TEACHER´S GUIDE 2 3

Introduction and How to Use this Guide

This educator’s guide is designed to serve as a general resource and introduction to German contemporary art from the 1960s up to the present day for teachers and their students. The exhibition delves into the history of the Deutsche Bank Collection, which since its founding in the late 1970s has always reflected German history and the present day. This guide is not intended to cover all aspects of German art. It instead selects certain aspects of the exhibition and introduces artists’ biographies.

The teacher’s guide is organized into four major learning units. First, an extensive overview is given of the main themes of the exhibition “German Encounters”, including introductory material such as keywords and suggested discussion topics. It offers both a chronological and thematic journey through various aspects of the exhibition. The three additional learning units were created to help extend and deepen your visit to the TABLE OF CONTENTS exhibition and suggest possible classroom activities inspired by the different subjects. In order to use them properly, you need to go back to the more detailed explanations in Learning Unit 1, which gives a general overview. 03 Introduction and How to Use this Guide The keywords and suggested discussion topics are intended to complement the main ideas of the exhibition, in order to assist teachers with their self- 04 Learning Unit 1: General Overview & Themes of the Exhibition guided tours and development in advance of and after their visit to the exhibition. Short, active interventions such as a quick drawing in a notebook 27 Learning Unit 2: Beloved Red and Shimmering Shapes: can be done during the museum visit. Please feel free to expand or alter any Exploring Color, Form, and Sound in Art of these activities according to the needs and abilities of your students.

30 Learning Unit 3: More Light! The Significance of Light in Art We hope that by using this guide teachers and students will be able to relate 32 Learning Unit 4: The Big Draw: The Line in the Deutsche Bank the content of the exhibition to their own lives. We believe that by learning, experiencing, questioning, and redefining, everyone-students, teachers, and employees-will gain a greater understanding of art in general and develop a Appendix deeper awareness of the contribution of art to our daily lives.

35 Keywords We strongly recommend that you review this guide before your visit and see 37 Participating Artists and Short Biographies it as a starting point for individual explorations of what is interesting for your own students, because you know best which elements relate to your class 39 Acknowledgements and Credits and their age and background. 4 5

Albers tried to consciously experience the variety of color between Learning Unit 1: rationalism, sensitivity, and emotion. General Overview & Themes of the Exhibition When the teacher Josef Albers was asked what the goal of his classes was, he answered: “To open eyes. This is precisely what I want to achieve with my paintings: Seeing should be active. Not to just let things wash over you passively, but to see for yourself, to search, find, discover and experience. Yes: You can learn to see creatively!” Josef Albers, in: Josef Albers Study for Homage to the Square, undated Interaction of Color, Cologne 1970. © The Josef and Anni Albers Foundation/ VG Bild-Kunst, Bonn 2017 Imi Knoebel Untitled, from the series Drachenzeichnung/Dragon Drawing, 1980 Collage: Acrylic, foil, graphite on paper, from a series of 4 parts 98 x 68 cm (38 9/16 x 26 3/4 in.) © VG Bild-Kunst, Bonn 2017

