN) cally be taken into consideration, A merger of institutions preserving artistic 3. the limited financial possibilities of the cul- heritage in Germany tural budget and the respective credit limits Gora Jain of the individual German states. Forum for Artistic Heritage Hamburg (Forum These three significant issues alone cannot für Künstlernachlässe Hamburg) be thought through by any one individual, they are best addressed in a network of in- Good concepts and proven formats for terested parties. That said, I would like to dealing with artistic heritage have existed talk about the current status of the Federal for some time. I would thus like to highlight Association of Artistic Heritage (BKN). some thoughts that are relevant for Germany concerning the necessity and significance The need for a federal association for net- of the Federal Association of Artistic Herit- working existing regional and supraregional age, namely thinking about the subject of heritage initiatives as well as those under de- artistic heritage across all of Germany with velopment has long been evident. Based on a view to cross-linking the regional and su- the many years of experience accumulated praregional heritage initiatives. From the by certain initiatives and their increasing in- beginning, options for a Germany-wide so- terconnectivity this thought has for some years lution were incorporated into several artistic been taking shape during various conferenc- heritage conservation concepts (amongst es and symposia. Within the scope of the others, in Hamburg and Mannheim), which OPEN FORUM of the Federal Association of are being implemented under consideration Artists (Bundesverband Bildender Künstlerin- of regional and state-specific conditions. nen und Künstler – BBK) conference “Anlass: In fact, the debate should move towards the Nachlass” in December 2015 in the Acad- discussion of sustainable perspectives for in- emy of Art in Berlin, the intention of founding stitutions preserving artistic heritage, involv- a Federal Association for Artistic Heritage ing, in first instance, cultural-political repre- was stated in public for the first time. From sentatives at the federal and state level. the very beginning the BBK approached the topic in an open and cooperative way and The founding of a “Federal Association of advanced the exchange of ideas. It is the Artistic Heritage” (BKN) in 2017 was in- BBK’s clientele who are particularly likely to tended to give these issues a concrete form. be interested in a Germany-wide solution for The central question here remains this: How the issue of artistic heritage and who above can a Germany-wide solution for sustainable all can give valuable input. and comprehensive conservation of artistic heritage be achieved? The intent of founding a Federal Association The number of cultural-political and state-spe- was resolutely pursued, whereby the “Fo- cific conditions which need to be observed rum for Artistic Heritage Hamburg”, “Artis- Tremezza von Brentano, self-portrait, charcoal, 55 x 50 cm, 1982. Tremezza von Brentano lifetime legacy, RAK. here will quickly and significantly increase, tic Heritage Mannheim” (Künstlernachlässe VG Bild-Kunst, Bonn 2018 something which becomes evident from the Mannheim) and “Privately Held Artistic Her- following three aspects alone: itage in the State of Brandenburg” (Private 1. the overall structure of a federal republic Künstlernachlässe im Land Brandenburg) Germany: from Schleswig-Holstein to Bavar- federal level the subject has been incorporat- composed of 16 states, containing both city emerged as initiators. They were driven by ia, from North Rhine Westphalia to Berlin, ed into the agenda of the Culture Minister’s states (e.g. Hamburg) and territorial states their actions and knowledge concerning the or considered diagonally, from Bremen to Conference (KMK). (e.g. NRW), considerable interest of various heritage ar- Saxony and Mecklenburg to the Saarland. 2. the heterogeneous structure of the artistic chives and associations as well as private In the meantime, the discourse has arrived in The Association can be seen as a non-par- landscape with a correspondingly well-de- initiatives, distributed across the entirety of all German states. As a consequence, at a tisan, democratically organised umbrella

