Hans Haacke Art Nature

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Museum Abteiberg is showing the research exhibi- As Haacke himself put it: HANS tion HANS HAACKE: ART NATURE POLITICS from “A ‘sculpture’ that physically reacts to its environment June 21 to October 25. Curated by Ursula Ströbele is no longer to be regarded as an object. The range HAACKE of the Study Center for Modern and Contemporary of outside factors affecting it, as well as its own ra- Art at the Zentralinstitut für Kunstgeschichte Mu- dius of action, reach beyond the space it materially nich (December 12, 2019 until February 7, 2020), it occupies. It thus merges with the environment in a ART is now being installed in Mönchengladbach in col- relationship that is better understood as a ‘system’ laboration with Felicia Rappe within the museum’s of interdependent processes. These processes evolve NATURE art of the 1960s and 1970s collection. without the viewer’s empathy. He becomes a witness. A system is not imagined, it is real.” POLITICS Hans Haacke (b. 1936 in Cologne) is known for institutional critique that exposes sociopolitical interde- In 1972, Hans Haacke opened his exhibition Demons- pendencies in the art (market) system. He advocates trationen der physikalischen Welt: biologische und an “art of enlightenment” that brings alarming and il- gesellschaftliche Systeme (Demonstrations of the Phy- legal realities to the fore. The artist was awarded the sical World: Biological and Social Systems) at Museum City of Kassel’s Arnold Bode Prize in 2019; that same Haus Lange in Krefeld. Held at the invitation of the in- year saw the opening of the retrospective Hans Haacke: stitution’s director Paul Wember, the exhibition focu- All Connected at the New Museum in New York City, sed on ecology and environmental pollution. It shows where the artist has lived since the mid-1960s. He is the close interweaving of nature, society and politics the recipient of the 2020 Goslarer Kaiserring Prize. in the artist’s oeuvre.

A number of Haacke’s lesser-known early works (made Haacke’s expanded understanding of sculpture also between about 1965 and 1972) explore animals and reveals itself in his time-based, physical objects whe- plants as agents in biological “real time systems” (Jack rein air, water and other liquids become both material Burnham)—a group Haacke humorously refers to as his and part of the work. Museum Abteiberg’s collection “Franciscan” works. The eponymous saint is known as includes one such early participatory object by Haa- an animal lover, ecologist and pacifist who communica- cke: a piece from 1965 that invites visitors to turn an ted with animals and took care of them. These works acrylic glass cylinder filled with two immiscible liquids, in particular question the separation between culture thereby setting its contents in motion. After many ye- and nature—now a potent issue in contemporary art. ars out of the public eye, this permanent loan from the Etzold Collection is on view once more in the con- The exhibition combines an early film by the artist text of the exhibition. (1969) with photographs featuring these rarely shown biological, sculptural systems and key publications in Museum Abteiberg is also showing the site-specifically this context: Haacke’s understanding of sculpture in adapted work Wir (alle) sind das Volk (We (all) are the the 1960s and 1970s was influenced by systems theory people). Haacke conceived it in 2017 for documenta and cybernetics, including the writings of Norbert Wie- 14 in Kassel. The banner with the inscription in twelve ner and Ludwig von Bertalanffy and his own dialogue languages is surrounded by rainbow colors. The con- with Jack Burnham. With the latter he contemplated ceptual work was recently shown at the Zentralinsti- “sculpture as a real-temporal system”—a counter-mo- tut für Kunstgeschichte in Munich. Commemorating del to formalism and classical sculpture. Burnham and the 30th anniversary of the fall of the Berlin Wall, the Haacke were interested in artistic works that unfold as artwork recalls the slogan “We are the people” from a process in “real time,” with components that com- Monday demonstrations in Leipzig in 1989/90, which municate with one other and with their environment. also became a rallying cry for German reunification. A precondition, they argued, was to think in systems, to produce systems, to intervene in existing systems Haacke’s interest in biological, physical and social sys- and make them visible—as the artist’s film demonstra- tems remains characteristic of his artistic approach tes. Haacke explores organizational structure and the to this day; he addresses their mutual connections in exchange of information, energy and/or matter. Sys- a unique iconography of the political and ecological. tems can be of a physical, biological or social nature.