FORM AS PRINCIPLE

The “Form as Principle” section starts off with one of the most important twentieth-century artists: Josef Albers (1888-1976). Albers was not only an artist but also an art teacher and theoretician. After teaching at the Bauhaus in Weimar and Dessau, he immigrated to the USA in 1933, where he taught from 1933 to 1949 at legendary Black Mountain College in North Carolina. Josef Albers experimented with the effects of colors, forms, lines, and surfaces on each other, and with the subjectivity of visual perception. Albers’s studies kick off the “Form as Principle” section, which brings The left-wing student His famous series “Homage to the Square,” which he began in 1949, together various postwar German artists who developed new and questioned artistic conventions shows geometric color fields positioned according to a precisely experimental strategies. Like Albers’s art, Imi Knoebel’s work comments just as resolutely as he defined horizontal and vertical arrangement on the picture surface. on abstract modernism. Knoebel (b. 1940), a German painter and sculptor, opposed ’s “economic The pictures consist of three or four overlapping squares of different studied with Joseph Beuys at the Düsseldorf Art Academy in the 1960s. miracle” society of 1968. “We colors. The colors are never mixed, but applied directly using industrially He was strongly influenced by the Russian avant-garde, particularly were searching for extremes,” manufactured paints whose article numbers were noted by the artist Kazimir Malevich* (1878-1935). In the 1960s, the Russian avant-garde explains the artist. Since then, on the back. One and the same color can have a completely different was scarcely known to Western audiences; only in the course of the 1970s he has consistently explored effect on the viewer depending on the environment. and 80s did Malevich make a name for himself in the West with large the possibilities of abstraction, exhibitions. For Imi Knoebel, Malevich’s “Black Square” marked the zero examining surface, color, The point of departure for the artist’s experiments is an order that point of painting. This iconic work was the foundation on which Knoebel form, and structure. Knoebel follows a fixed scheme. Over sixty when he began this series, Albers built his own conception of non-objective art*. Yet while Malevich’s square deals masterfully with colors devoted himself exclusively to this motif for twenty-six years. At first addresses the artist’s longing for a new society, Knoebel confronted and surfaces in his works, sight, his squares look rigidly formalistic. Yet line and color do not stand the abstract formal vocabulary with the sordid surfaces and materials including in his later series for themselves but serve to challenge seeing, to unsettle it. of West German consumer society. “Grace Kelly,” an homage to the Hollywood star which gleams He bought the paints he used at hardware stores-anticorrosive paint in lemon yellow, turquoise, and car paint-and instead of canvas he used hard fiber and aluminum and pink as though as substrates. Knoebel’s early works are reduced and minimalist. in Technicolor. 6 7

Günther Förg Bernd and Hilla Becher Untitled, 1992 Wassertürme/Water Towers, 1972 Acrylic on paper Gelatin silver print, two-part 199 × 146 cm (78 3/8 × 57 1/2 in.) Each 29.8 x 24.2 cm (11 3/4 x 9 1/2 in.) © Estate Günther Förg, Suisse / VG Bild-Kunst, Bonn 2017 © Konrad Fischer Galerie

Architecture is also the theme of the great innovators of German photographic art, Bernd Becher (1931-2007) and Hilla Becher (1934-2015). Back in the 1950s, the Bechers had formulated the criteria of objectivity, distance, and timelessness for their documentary series of industrial and residential buildings, which also hark back to modern German photography-especially the oeuvre of August Sander* Modernism was the starting point for the art of Günther Förg (1952- (1876-1964). 2013), too, though his work was primarily influenced by architecture. He continually photographed iconic buildings such as the Wittgenstein In the late 1950s, the Bechers started a project to document House in Vienna, the Barcelona Pavilion, and the IG Farben Building the society in postwar Germany-but their subjects are buildings. (officially known as the Poelzig Building) in Frankfurt. In the 1980s Their photographs always adhere to the same set of conditions, which and 90s, Förg transformed the reduced, straight forms into monochrome recall Sander’s portraits: frontal view, undistorted perspective, black- paintings and murals, at a time when figurative painting was and-white technique, cloudless sky, diffuse light without shadow, experiencing a renaissance. and the absence of people. The couple described their subjects as “buildings where anonymity is accepted to be the style.” Their aim was At the same time, his pictures reflect Minimal Art* and quote heroes to capture a record of a landscape they saw changing and disappearing of Abstract Expressionism*. He applied the paint quickly and laconically. before their eyes, so Typologies not only recorded a moment in time Stripes, crosses, and grids became his most important pictorial but prompted the viewer to consider the subject’s place in the world. elements. And the window motif appears again and again in his works, The exclusion of expressiveness or a photographic self-representation a reference to the illusory quality of painting. Förg’s painted “windows,” of any kind became the point of departure for an internationally many of which are grated, investigate the relationship between viewer, renowned generation of photographers in Germany known as the Becher image, and space, and ironically criticize modern architecture School or the Düsseldorf School. They are presented in the “Between and the White Cube. Distance and Proximity” section.