120 121 organiation. It represents the cultural-politi- shown how quickly regional positions can cal concerns of currently active and future take on national relevance and national po- artistic heritage initiatives. sitions, international relevance. Consequently, the range of those who have As such, the new network should enable been addressed and those yet to be spo- specialist exchange between regionally en- ken to with regard to membership is wide. gaged artistic heritage initiatives across all In some places, institutional facilities are of Germany. This combination of previously still not to be found. As a consequence, the lone forces as a common interest group need and existing potential must be further strengthens the public visibility of the issue sounded out. In addition, the existing institu- as well as the effective coordination of com- tions pursue a variety of focuses, which can mon tasks. Hereby the new network incorpo- constructively complement one another, also rates infrastructure from research, archiving, presenting a potential that is yet to be deter- exhibition operations and trade in art. mined. Besides, we must not forget the many These outlined objectives open up numer- storage facilities distributed across Germany, ous areas of activity, for which the Federal where valuable cultural assets (i.e. art and Association would like to advocate and/or written work from the field of visual arts) still provide support for corresponding initiatives: await discovery. These can be found: This encompasses the recognition of region- al artistic heritage as a national cultural as- - with trustees of individual legacies set , the integration of artistic heritage initia- - in established artistic heritage initiatives tives in the cultural strategy of every German and associations state, the associated public promotion of the - in heritage foundations advisory, coordinating and research func- - in art associations tions of the artistic heritage initiatives and - in Germany’s regional artists associations lastly the protection of an original core col- - in art colleges lection in public core collection warehouses - in archives with various focuses at the state level across all of Germany, as - in libraries well as its public accessibility, both material - and of course in museums, which are and virtual. constantly confronted with admission re- Likewise consultation opportunities should be quests, at times accommodating numer- available to private legacy holders and artists. ous legacies but without being able to And last but not least on the extensive agen- perform this function as part of their main da is the sophisticated cooperation and net- area of activity. working between artistic heritage initiatives across Germany, eventually also collective How can the diversity of the artistic land- international cooperation and networking. scape be preserved and made visible? This central question is connected to several of We are all the more pleased that a forum the BKN’s goals. The hitherto lesser known was also offered at this conference for the ad- and seldom utilised value of regional artis- vancement of this work. Therefore, we would tic heritage as a source for writing cultural like to invite once again today all those inter- and artistic history must be recognised on a ested to get in touch with us and to take part in federal and state level in German political the “Federal Association of Artistic Heritage”! and administrative affairs, as in uninformed circles “regional” is also readily confused with “parochial”. Happily, numerous contri- Catalogue for the 9th exhibition of the Club interna- butions throughout the course of the sympo- tional féminin in Paris, 1969, Margret Schriefers-Imhof sium have once again refuted this error and legacy, RAK

122 123 Inventory list Engert, Ernst Moritz Rheinisches Archiv für Künstlernachlässe 1892 Yokohama/Japan – 1986 Lieh, Silhouette Cutter, Graphic Artist Version: December, 2017 Ertel, Kurt Friedrich 1919 Landau – 1976 Gießen, Art Historian Ackeren, Carl van Falken, Herbert 1906 Cologne – 1978 Meckenheim-Merl, Sculptor 1932 Aachen, Painter, lives in Kreuzau Ackermann, Karl Fick, Wilhelm 1898 Düsseldorf – 1938 Düsseldorf, Architect 1893 Cologne – 1967 Whitby/Canada, Painter Ackermann, Otto Fischer, Clemens 1872 Berlin – 1953 Düsseldorf, Painter 1918 Köln – 1992 Bonn, Painter, Draughtsman for Stained Glass Painting Andernach, Roland Edmund Flamm, Albert 1897 Beuel – 1960 Neuß, Set Designer, Painter 1823 Cologne – 1906 Düsseldorf, Painter Auer, Magda Felizitas Gerber, Walter 1902 Cologne – 1990 Farchant, Painter 1900 Groß-Felda – 1996 Leverkusen, Painter Bardenheuer, Herbert Gilles, Barthel 1949 Eschweiler – 2007 Aachen, Painter, Photographer 1891 Rendsburg – 1977 Wees, Painter Batz, Eugen Gottschalk, Ernst 1905 Velbert – 1986 Wuppertal, Painter, Photographer 1877 Düsseldorf – 1942 Düsseldorf, Sculptor Bayrle, Alf Gottwald, Alfred 1900 Biberach – 1982 Rotthalmünster, Painter 1893 Tarnau/Silesia – 1971 Minden, Painter, Church Painter Böttger, Herbert Hamm, Heinrich 1898 Krefeld – 1954 Büderich, Painter 1889 Goch – 1968 Trier, Sculptor Boffin, Hans Hecker, Peter 1917 Berlin – 1997 Hürth, Sculptor, Architecture Modeler 1884 Türnich – 1971 Scheuren/Odenthal, Painter, Draughtsman f. Stained Glass Painting Bonato, Victor Heyne, Maren 1934 Cologne, Painter, Object Artist, lives in Niederkassel 1941 Munich, Photographer, lives in Düsseldorf Brentano, Tremezza von Jansen, Arno 1942 Innsbruck/Austria, Painter, lives in Cologne 1938 Aachen, Photographer, lives in Cologne Bretz, Julius Jovy-Nakatenus, Marianne 1870 Wiesbaden – 1953 Bad Honnef, Painter 1906 Bonn – 1978 Meerbusch, Sculptor Breuer, Leo Kamps, Heinrich 1893 Bonn –1975 Bonn, Painter 1896 Krefeld – 1954 Düsseldorf, Painter, Draughtsman f. Stained Glass Painting Busley, Joseph Kaufmann, Herbert 1888 Burglahr – 1970 Düsseldorf, Art Historian 1924 Cologne – 2011 Düsseldorf, Painter, Object Artist Damke, Bernd Keyenburg, Hermann-Josef 1939 Gräfendorf, Painter, Graphic Artist, lives in Berlin 1934 Essen – 2010 Mülheim an der Ruhr, Painter, Graphic Artist Deutzmann, Willi Kliesing, Fritz 1897 Solingen – 1958 Solingen, Damascener, Painter, Graphic Artist 1891 Honnef – 1941 Bonn, Master Book Binder Dienz, Hermann Kohlschein, Hans 1891 Koblenz – 1980 Bonn, Painter 1879 Düsseldorf – 1948 Warburg, Painter Dornbach, Hans Kortenbach, Gertrud 1885 Düsseldorf – 1952 Lippstadt, Painter 1924 Solingen – 1960 Solingen, Sculptor Dotterweich, Hans Kroh, Heinz 1920 Bonn – 1988 Bonn, Painter 1881 Cologne – 1972 Dortmund, Painter, Illustrator