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele EN

Der Bevölkerung / To the Population HANS 2000, German Bundestag, Berlin HAACKE In 2000 Hans Haacke realized the site-specific, participatory work Der Bevölkerung (To the Population) in the northern atrium of the Reichstag building in Berlin. Mem- bers of the Bundestag have since been invited to bring soil from their respective ART electoral districts to Berlin and to place it around the dedication lettering, which is installed directly on the floor. The neon inscription in the inner courtyard is a re- NATURE ference to the 1916 inscription Dem Deutschen Volke (“To the German People”) on the tympanum of the building’s Western portico, and is based on the original type- POLITICS face designed by Peter Behrens. Haacke’s inscription draws on a quote from Ber- tolt Brecht (1935): “Anyone who says Bevölkerung (population) [...] instead of Volk these days has already denied support to many lies.”

The parliament’s art advisory council decided to realize Haacke’s project idea in 1999. Acceptance of the proposal for Der Bevölkerung sparked heated discussions and an eventual debate on the floor of the Bundestag on April 5, 2000, after which a majority voted in favor of the artwork. Haacke’s work posed questions of a highly political nature, says Wolfgang Thierse, then President of the Bundestag and one of the project’s supporters:

“They point to the ethos of the parliamentarian, ask what norms she or he is commit- ted to and what responsibility she or he feels towards people living in our country. [...] What is important is that the viewer takes a position and has actively thought about Haacke’s projects.”

The biotope, which has been growing for almost 20 years, is left entirely to its own devices. The project echoes another, earlier project from 1970, namely a mound of fertile soil Haacke brought to the roof of his studio and allowed to become wildly overgrown. Bowery Seeds (see entrance to this room) highlights the significance of Haacke’s early work, the focus of this exhibition.

On view are correspondence, photographs and plans from the development process along with a jute sack for transporting soil.

Recent webcam images of the atrium can be viewed online; the names of parlia- mentarians who brought soil from their electoral districts to Berlin are listed on the project’s website: www.derbevoelkerung.de

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele EN

Live Airborne System / Lebendes Flugsystem HANS planned 1965, realized 30.11.1968, Coney Island, New York HAACKE “Bread crumbs are tossed into the ocean and attract seagulls.” (Edward Fry 1972)

In 1965 Hans Haacke, Heinz Mack, Otto Piene and Günther Uecker designed a sculp- ART tural outdoor ensemble for “Zero on Sea,” an art presentation at the Scheveningen Pier (Netherlands). Elements included oil fire-lit barrels on rafts, buoys as mobile NATURE sculptures, Zero-messages in bottles, silver skin on the water, smoke objects and a floating feeding station for seagulls, the flight formations and mass of which Haa- POLITICS cke considered “seagull sculpture.”

The latter project—realized only in 1968 at New York City’s Coney Island—marked the shift in Haacke’s focus away from his earlier abstract paintings, reliefs and physical processes to biological systems. Footage of the intervention appears in the film Hans Haacke. Selbstporträt eines deutschen Künstlers in New York (Hans Haacke: Self-Portrait of a German Artist in New York, 1969).

Goat Feeding in Woods / Ziege in einem Wald weidend 1970, Fondation Maeght, Saint-Paul-de-Vence

“A goat tied to a rope feeds on forest vegetation. It is tethered at various, changing points.” (Edward Fry 1972)

Haacke’s project for the exhibition L’Art vivant aux Etats-Unis at Fondation Maeght confronted a goat with a new environment and food. Factors in this biological system include the choice of wooded area, temperature, weather conditions, biodiversity and the animal’s food preferences—organism and metabolism as intricate systems whose complex, mutual interactions with the environment are often unconscious. At the same time, the intervention also reflects a point of institutional critique: The artist allows this “living sculpture” to both feed on and shape its environment, a spot close to the stately museum park with works by established Modernist sculptors including Joan Miró and Alberto Giacometti. Haacke’s use of the domesticated, isola- ted goat amounts to a defense of art’s freedom against the only ostensibly non-profit foundation founded by the gallery owner Aimé Maeght—and of artists as “farm animals” within institutional structures and the art (market) system? The piece shows parallel interests in the biological as well as in institutional critique.

