Albert Oehlen Artist Statement
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Martin Kippenberger, 43, Artist of Irreverence and Mixed Styles
THE NEW YORK TIMES OBITUARIES 11.3.1997 Martin Kippenberger, 43, Artist Of Irreverence and Mixed Styles By ROBERTA SMITH Martin Kippenberger, widely regarded as one of the most talented German artists of his generation, died on Friday at the University of Vienna Hospital. He was 43 and had moved to Vienna last year. The cause was cancer, said Gisela Capitain, his agent and dealer. A dandyish, articulate, prodigiously prolific artist who loved controversy and confrontation and combined irreverence with a passion for art, Mr. Kippenberger worked at various points in performance art, painting, drawing, sculpture, installation art and photography and also made several musical recordings. He was a ringleader of a younger generation of „bad boy" German artists born mostly after World War II that emerged in the wake of the German Neo-Expressionists. His fellow travelers included Markus and Albert Oehlen, Georg Herold and Günter Förg, and they sometimes seemed almost as well known for their carousing as for their work. Mr. Kippenberger once made a sculpture titled „Street Lamp for Drunks"; its post curved woozily back and forth. In New York City, Mr, Kippenberger was known for a well-received show of improvisational sculptures at Metro Pictures in SoHo in 1987. The pieces incorporated an extensive range of found objects and materials and sundry conceptual premises. He considered no style or artist's work off-limits for appropriation, though his paintings most frequently resembled heavily worked, seemingly defaced fusions of Dadaism, Pop and Neo-Expressionism and often poked fun at the art world or himself. His penchant for mixing media, styles and processes influenced younger artists on both sides of the Atlantic. -
Sigmar Polke
© Kenny Schachter / ROVE Projects LLP Published by ROVE Projects LLP, 2011 First Edition of 1000 copies ISBN 978-0-9549605-3-7 All rights reserved. No part of this catalogue may be reproduced, stored in a retrieval system or transmitted Curated by Adrian, Kai and Kenny Schachter in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise without prior permission from the publisher and artist. The artist retains copyright on all photographs, drawings, notes and text reproduced in this catalogue, except where otherwise noted. All photography except cover and pages 27, 29, 30, 32, 33, 39, 40, 48, 54, 57, 60, 75 - 79 by Caspar Stracke and Gabriela Monroy Graphic Design by Gabriela Monroy. Printed in the United Kingdom by Colourset Litho Ltd. Kenny Schachter ROVE Projects LLP Lincoln House 33-34 Hoxton Square London N1 6NN United Kingdom For all enquiries please contact: [email protected] +44 (0)7979 408 914 www.rovetv.net Kenny Schachter ROVE 2012 Stuart Gurr, Rachel Harrison, Ricci Albenda, Rob Pruitt, Brian Clarke, Zaha Hadid, Tracey Emin, Damien Hirst, Keith Tyson, Barry Reigate, Robert Chambers, Maria Pergay, Arik Levy, Martin Usborne, Tom Dixon, Vito Acconci, Franz West, George Condo, Josh Smith, Joe Bradley, Paul Thek, Sigmar Polke, William Pope.L, Marc Newson, Richard Artschwager, Peter Hujar, Misaki Kawai, Brendan Cass, Richard Woods, Donald Baechler, Keith Coventry, Lars Whelan, Hester Finch, Cain Caser, Muir Vidler, Jasper Joffe & Harry Pye, John Isaacs, Keith Coventry, Marianne Vitale, Simon English, Rod Clark, Mary Heilmann, and Adrian, Kai, Gabriel, Sage and Kenny Schachter, Ilona Rich, Kevbe Otobo, Tom Gould, Harry Rüdham, Alfie Caine, George Morony, Eleni Khouri, Tom Harwood, Ollie Wink, Antonia Osgood, Louis Norman, Matilda Wyman, Jessy Wyman, Katie Wyman, Calum Knight, Eugenie Clive-Worms, Emmanuelle Zaoui and Savannah Murphy. -
Martin Kippenberger Self-Portraits at Christie's London on October 11 & 12