A key aspect of the Bechers’ work is the “typological” arrangement of the photographed objects based on functional, regional, historical, and aesthetic criteria. Their series of blast furnaces and cooling towers from the Deutsche Bank Collection documents an industrial culture that is slowly dying out. Given the rapid changes society is undergoing in the course of global economic flows, in which cultural spheres around the world are being displaced and destroyed, this kind of photographic archiving is becoming more and more important. modern architecture and the White Cube. 8 9

Heinz Mack Otto Piene Untitled, 1960/61 Feuerblume/Fire Flower, 1963 Artificial resin on nettle Soot and oil on canvas 80,3 × 100 cm (31 5/8 x 39 3/8 in.) 81.3 x 101 cm (32 x 39 3/4 in.) © VG Bild-Kunst, Bonn 2017 © VG Bild-Kunst, Bonn 2017

The section “Form as Principle” continues with an entire gallery Suggested discussion topics that is devoted to the ZERO artists Heinz Mack (b. 1931), Otto Piene (1928-2014), and Günther Uecker (b. 1930). What does ZERO mean? • Have a look at the two paintings “Drachenzeichnung” (Dragon Drawing), According to Piene, the name ZERO stands for a “zone of new 1980, and “Grace Kelly,” 1989/2005, by Imi Knoebel. You can see how possibilities. We thought of the countdown before a rocket is launched- masterfully Knoebel unites contradictory qualities: geometry zero is the immeasurable zone in which an old state transitions to a new, and gesture, system and chance. Talk about the different manners unknown one…” Otto Piene, http://www.4321zero.com/otto-piene.html of painting. What is planned and precisely thought out and what is the result of chance and expression? Following the horrors of World War II, they searched for a new beginning and countered the past with a pure, bright world. Only a few years after • Compare them and talk with students about similarities the Nazis had reduced large parts of Europe to rubble and Germany had and differences. become synonymous with racism and intolerance, ZERO embodied a European idea. Rather than using brushes and canvas, the ZERO artists • What kind of emotions do the two artworks evoke in you? worked with fire, light, and smoke, and created artworks out of nails, aluminum, and glass. • Quickly record your emotional impression on a piece of paper.

Rotors and mirrors increased the light reflections infinitely. • Do some research on August Sander and look at the portraits he took With their art they wanted to conquer the sky and the desert: Piene of people from different professions. Compare the way the people are with his balloon sculptures during legendary “Sky Events,” while Mack photographed and then compare them to the “portraits” of buildings traveled to the Tunisian desert and the Arctic region to stage his objects by Bernd and Hilla Becher. What differences and similarities can you in these deserted landscapes, which he documented in his 1969 film discover? Make a list! “Tele-Mack.” Light and motion and constant change that dissolves time and space-that is the essence of ZERO. Whether in Piene’s poetic fire • Günther Förg and Bernd and Hilla Becher both work with architecture, pictures, Uecker’s shimmering circles of nails, or Mack’s dynamic line but their approaches are completely different. How do they differ? structures, the flow of material and transcendent energy is always palpable. 10 11

Georg Baselitz the Weimar Republic (1919-1933), and Nazi Germany (1933-1945). Adler/Eagle, 1977 of the German Empire (1871-1918), the Weimar Republic (1919-1933), Oil on canvas 249.7 x 201 cm (98 5/16 x 79 1/8 in.) Furthermore, the eagle is the heraldic animal of the Federal Republic Deutsche Bank Collection at the Städel Museum, of Germany, founded in 1949. Frankfurt am Main/Germany © Georg Baselitz 2017 Yet Baselitz’s version of the bird of prey does not reflect pride and power but rather its home country’s broken relationship to its history, which he experienced himself. Born in Nazi Germany, he grew up in East Germany. After being expelled from his art academy in East , he transferred to the University of the Arts in West Berlin.