Ten Turtles Set Free / Zehn Schildkröten freigelassen 20.7.1970, Fondation Maeght, Saint-Paul-de-Vence

The artist purchased ten turtles from a local pet shop, then released them from human captivity back into the cycle of nature. Started with a one-time intervention at the exhibition opening, Haacke’s work continues to develop within the museum garden’s ecosystem. It becomes an ongoing, self-sustaining system that is “invisible” to the art public. Viewed in the current context, Ten Turtles Set Free raises questions about biodiversity, the problematic issue of exotic animal keeping and invasive species.

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele EN

Chickens Hatching / Küken ausschlüpfend HANS 1969, Art Gallery of Ontario, Toronto HAACKE “Eggs are hatched in incubators. One day after the chicks hatch, they are moved to a warmed coop. The coop is increasingly subdivided so that the new hatching chicks, which hatch at weekly intervals, can be placed in separate compartments.” ART (Edward Fry 1972)

NATURE While the work’s outer contour remains constant and bears some resemblance to serial, industrially-produced Minimal Art objects, the inside of it is always changing. POLITICS Chickens Hatching shows Haacke’s interest in the processual nature and systemic aesthetics of a work. The visible growth and role of the animals within a system are more important to Haacke’s understanding than the individual chick—a “biological ready-made” (Edward Fry). He isolates his animal agents, uses cubes to evoke a scientific, laboratory-like distance, retains spatial and visual control (reflected in the simple overview photograph of the boxes) and also involves the circuitry of the po- wer supply, the heat source essential to the creation of new life. This mechanization of nature causes the chicks to react in what amounts to a kind of “feedback” loop; the mother hen’s task has been automated, similar to the automated breeding met- hods currently used on factory farms today.

Norbert: All Systems Go 1970/1971

“A mynah bird was taught, both directly and through a tape recording of the human voice, to utter the phrase ‘All Systems Go’.” (Edward Fry 1972)

This persiflage of systems theory, expressed the animal Norbert’s name (see Norbert Wiener, Cybernetics: Or Control and Communication in the Animal and the Machine (1948)), failed because the feathered creature did not speak the three words, and also because censoring museum managers fired curator Edward Fry and cancelled Haa- cke’s 1970 show at the Guggenheim a few weeks before the exhibition was schedu- led to open. All that has survived of the intervention is a color photograph showing the black bird in its cage. The MIT Press published the second edition of Wiener’s groundbreaking book in 1961. Wiener’s publication laid a theoretical foundation for the regulation and control of complex feedback systems. He describes them with analogy to human brain functions, sensory organs and social organizations.

Directed Growth / Gerichtetes Wachstum 1970/1972, Museum Haus Lange, Krefeld

“Bean shrubs grow on nylon threads stretched diagonally from the center of the room to the window.” (Paul Wember 1972)

Two approaches characterize Haacke’s biological systems: 1. The staging of nature: making a natural phenomenon visible and visually framing it within its original environment. 2. The “displacement of nature and its spolia-like reassembly” in the exhibition space (Monika Wagner). Directed Growth falls in the second category.

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele EN

Transplanted Moss Supported in an Artificial Climate / HANS Grundwasser – Versprühung –Moosbewässerung – Grundwasser HAACKE 1970/1972, Fondation Maeght, Saint-Paul-de-Vence and Museum Haus Lange, Krefeld ART “A well is drilled in the park and fills with groundwater. This groundwater is sprayed onto the branches of the willow via a motorized pump. Water drips down from the NATURE branches, sprinkling the soil beneath the willow like a constant rain. Small amounts of moss culture are present here, but only grow over a wide area in the course of POLITICS the exhibition. A simple, natural process is made visible. Water running down seeps back into the groundwater. Haacke increases humidity, interfering with normal chan- ges in the vegetation. The cycle is closed.” (Paul Wember 1972)

This photograph shows the orchestrated microclimate; in the foreground stands the weeping willow along with the exposed tubing as the source of this artificial water cycle.