PRESS RELEASE | LONDON | 19 SEPTEMBER 2012 FOR IMMEDIATE RELEASE AN IMPORTANT COLLECTION OF MARTIN KIPPENBERGER SELF-PORTRAITS AT CHRISTIE'S LONDON ON OCTOBER 11 & 12 Martin Kippenberger (1953-1997) Untitled (from the series Hand-Painted Pictures) oil on canvas / 71 x 59in. (180.4 x 149.8cm.) / Painted in 1992 Estimate: £2,500,000-3,500,000 London - In an unprecedented event, Christie’s Post-War & Contemporary Art Department will offer on October 11 and 12 an important collection of Martin Kippenberger (1953-1997) self-portraits, including thirteen works on paper and the seminal oil on canvas, Ohne Titel (Untitled), from the series Hand-Painted Pictures) (1992) (estimate: £2,500,000-3,500,000; illustrated above). The latter was previously exhibited in the major retrospectives of the artist’s work held at the Centre Georges Pompidou, Paris in 1993, Tate Modern, London in 2006, MoCA, Los Angeles and MoMA, New York in 2009. Assembled over the course of a twenty- five year friendship, this collection belongs to someone who knew the artist so well, that these works offer a unique insight and portrait of the artist. Charismatic and irreverent, Martin Kippenberger is remembered for his conceptual and expressive transformation of the 1980s and 1990s art scene. Francis Outred, Christie's Head of Post-War & Contemporary Art, Europe: “Martin Kippenberger's revolutionary influence on contemporary art practice continues to grow by the day. At the source of his wild approach to and disdain for the preconceived notions of the artist's role in society was his own self. His self- portraits lie at the heart of his oeuvre and I have never seen such an outstanding collection, which so accurately documents his development from the 1970s to his tragic, early death in 1997. -
Sigmar Polke: 'A Queer Journey...'
Frontier Vol. 43, No. 11, Sep 26 –Oct 2, 2010 SIGMAR POLKE ‘A Queer Journey....’ Ritwika Misra Sigmar Polke, the painter-photographer has died of cancer on June 10. A central protagonist in post-war German art, Polke has been instrumental to bring about the laconic 'Modern Kunst' (the modem art movement from 1968) which was a tread away from the banality of genteel art. Born in 1941 at the height of world war in Lower Silesia, Polke at the age of 12 left the communist east with his family for Dusseldorf where he grew up in prosperity of the West Germany. This formative experience of crossing the borders underpinned his story of art. Satiating his initial artistic craving, being an apprentice in a stained glass factory he went on to study at the Dusseldorf Art Academy from 1961 to 1967. These years opened up a wider avenue for Polke to test his curious aesthetic intellect. The profound influence of his teacher Joseph Beuys shaped Polke's aptitude. As Robert Hughes wrote in Time, "He seems to have got two big things from Beuys: first, the ides of the artist as clown, shaman and alchemist; second, a healthy reluctance to believe in the final value of categories of style. Hence his early parodies of the sacred modes of Modernism." Even while studying at a conventional art academy Polke knew how to defy the laid out norms, imbibing a languid sarcasm in his creative output. In 1963 Polke and two fellow students, Gerhard Richter and Konrad Fischer-Leug, organized an exhibition entitled "Kapitalistischen Realismus" (Capitalist Realism). -
Martin Kippenberger
Martin Kippenberger 1953 Born in Dormund, Germany 1972–76 Hamburger Hochschule für Bildende Kunst 1997 Passed away SOLO EXHIBITIONS (selected) 2019 Martin Kippenberger, Bundeskunsthalle Bonn, Bonn, Germany 2018 MOMAS – Museum of Modern Art Syros, Palermo, Istituto Svizzero di Roma, Italy at Fondazione Sant’Elia, Palermo, Italy; MAMCO, Geneva, Italy [Cat.] Body Check. Martin Kippenberger. Maria Lassnig, Museion Foundation. Museum of modern and contemporary art Bozen, Italy; Lenbachhaus, Munich, Germany [Cat.] 2017 Hand Painted Pictures, Skarstedt, New York, CA, USA [Cat.] Buying is Fun, Paying Hurts, Bergamin&Gominde, São Paulo, Brazil 2016 Martin Kippenberger, Bank Austria Wien, Vienna, Austria [Cat.] Das, mit dem alles anfing. Der, mit dem alles anfing, Galerie Gisela Capitain, Cologne, Germany 2015 Martin Kippenberger, Taka Ishii Gallery, Tokyo, Japan [Cat.] 2014 ‚Du kommst auch noch in Mode’ – Plakate von Martin Kippenberger, Museum Folkwang, Essen, Germany [Cat.] Window Shopping, Capitain Petzel, Berlin, Germany [Cat.] The Raft of Medusa, Skarstedt, New York, CA, USA [Cat.] 2013 Sehr gut; Very Good, Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany [Cat.] 2011 Kippenberger miró a Picasso, Museo Picasso Málaga, Málaga, Spain [Cat.] 2008 The Problem Perspective, Museum of Contemporary Art, Los Angeles, CA, USA; The Museum of Modern Art, New York, NY, USA [Cat.] 2006 Martin Kippenberger, Tate Modern, London, UK; K 21, Düsseldorf, Germany [Cat.] 2004 Kippenberger: Pinturas, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain -
Daniel Richter
GALERIE THADDAEUS ROPAC DANIEL RICHTER SPAGOTZEN SALZBURG VILLA KAST 24 Saturday - 28 Saturday Parallel to Daniel Richter's solo exhibition in the Salzburg Rupertinum Museum of Modern Art, presenting works created in connection with Daniel Richter's stage-set for Vera Nemirova's production of Alban Berg's Lulu, the Galerie Thaddaeus Ropac, in its first collaboration with Richter, is showing his latest series of works. Under the title Spagotzen, a neologism coined by the artist, the exhibition comprises fifteen works showing mysterious figures bathed in an artificial light typical of Richter, against a sometimes seismographically linear background. They seem like actors on a stage, engaged in strange kinds of interaction. Richter's new block of works is distinguished on the one hand by an innovative, graphic, almost secessionist style, the paint applied like varnish, and on the other by a novel orientation towards the world of symbolism at the turn of last century, the mysticism of Odilon Redon and Félix Vallotton's compositions dominated by flat areas of black and white contrasts. "Ultimately, there is no difference between abstract and figurative painting – apart from particular forms of their decipherability. But the problems of organising paint on surface always remain essentially the same. In both cases, it is the same method that makes its way through various forms." Thus Daniel Richter commented in 2004 on his change from abstract to representational painting – a personal turn-round which he carried out at the turn of the century. Born in 1962, the artist has shaped painting in Germany since the 1990s as few others have done. -
Fall/Winter 2021/22 Fall/Winter 2021/22 We Love Books
FALL/WINTER 2021/22 FALL/WINTER 2021/22 WE LOVE BOOKS. Dear art book enthusiasts, there is something very familiar to these myriad images. We Art has always led the way in undermining the conventional consume, like, and share them, we produce and manipulate media stereotypes of its time. In the project Boobs—Fe:male our own digital pictures, helping create tomorrow’s flood of Bodies in Pictorial History, we have gathered 80 selected visuals, and sometimes our heads are spinning from all that positions to show how artists’ constructions both of the content. female self and of woman as “the other” keep resituating and renegotiating femininity. The book raises vital questions of the Pictures are enchanting and disturbing, emotional and politics of the body, touching on issues of gender, ethnic sentimental, manipulative, educational, and viral. And the membership, and the vulnerability of the ailing body, while digitally networked world lets us experience events around also delving into the history of art and visual culture. the globe as though we were there only seconds after they happen: think only of the storming of the US Capitol, of the Abstraction in art opens up spaces of resonance in which new assailants’ Viking masks and the trophy pictures with which visions can be outlined and existing representations recon- they boasted of their exploits on social media. We have long sidered. Take Birgir Andrésson’s humorously laconic color lived with the awareness that we cannot trust our eyes and panels based on Icelandic nature myths, Je! Sonhouse’s that the pictures that circulate, far from merely representing Black harlequins championing a new consciousness of skin the real world, shape a new reality—to control the flow of color and identity, or, then again, Michael Müller’s so-called images is to hold power. -
The Kippenberger Conundrum: How the Wildly Prolific Artist’S Artist Became an Eight-Figure Auction Darling