In the 1960s, Baselitz shunned abstract art, the prevailing tendency at the time. Influenced by the USA as occupying power, whose artists Jackson Pollock, Mark Rothko, and Willem de Kooning became well- known in West Germany, Abstract Expressionism* was propagated as the true art of the Western world. But Baselitz also despised Soviet- influenced East German Socialist Realism. To avoid being suspected of picking up on the latter in his expressive, figurative paintings, he began painting his figures upside down in 1969.

IN SEARCH OF IDENTITY

In West Germany, the “economic miracle” began in the late 1950s. German industry and exports boomed. After the severe hardships of World War II and the bitter poverty of the postwar period, people in the West could consume again, while those in the East were kept in line through socialist propaganda, the secret service apparatus, and Jörg Immendorff a climate of political oppression. When the Berlin Wall was built in 1961, Standarte Berlin/Standards Berlin, 1984 the ideological fronts became entrenched. On both sides, rebuilding was Linoleum cut on paper with gouache, fixed on canvas the focus. And on both sides, people had not yet fully processed their An investigation of abstraction and twentieth-century German history 43 x 180 cm (16 15/16 x 70 7/8 in.) own history and the Nazi era. As a reaction to this development, two also plays a central role in the work of Markus Lüpertz. At the beginning © The Estate of Jörg Immendorff, movements in art formed in the 1960s that would have a lasting effect of the 1960s, the artist removed objects and forms from their context Courtesy Galerie Michael Werner Märkisch Wilmersdorf, on German art in the ensuing decades: German Neo-Expressionism and put them on the canvas in a significantly enlarged form. Lüpertz Köln & New York with artists such as Georg Baselitz (b. 1938), Jörg Immendorff (1945– considered the monumentalized, simplified objects in his paintings 2007), and Markus Lüpertz (b. 1941); and Capitalist Realism with Sigmar to be his contribution to abstraction. Isolated and enlarged, they lose Polke (1941–2010) and (b. 1932), which reacted their conventional meaning and become pure form. to British and American Pop Art*. Jörg Immendorff considered his artistic work to be very political. The occasion for these works Baselitz’s work was fundamental to the development of the Deutsche His actions in the late 1960s aimed at effecting social change. was Immendorff’s trip to East Bank Collection. Back in 1981, Deutsche Bank acquired important works With slogans like “Dem Volke dienen” (Serving the People), he created Berlin, where he met with by the artist, who was born in 1938, including a large oil drawing of an art that supported the student revolts. Ultimately, this resulted in his A.R. Penck (b. 1939), who still eagle (a motif that Baselitz would repeatedly vary), executed in 1977. being expelled from the Düsseldorf Art Academy, where he had studied lived in Dresden at the time. In under Joseph Beuys. Immendorff’s famous cycle “Café Deutschland” an exemplary way, the “Café Since antiquity, this bird of prey has been a symbol of power stands for a renewed, very personal kind of history painting. From 1977 Deutschland” works deal with and closely connected with German history. In various versions, to 1982, he painted nineteen large-format works that were accompanied the private East-West conflict it was the emblem of the German Empire (1871–1918), by many works on paper. between the artist friends. 12 13

Gerhard Richter and home, also has to be seen in this light. Richter’s blurred paintings Kahnfahrt/Boat Trip, 1965 oscillate between the desire to forget and the irresistible urge to look Oil on canvas at and remember his childhood, idylls, and a person or pet he once loved. 150 x 190 cm (59 1/16 x 74 13/16 in.) Deutsche Bank Collection at the Städel Museum, Both Polke’s and Richter’s painterly approach is distant and analytical. Frankfurt am Main / Germany Their paintings always question what painting is, what it can achieve, © Gerhard Richter 2017 (21082017) where its limits lie, what an image or a likeness is, what is figurative or abstract.