124 125 Kruchen, Julius Peters, Hermann 1845 Düsseldorf – 1912 Düsseldorf, Painter 1886 Gelsenkirchen – 1970 Gelsenkirchen, Painter, Graphic Artist Kruchen, Medardus Petersen, Oswald 1876 Düsseldorf – 1957 Düsseldorf, Painter 1903 Düsseldorf – 1992 Düsseldorf, Painter Lahs, Curt Petersen, Walter 1893 Düsseldorf – 1958 Berlin, Painter 1862 Burg an der Wupper – 1950 Düsseldorf, Portrait Painter Lambertin, Theo Platte, Ewald 1949 Cologne – 2016 Berlin, Painter 1894 Lüttringhausen – 1985 Opladen, Painter Lammers, Egbert Prigann, Herman 1908 Krefeld – 1996 Waakirchen, Painter, Draughtsman f. Stained Glass Painting 1942 Recklinghausen – 2008 Portals Nous/Spain, Painter, Object Artist Lankhorst, Helmut Prinz-Schulte, Eugen 1909 Mülheim an der Ruhr – 1979 Mülheim an der Ruhr, Painter 1902 Oestrich/Rheingau – 1981 Königswinter, Painter, Commercial Illustrator Leykauf, Fritz Rabasseda, Enric 1900 Düsseldorf – 1963 Düsseldorf, Architect 1933 Barcelona/Spain – 2016 Wuppertal, Painter Macketanz, Ferdinand Rath, Walther 1902 Wiegenfeld/Poznan – 1970 Laas/Italy, Painter 1886 Hamm/Westphalia – 1935 Koblenz, Painter May, Heinz Rave, Horst 1878 Düsseldorf – 1954 Düsseldorf, Painter 1941 Bonn – 2009 Bonn, Painter, Sculptor Marx, Elisabeth Reins, Arno 1926 Bad Kreuznach, Painter, Object Artist, lives in Brühl 1921 Bad Godesberg – 1985 Bonn, Painter, Graphic Artist Marx, Karl Reusing, Fritz 1929 Cologne – 2008 Cologne, Painter 1874 Cologne – 1956 Haan, Portrait Painter Masuhr, Dieter Ris, Günter Ferdinand 1938 Rosenberg/West Prussia – 2015 Berlin, Painter, Writer, Translator 1928 Leverkusen – 2005 Darmstadt, Sculptor, Painter May, Heinz Ronig, Ludwig Egidius 1878 Düsseldorf – 1954 Düsseldorf, Painter 1885 Cologne – 1959 Cologne, Painter, Draughtsman f. Stained Glass Painting Mender, Mark Royen, Peter 1933 Munich, Photographer, lives in Oberhaching 1923 Amsterdam/Netherlands – 2013 Düsseldorf, Painter Menser, Karl Rübsam, Jupp 1872 Cologne – 1929 Zürich, Sculptor 1896 Düsseldorf – 1976 Hinsbeck, Sculptor, Painter Oellers, Günther Sala, Annamaria 1925 Linz am Rhein – 2011 Linz am Rhein, Sculptor 1930 Merano/Italy – 2013 Bonn, Musician, Concept Artist Oellers-Teuber, Edith Sala, Marzio 1923 Duisburg – 2015 Lohmar, Painter 1925 Turin/Italy – 2009 Bonn, Theorist, Concept Artist Ophey, Walter Schily-Koppers, Julia 1882 Eupen – 1930 Düsseldorf, Painter 1855 Borken/Westphalia – 1944 Parow, Painter Paling, Richard Schleuter, Ernst 1901 Barmen – 1955 Wuppertal, Painter, Graphic Artist 1904 Cologne – 1943 Vitebsk/Belarus, Art Historian Pastor, Hanns Schmitz, Jean Paul 1917 Jülich – 2009 Aachen, Painter, Sculptor 1899 Wesseling – 1970 Singen, Painter Peiner, Werner Schneiders, Carl 1897 Düsseldorf – 1984 Leichlingen, Painter 1905 Aachen – 1975 Aachen, Painter Pehle, Albert Schreiber, Richard 1874 Lippstadt – 1948 Düsseldorf, Sculptor 1904 Hindenburg/Upper Silesia – 1963 Düsseldorf, Painter