Haacke conducted a similar artistic intervention in another organic environment two years earlier, in the park at Fondation Maeght. The moss, which had been collected in the mountains (see photograph), needed sufficient irrigation to keep the deployed vegetation alive. Haacke has repeatedly pointed to the use of meteorological terms in political debates. His artificial climate is also an institution-critical “demonstra- tion” of an autonomous climate created through art or in the arts field (see Rye in the Tropics, 1970, Guggenheim Museum, New York).

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele EN

wall HANS Krefeld Sewage Triptych / Krefelder Abwasser-Triptychon HAACKE 1972, Museum Haus Lange, Krefeld

A hazy, grey veil shrouds the sky. Looming on the horizon is a towering smokestack ART flanked by the silhouettes of accompanying buildings—structures that slope down to what one can only guess is a shore area leading to the water. A flock of flying sea- NATURE gulls dominates the foreground. The scene is bathed in a diffuse light.

POLITICS Only the side panels give insight into the main subject of the work: The left panel shows volume data and a scale of fees; the right offers information on settleable so- lids and dissolved substances in the city’s wastewater, along with a list of primary contributors to the municipal sewage system. In 1971, the City of Krefeld poured 42 million cubic meters of untreated wastewater into the Rhine. Sewer charges ranged from 21 to 12 pfennigs with increased pollutant load, a fee scale that meant heavy polluters paid less than private households. The composition and concentration of hazardous substances, extent of environmental damage and cost of decontamina- tion were not taken into account.

The image on the central panel shows the company Farbenfabriken Bayer AG’s wastewater outlet at km 765.7 of the river in Krefeld-Uerdingen on January 21, 1972. It is a spot where seagulls caught dying fish from the Rhine—a familiar sight in those years (see the Thiodan pesticide scandal of 1969).

The project is an industrially-induced, environmentally and politically controversial expansion of Haacke’s Live Airborne System or, as the regional newspaper (Neue Rhein/Neue Ruhr Zeitung) put it: “[...] the photo is anything but an advertisement for Krefeld,” “a veritable paradise for the carrion-hungry gulls.”

vitrine: Another photograph, Shore of the Rhine Near a Loading Facility Operated by Far- benfabrik Bayer AG (center), shows a testament to the conspicuous effects of environmental pollution.

The image on the central panel of Krefeld Sewage Triptych had a dual role in the Krefeld exhibition, as Haacke chose an altered version of the same motif for the pos- ter announcing his museum show. A mirror-inverted adaptation of it also appears on the cover of his book Hans Haacke. Eine Werkmonographie [Hans Haacke: A Mono- graph], ed. Edward Fry 1972, which was published that same year. (see book vitrine).

The color slide upon which the Krefeld Sewage Triptych is based (left) offers a clear view of that side of the riverbank complete with barges, a steeply sloping embank- ment, truck trailers, trees, buildings and the entrance to an underpass. Other photographs capture the situation in Krefeld-Uerdingen from different perspectives (right), with anchored and moving barges, machines for industrial production and loading sites, shore pollution and circling seagulls accompanying the ships. Haacke’s choice of a black-and-white, coarse-grained photograph for the central panel heightens the initially enigmatic character of the motif, which echoes the aesthetic of press images used at the time. Viewers can only grasp its content when they have read the text on the flanking panels.

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele EN

vitrine HANS Ant Coop / Ameisenkooperativ HAACKE 1969, Howard Wise Gallery, New York The ants in Ant Coop (1969)—a work Haacke realized as part of his solo exhibition at Howard Wise Gallery in New York—were exposed to a situation similar to the one fa- ART ced by the chicks in Chickens Hatching. The artist showed the ants’ organization and NATURE adaptation to their new environment, in this case a narrow, transparent Plexiglas box: “I filled a Plexiglas container halfway with sand and put ants in it, and they have ... POLITICS been digging these corridors here over the course of the exhibition.” (Hans Haa- cke 1972)

His sculpture, which still bears a formal resemblance to Minimal Art, proved important to the evolution of Haacke’s “Franciscan” works as both it and Chickens Hatching mark the transition from largely closed to less spatially confined biological systems (see Transplanted Moss Supported in an Artificial Climate).