Thus, for example, Richter’s 1975 “Farbfelder. 6 Anordnungen von 1260 Farben (Rot-Gelb-Blau)” (Color Fields. 6 Arrangements of 1,260 Colors [Red-Yellow-Blue]) recalls color sample cards but with a deeper meaning. “The first color charts were unsystematic,” the artist said in an interview with Irmeline Lebeer in 1973. “They were based directly on commercial color samples. They were still related to Pop Art*. In the canvases that followed, the colors were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a Sigmar Polke and Gerhard Richter pursued a completely different line number of rigorously defined tones and proportions.” Gerhard Richter, in the 1960s. They both represent a specifically German manifestation in: Text. Writings, Interviews, and Letters. 1961–2007, London 2009. of Pop Art*. They propagated Capitalist Realism in 1963. In an artist Richter’s purely formal experiments often led back to symbolism collective, they organized their provocative exhibitions under this slogan. and meaning-for instance, his reverse glass painting “Schwarz, Rot, Gold” (Black, Red, Gold) from 1999, in which Germany’s national colors are While Polke used the pixelation of newspaper photographs linked as monochrome color fields. in his paintings, for example “Kallablüte” (Arum Lily, 1965), to blur the respective motif in shimmering grids of dots in order to illustrate that the pictures came from the media, Richter used a different method. Gerhard Richter Schwarz, Rot, Gold/Black, Red, Gold, He transferred the fuzziness of amateur photos to his painting 1999 by smudging the still-wet oil paint on the canvas with the brush after Reverse glass painting; oil on glass he had transferred the motif, as in “Kahnfahrt” (Boat Ride, 1965). 39 x 39 cm (15 3/8 x 15 3/8 in.) Deutsche Bank Collection at the Städel Museum, Frankfurt am Main / Germany In the 1960s, Baselitz shunned abstract art, the prevailing tendency © Gerhard Richter 2017 (21082017) at the time. Influenced by the USA as occupying power, whose artists Jackson Pollock, Mark Rothko, and Willem de Kooning became well- known in West Germany, Abstract Expressionism* was propagated as the true art of the Western world. But Baselitz also despised Soviet- influenced East German Socialist Realism. To avoid being suspected of picking up on the latter in his expressive, figurative paintings, he began painting his figures upside down in 1969.

Both artists take an ironic view of the optimistic, complacent attitude toward life in the Federal Republic of Germany of the early 1960s. However, Richter concealed the memory of his own and collective history by blurring press photos and snapshots. His 1965 painting “Hund” (Dog), a picture of a German shepherd, a breed that unites purportedly “German” qualities such as obedience and aggressiveness but to many Germans also symbolizes loyalty 14 15

Suggested discussion topics Joseph Beuys Felt Sculpture-Bronze-Sculpture, 1964 Pencil and oil on cardboard, 25,3 x 24 cm • You have learned that the eagle is often used as a symbol for Germany. Deutsche Bank Collection, What is a symbol exactly? What symbols do you know? Think of some © VG Bild-Kunst, Bonn 2017 examples and draw them!

• Take a close look and characterize the eagle that was painted by Baselitz. Is it a proud bird?

• Did you see that the eagle is painted upside down? Have you ever tried to draw a palm tree, a house, or a person upside down? Try it!

• Draw like the German painter Markus Lüpertz! What happens if you draw something that is very small VERY LARGE?