126 127 Schwermer, Gebhard 1930 Arnsberg – 2007 Konstanz, Painter, Illustrator Schmidt-Bonn, Henriette 1873 Bonn – 1946 Willingshausen, Painter, Graphic Artist Schmitz-Imhoff, Käthe 1893 Cologne – 1984 Cologne, Painter Schriefers, Werner 1926 Dülken – 2003 Bonn, Painter Schriefers-Imhof, Margret 1928 Wuppertal – 2014 Cologne, Textile Designer, Object Artist Sier, Wolfgang 1955 Cologne – 2012 Cologne, Photographer Stucke, Willy Maria 1909 Bonn – 1987 Bonn, Painter, Illustrator Sundhaußen, Helmut 1935 Düsseldorf, Painter, Graphic Artist, lives in Düsseldorf and Tokyo Swan, Douglas 1930 Connecticut/USA – 2000 Bonn, Painter Tadeusz, Norbert 1940 Dortmund – 2011 Düsseldorf, Painter Talaga, Valentin 1894 Rotthausen/Essen – 1941 Bonn, Painter Tilgner, Leo 1892 Gelsenkirchen – 1971 Wetter an der Ruhr, Painter, Graphic Artist Weber, Vincent 1902 Monschau – 1990 Frankfurt am Main, Painter Weil, Manfred 1920 Cologne – 2015 Rheinbach, Painter Wersebe-Hogrefe, Ingrid von 1920 Bonn – 2006 Bonn, Photographer Werden, Hubert 1908 Eschweiler – 2005 Aachen, Painter Werth, Benno 1929 Riesa – 2015 Aachen, Sculptor, Painter, Cityscape Designer Werthmann, Friederich 1927 Barmen – 2018 Düsseldorf, Sculptor Wilden, Egon 1894 Düsseldorf – 1931 Ahlen, Painter, Set Designer Wille, Ernst 1916 Werne/Westphalia – 2005 Cologne, Painter Wind, Gerhard 1928 Hamburg – 1992 Jávea/Spain, Painter, Graphic Artist

128 129 Imprint Publishers: Daniel Schütz, Rheinisches Archiv für Künstlernachlässe

Editorial address Rheinisches Archiv für Künstlernachlässe Floßweg 55 53179 Bonn Tel.: 0228-93299935 Fax: 0228-93299936 [email protected] www.rak-bonn.de

Idea and concept: Daniel Schütz Editing: Daniel Schütz in collaboration with Hans M. Schmidt © Rheinisches Archiv für Künstlernachlässe

Design: David Zepter Text translations: Norbert J. Heikamp & Eurotext Printing: in puncto druck + medien, Bonn Run: 1000

ISBN: 978-3-9813451-5-5

Bonn, 2018

Cover: Portrait photo of Käthe Schmitz-Imhoff (detail) circa 1925. Photo: (attributed to) Elsbeth Gropp Käthe Schmitz-Imhoff legacy, RAK

Page 129: Karl Marx in his studio, 2004. Photo: Burkhard Maus. Karl Marx legacy, RAK

First page of a manuscript by Douglas Swan about his encounters with Joseph Beuys, Brigitte Lohmeyer and Richard Demarco (detail). Douglas Swan legacy, RAK