The Kippenberger Conundrum: How the Wildly Prolific Artist’s Artist Became an Eight-Figure Auction Darling BY Nate Freeman POSTED 01/08/18 12:40 PM Martin Kippenberger. COURTESY TASCHEN It was the peak of the 2014 fall auction season in New York, and though nearly two decades had gone by since Martin Kippenberger’s death of liver failure in 1997, the artist’s market had never been hotter. Prior to its bellwether postwar and contemporary evening sale, Christie’s had set the estimate for a prized 1988 Kippenberger self-portrait in its November sale at $20 million—an aggressive estimate, but one that paid off. It was bought by dealer Larry Gagosian, hammering at $20 million for a with-premium total of $22.5 million. The sale capped a run of seasons where the Kippenberger market rose precipitously—an irony for an artist who lampooned both “try-hard” artists who sucked up to the market people and the market people who got suckered into buying any of it. All of Kippenberger’s top ten highest-selling works at auction have come in the last five years, and after the one-two punch of 1988 works sold at Christie’s in May and November 2014—the $22.5 million picture nabbed by Gagosian, but also another work from the same series that sold for $18.6 million—the same auction house sold two more Kippenbergers in May 2015: another 1988 self-portrait for $16.4 million, and one of his 1996 paintings of Jacqueline Picasso for $12.5 million. The “Picasso Paintings”—or, as they’re sometimes called, the “Underwear Paintings”—are perhaps Kippenberger’s most beloved series, based on photographs taken of Picasso, his hero, but self-effacing in tone. -
Martin Kippenberger
Martin Kippenberger 1997 Käthe-Kollwitz-Preis 1996/97, Akademie Flying over the Abyss, Thessaloniki der Künste Berlin Centre of Contemporary Art, Thessaloniki (G) Konrad-von-Soest-Preis des Landschaftsverbandes Westfalen- Picasso.mania, Galeries nationales du Lippe Grand Palais, Paris (G) 1990 - 1991 2015 Professor an der Staatlichen books + papers, Christine König Hochschule für Bildende Künste Galerie, Vienna (G) Städelschule, Frankfurt (school of arts), Frankfurt Open This End, Contemporary Art from 1953 the Collection of Blake Byrne - Urban born in Dortmund Arts Space - The Ohio State University, Columbus, OH (G) 1997 died in Vienna Referenzen, Galerie Thomas Modern, Munich (G) Exhibitions Faux Amis, Simon Lee Gallery, London 2016 (G) Geniale Dilletanten, Subkultur der 1980er-Jahre in Deutschland, MKG, Gib' mir das Sommerloch, Anna Jill Museum für Kunst und Gewerbe Lüpertz Gallery, Berlin (G) Hamburg, Hamburg (G) Open This End, Contemporary Art from Mehr Kunst, Kunstmuseum Mülheim an the Collection of Blake Byrne, Miriam der Ruhr, Mülheim/Ruhr (G) and Ira D. Wallach Art Gallery, Columbia University, New York, NY (G) Colección Jumex, In Girum Imus Nocte et Consumimur Igni - Museo Jumex, House Of Cardboards, VAN HORN, Mexico City (G) Düsseldorf (G) Tensão E Liberdade, Tension And As He Remembered It..., Galerie Freedom, Centro de Arte Moderna, Mezzanin, Wien (G) CAM - Fundação Calouste Gulbenkian, Lisbon (G) The World is Made of Stories, Astrup Fearnley Museet for Moderne Kunst, Europa, Die Zukunft Der Geschichte, Oslo (G) Kunsthaus -
Press Kit Sigmar Polke 17/04/2016
PRESS KIT SIGMAR POLKE 17/04/2016 – 06/11/2016 CURATED BY ELENA GEUNA AND GUY TOSATTO 1 About the “Sigmar Polke” exhibition 2 Excerpts from the catalogue 3 Sigmar Polke’s films at the Teatrino di Palazzo Grassi 4 List of works 5 Chronology of Sigmar Polke 6 Exhibition catalogue 7 Biography of the curators PRESS CONTACTS France and international Italy Claudine Colin Communication PCM Studio Thomas Lozinski Via Goldoni 38 28 rue de Sévigné 20129 Milan 75004 Paris Tel : +39 02 8728 6582 Tel : +33 (0) 1 42 72 60 01 [email protected] Fax : +33 (0) 1 42 72 50 23 Paola C. Manfredi [email protected] Cell : +39 335 545 5539 www.claudinecolin.com [email protected] SIGMAR POLKE 1 ABOUT THE “SIGMAR POLKE” EXHIBITION AT PALAZZO GRASSI From April 17 to November 6 2016, Palazzo Grassi will be presenting the first retrospective show in Italy dedicated to Sigmar Polke (1941-2010). Conceived by Elena Geuna and Guy Tosatto, direc- tor of