• Try to imitate the technique that Polke used. Enlarge a picture of the newspaper with a copy machine. What happens? I AM A SENDER • A picture often says more than 1,000 words. Symbolism is an important topic in Gerhard Richter’s work. What is a symbol? Which symbols have No other figure had a stronger influence on postwar German art than we become acquainted with in his works and what do they mean? Joseph Beuys (1921-1986). He stands out in art history like a solitary We can often use everyday objects as symbols. Make a list of symbols mythological persona, as a teacher, alchemist, political provocateur, that you know and find pictures for them. and shaman. “I am a sender,” proclaimed Beuys, “I transmit.” He meant this both metaphorically and in a very real sense. He communicated • Here we have another example of a symbol: the colors black, red, using manifold means: using language, art, as well as social and and gold are Germany’s national colors. What does black stand for? Red? political interaction. The “I Am a Sender” section juxtaposes three Gold? Which colors stand for Qatar and what exactly do they represent? further charismatic and exceptional artists whose works, like those of Beuys, rise up like monoliths from recent art history and cross • Richter works with the idea of memory. Paint or draw your memories. borders: Isa Genzken (b. 1948), Rosemarie Trockel (b. 1952), and Martin What techniques do you use to illustrate an event that occurred a long Kippenberger (1953-1997). time ago? When Beuys began teaching at the Düsseldorf Art Academy in 1961, his ideas were still very conventional: He drew nudes and created sculptures out of wood, clay, bronze, or plaster. Shortly thereafter, however, he started giving sensational performances within the framework of the Fluxus* artist movement. During his performances, Beuys used fat and felt.

As his watercolor “Demonstration Filz“ (Demonstration Felt, 1964) illustrates, he was interested in the insulating, warming, protective properties of these materials, which he used as a metaphor for the creation of social and artistic warmth.

The watercolor “Filzplastik-Bronzeplastik” (Felt Sculpture-Bronze Sculpture, 1964) already suggests a later action in 1966 in which he would sew up a piano in felt. With this material and the performance, Beuys wanted to show that even an object or being that is silent or has no voice can make a statement, or, in his words, produce an “inner tone.” Thus, everyone can express himself, even if every effort is made to prevent him or her from doing so. 16 17

In the mid-1960s, Beuys dispensed with traditional teaching methods Beuys is juxtaposed with one of the greatest contemporary sculptors, completely, introducing discursive debates and lectures as part of his Isa Genzken (b. 1948). She attended the Art Academy in Düsseldorf teaching activities and his artistic practice. While in Europe students and was in the master class of Gerhard Richter. In Düsseldorf, she also went to the barricades against the establishment, he discussed artistic became acquainted with heroes of Minimal Art. and political issues in his famous “ring talks” at the Academy. Beuys “Moment”-part of the series “Weltempfänger” (World Receivers), concrete transferred the original idea of sculptural design to the utopian notion blocks in which she stuck antennas as if each object could Beuys is of “social sculpture,” whereby all people freely develop their creativity juxtaposed with one of the greatest contemporary sculptors, and can help shape society like a collective artwork. He regarded Isa Genzken (b. 1948). She attended the Art Academy in Düsseldorf multiples as the ideal vehicle for conveying his art to as many people and was in the master class of Gerhard Richter. In Düsseldorf, she also as possible. Hence he could reach a much wider audience, in keeping became acquainted with heroes of Minimal Art. with the efforts that were made to promote democracy in his day. “Moment”-part of the series “Weltempfänger” (World Receivers), concrete blocks in which she stuck antennas as if each object could receive For the multiple “Iphigenie/Titus Andronicus” he used two photos taken information and transmit it to the world-is an unrealized draft for an during his 1969 performance “Titus/Iphigenie” in Frankfurt. In the upper international series of art projects in public space initiated picture we see him on a stage standing in front of a white horse in a by Deutsche Bank. In 2000, Genzken proposed installing giant antennas meditative pose; in the lower one he is holding two orchestra cymbals that “turn like a ballet” on the roof of the AT&T high-rise in New York. in his hands, which he is about to bang together. The work reflects With minimal intervention, the skyscraper would be turned into the universal approach of Beuys’s work. Everything was part of this an insect-like being that would stand out on Manhattan’s skyline like sculpture: the horse and artist as living organisms, the chewing sounds, in a science fiction B-movie. Genzken uses subversive humor. The idea Beuys’s murmuring, the microphone and instruments, the quotes from of sculpture as a resonating body, as a model of sending and receiving, Goethe’s “Iphigenie in Tauris.” And the picture mounted in a horse stable runs through her entire oeuvre. becomes part of the sculpture, too: at once a poster, altar, and mirror. Rosemarie Trockel’s (b. 1952) works of the late 1980s and early 90s also refer ironically to a male-dominated modernism, or to be more precise,