Exposed to the gaze, the ants appeared alongside such exhibits as Circulation (floor work), Gallery-Goers’ Birthplace and Residence Profile Part I (right) and Communi- cation System with UPI (seen from the front, in the background of the photograph). The box’s shallow depth and diagonal suspension from the ceiling in front of a cor- ner of the room give Ant Coop the look of a relief—visible from both sides.

The exhibition view shows Ant Coop blending in with the formally and chromati- cally reduced aesthetic. As with the incubator in Chickens Hatching, the work’s outer frame remains constant while the interior of the box showed the constant motion and change that characterize the insects’ existence.

Circulation has a pronounced “branching” structure that begins at a center and ex- tends through several increasingly wide lengths of transparent PVC tubing. It snakes across the floor like the veins of an organism, pumping water through its tubes at varying speeds. This same structure comes to bear in a map of New York City pictu- red on the wall to the right, another network of paths and grid-like connecting lines.

Haacke’s Gallery-Goers’ Birthplace and Residence Profile Part I asked visitors to mark their place of birth and residence on the map with red and blue pins. In doing this, Haacke was able to show that the art-viewing public does not represent a cross- section of society, but consists predominantly of people from high-income social classes with more formal education. Like the ants moving through their (new) ha- bitat, collectively developing their own infrastructure (as the title suggests), people also organize themselves within their surroundings, measure its topography and build road networks.

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele EN

Rhinewater Purification Plant / HANS Rheinwasseraufbereitungsanlage HAACKE 1972, Museum Haus Lange, Krefeld “Rhinewater is channeled from large glass containers into the first tank of the puri- ART fication treatment plant. This is where chemicals are added, and the water is stirred for an even mix of chemicals and wastewater. The chemicals bind to dirt and conta- minants and smut settles in the second tank. Remaining pollutants are filtered out NATURE in the subsequent two cylinders, which are filled with gravel and coal. What then flows into the aquarium is clear water, ready to drink; hence the fish in it.” POLITICS (Paul Wember 1972)

Tubing in the floor fed the purified water from the goldfish tank back to the groundwater, which is to say the garden. The City of Krefeld was known to be the biggest “Rhine polluter” at the time of Haacke’s exhibition. Haacke carefully studied the local, expanded purification plant before putting his own purification plant into ope- ration. Lining the walls are large glass jugs that are continually refilled with Rhine water from Krefeld-Uerdingen. They serve as storage tanks for wastewater that has yet to be cleaned.

Art serves to problematize a certain situation; Haacke draws public attention to it by presenting audiences with the corresponding facts and offering a sculptural so- lution model en miniature in the museum.

Samples from the Plume of Wastewater from the City of Krefeld’s Outlet and Effluence from the Company Farbwerke Bayer AG, Uerdingen 1972, Museum Haus Lange, Krefeld

This archival photo documentation shows how samples from the City of Krefeld’s wastewater plume and effluence from Farbwerke Bayer AG, Uerdingen were displayed on a shelf. Hans Haacke had two corresponding water samples tested by the city’s Chemical Investigation Office over the course of the exhibition. The results and an accompanying letter were printed in the publication (see book vitrine). Haacke also displayed thirteen water samples from the Rhine and tributary rivers in North Rhine- Westphalia collected between May 9 and May 11, 1972, with corresponding laboratory results. Museum director Paul Wember supported Haacke’s project, to such a degree that Haacke expressly thanked him for it in a letter dated July 31, 1972:

“[...] You never gave me the feeling that I should modify my plans for real political, financial or artistic-ideological reasons. This has been such a fortunate situation that it must be explicitly stated.”

Even the press showed a mostly positive response to this environmental “finger po- inting.” Rachel Carson had published her famous book Silent Spring (1962) just a few years before mass fish deaths in the Rhine in 1969 (Thiodan pesticide scandal); the world celebrated its first Earth Day in 1970; and the Club of Rome released its study The Limits to Growth in 1972, the year of Haacke’s exhibition. It was quickly followed by the oil crisis of 1973.