the Musée de Grenoble, in close collaboration with The Estate of Sigmar Polke, the exhibi- tion spans the artist’s entire career from the 1960s to the 2000s and underlines the variety of his artistic practice. It brings together nearly ninety works from the Pinault Collection and numerous other public and private collections. This retrospective is part of Palazzo Grassi’s exhibition programme that alternates thematic exhi- bitions based on the Pinault Collection and personal shows dedicated to major contemporary ar- tists. It marks a double celebration in 2016: the 10th anniversary of the reopening of Palazzo Gras- si by François Pinault and the 30th anniversary of Sigmar Polke’s participation to the 1986 Venice Biennale, when he was awarded the Golden Lion. -
Martin Kippenberger
Martin Kippenberger 1997 Käthe-Kollwitz-Preis 1996/97, Akademie der Condo, de Kooning, Kippenberger, Muñoz, Künste Berlin Salle, Warhol, Skarstedt, London, London (G) Konrad-von-Soest-Preis des Landschaftsverbandes Westfalen-Lippe Geniale Dilletanten, Subkultur der 1980er- 1990 - 1991 Jahre in Deutschland, MKG, Museum für Professor an der Staatlichen Hochschule für Kunst und Gewerbe Hamburg, Hamburg (G) Bildende Künste Städelschule, Frankfurt (school of arts), Frankfurt Open This End, Contemporary Art from the 1953 Collection of Blake Byrne, Miriam and Ira D. born in Dortmund Wallach Art Gallery, Columbia University, New York (G) 1997 died in Vienna House Of Cardboards, VAN HORN, Düsseldorf (G) Exhibitions As He Remembered It..., Galerie Mezzanin, 2018 Wien (G) Die Erfindung der neuen Wilden, Malerei und Subkultur um 1980, Ludwig The World is Made of Stories, Astrup Forum Aachen (G) Fearnley Museet for Moderne Kunst, Oslo (G) Gastspiel – Werke aus den A Few Free Years, From Absalon to Zobernig Sammlungen Grässlin und Wiesenauer, Endowments from Friedrich Christian Flick Räume für Kunst, St. Georgen (G) to the Nationalgalerie, Hamburger Bahnhof, Museum für Gegenwart, Berlin (G) Deutschland 8, Deutsche Kunst in China, Art Museum of Central Painting 2.0, Malerei Im Academy of fine Arts, Beijing (C,G) Informationszeitalter, Museum Brandhorst, München (G) 2016 Die Neuen Wilden, Figurative Malerei in Flying over the Abyss, Thessaloniki Centre of der BRD in den 80er-Jahren, Groninger Contemporary Art, Thessaloniki (G) Museum, Groningen (G) Picasso.mania, -
Martin Kippenberger the Problem Perspective
EVIEWS: Martin Kippenberger MoMA, New York The Problem Perspective 1March - 11 May The 'problem' in The Problem Perspective is nothing more than Kippenberger himself - that is to say, it is the problem of the 'artist' and what it might have meant to be one, or play one, or behave (and misbehave) as one in the 1980s and 90s, primarily in Europe, but also in the US and other locales of the internationalising artworld. The 'problem perspective', in short, is the problem of persona. Evidence that Kippenberger was uniquely predisposed to working through this problem is apparently given by his early biography: upon quitting the Hamburg Art Academy in 1976, after four years of study, young Martin (now twenty three) decamps to Florence, Italy, with plans of becoming an actor, but returns the following year. After a first one-man show in Hamburg (of a series of paintings, Uno di Voi, un Tedesco in Firenze (One of You, a German in Florence) (1976-7), the title already indicates his interest in playing roles), he moves to Berlin and founds the Kippenbergers Boro (modelled on Warhol's Factory, but it accretes as an artist promotion and exhibition operation). He manages the underground performance venue S.O. 36, begins the Grugas punk band, performs in three films (Gibbi West Germany, 1980; Bildnis einer Trinkerin, 1979, and Liebe undAbenteuer, 1978) and then decides that the actor's life is not for him. It's now 1980. Next stop? Paris. Occupation? Writer. That Kippenberger was peripatetic and suffered from something like an aesthetic attention deficit disorder, that his personality was immense and chaotic, that one could not but think him either a genius provocateur or an ass - these are the clich6s that govern nearly all accounts of his work.