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele EN

Hans Haacke. Demonstrationen der physikalischen Welt: HANS biologische und gesellschaftliche Systeme / Hans Haacke: Demonstrations of the Physical World: HAACKE Biological and Social Systems ART 1972, installation view, Museum Haus Lange, Krefeld On the left wall in the photograph is a tabulated representation of wastewater NATURE dischargers in North Rhine-Westphalia (1972) from the State Institute for Hydrology (refounded 1969). The list contains data on the number of inhabitants residing the POLITICS municipalities of Bonn-Bad Godesberg to Kleve—respectively the factories, population equivalent, type, quantity and wastewater treatment—as well as the condi- tion of the Rhine below the discharge outlet on the right and left banks of the river.

The photograph Shore of the Rhine Near a Loading Facility Operated by Farbenfab- rik Bayer AG is displayed on the front wall while the work Circulation (1969) appears on the floor. Haacke also exhibited quotes from public hearings and the 1971 German Parliamentary Committee for Youth, Family and Health, along with two excerpts from the German Federal Water Act of July 27, 1957 (BGBI. I p. 1110) § 22 and § 38, mea- sures enacted for the purpose of water protection and the criminal prosecution of violators. Many of the country’s sewage treatment plants were outdated in the early 1970s and could no longer handle the increased wastewater load and its composition.

In 1971, the German government adopted an environmental program aimed at impro- ving the water quality in Germany, a factor that explains the increased construction of wastewater plants in the years that followed. Haacke’s project anticipated the public demand for more information and the German government’s mitigation efforts.

Monument to Beach Pollution / Denkmal der Strandverschmutzung August 1970, Carboneras, Spain

Two years earlier, the artist piled up waste and flotsam on a Spanish beach for Mo- nument to Beach Pollution, a temporary sculpture that drew attention to a pressing environmental problem. Haacke had collected the consumer debris along an approx. 200-meters-long section of beach near the coastal town of Carboneras, Spain. He had met several other artists there (including Jesús Rafael Soto and Takis) for a va- cation in the summer of 1970.

While images of swirling, kilometers-wide patches of garbage in the Pacific Ocean and contaminated South Seas shores are a familiar sight today, scientists have only recently learned more about decomposed plastic debris in the water (microplastics) and their anthropogenic impact on the “system” of nature.

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele EN

film HANS Hans Haacke: Selbstporträt eines deutschen Künstlers in New York / Hans Haacke: Self-Portrait of a German HAACKE Artist in New York 1969 ART approx. 28 minutes NATURE © WDR / Hans Haacke POLITICS Hans Haacke: Selbstporträt eines deutschen Künstlers in New York (Hans Haacke: Self-Portrait of a German Artist in New York, 1969) was televised by the German public broadcasting station WDR on November 14, 1969. The station aired it again in the context of Haacke’s exhibition Demonstrationen der physikalischen Welt: biologische und gesellschaftliche Systeme (Demonstrations of the Physical World: Biological and Social Systems) at Museum Haus Lange in Krefeld a few days after the opening on May 25, 1972, and a third time on July 9, 1976. It is less a documen- tary than an artist’s film that gives insight into Haacke’s understanding of systems theory and sculpture as a real-time system. Haacke is not the only artist of that time to support his sculptural works with filmed elements and to take a documen- tary approach to articulating self-reflexive practices in the medium of film. Thus Haacke’s film not only shows his early work, it is also an artwork in its own right.

The film explains the genesis ofLive Airborne System (planned in 1965, realized 30.11.1968). Characterized by rapidly alternating, sometimes brief flashes of film se- quences, the film evokes various narrative strands strung together and linked by a heterogeneous chain of images. The artist’s intention was to create a situation similar to the one encountered by museum visitors when faced with unfamiliar ar- tifacts. This confrontation with the unknown is meant to stimulate thinking about the interweaving of different types of systems—a key feature of Haacke’s approach.

For more information on this film, see Ursula Ströbele’s article “Fundstück aus dem WDR Archiv, Köln: Selbstporträt eines deutschen Künstlers in New York” [Find from the WDR Archive, Cologne: Self-Portrait of a German Artist in New York] in the art history journal Kunstchronik (in German only, viewing copy available in the sitting area).

Museum Abteiberg Abteistr. 27 / Johannes-Cladders-Platz 41061 Mönchengladbach Concept / Text: Ursula Ströbele