Rosemarie Trockel to the Russian Constructivism of the early twentieth century. Using Untitled, 1986 a simple trick, she transfers the ostensibly female field of culinary art Ink and watercolor on grid paper 120 x 83 cm (47 1/4 x 32 11/16 in.) into high art. © VG Bild-Kunst, Bonn 2017 Her “Ofenbild” (Oven Picture) is nothing other than a black stovetop on a white enamel surface that was mounted on the wall like an abstract painting. In this museum presentation, the stovetop calls to mind the ideal form of the circle that Kazimir Malevich postulated. When Malevich first exhibited his famous “Black Square against a White Background” in 1915, he also published his art manifesto “From Cubism to Suprematism,” in which he calls for an absolutely non-figurative kind of painting reduced to basic geometric shapes, to the rectangle, triangle, and circle in the sole “colors” of black and white. With Trockel the path leads right back to the banality of the kitchen.

Her abstract plaid and grid compositions from 1986 are reminiscent of dish towels or models of knitting patterns. The deconstructed “schizoid sweater” produced on a sewing machine from the same year looks extremely fashionable and avant-garde. Yet it also engages with the schizophrenia of modern women-torn between job and household, mother role and sex object, subordination and self-realization. The most successful German female contemporary artist, Trockel confronts male-dominated modernism with areas occupied by women that high art looks down on: handicrafts, housework, tinkering. Focusing on these subjects, she takes an openly feminist position. 18 19

Martin Kippenberger (1953-1997) can be seen as the male counterpart Thomas Ruff to Genzken and Trockel, although he represents a strong macho attitude Portraits of Thomas Bernstein and Elke Denda, 1988 in his work and self-presentation. But what they share is the subversive C-Print, Each 210 x 160 cm (82 11/16 x 63 in.) humor they use to question the pathos of art history, and especially Deutsche Bank Collection of modernism. Kippenberger was a student of Sigmar Polke in . © VG Bild-Kunst, Bonn 2017 During the last ten years of his life, Kippenberger began his “hotel drawings”-countless sketches, doodles, and notes in which he almost maniacally captured his observations and ideas. This was a counter- concept to the idea of the artist working with canvas and palette in the studio, but there were also practical reasons. The hotel works on paper could be done everywhere, wherever he happened to be.

Suggested discussion topics

• What materials do you know? List their different qualities and how they feel, e.g., metal, fabric, or water.

• Can you add sound to each material you listed? BETWEEN DISTANCE AND PROXIMITY • Look at the art of Isa Genzken and Rosemarie Trockel and discuss what happens if you separate an object from its actual function and With Andreas Gursky (b. 1955), Candida Höfer (b. 1944), Thomas Ruff context. Looking only at its form, could it also be another object? Look for (b. 1958), and (b. 1954), German photography began some pictures in magazines and change them into a different form with to take international museums and the art market by storm. They all minimal intervention. It’s fun seeing the world with different eyes! studied with Bernd and Hilla Becher at the Düsseldorf Art Academy. Today these artists, whose works have been purchased for the Deutsche Bank Collection since they began their careers, stand for a completely new conception of photographic art*. The photographers of the Becher School were the first to experiment with oversized formats. Their pictures were of crystalline sharpness, making every small detail visible. They worked with found material as well as the latest digital technology. Like their teachers, they adopted a sober and distant approach, yet the details made social conditions visible. All of the artists in this section follow a conceptual approach or appropriate material from other sources. They belong to the first generation that grew up with pictures flooding in from television and mass media. As a result, their work investigates how images are generated, disseminated, and perceived with changing technology.

Thomas Ruff is the most experimental Becher student. His star photographs, including “Stern 16h 30m/-50°” (Star 16h 30m/- 50°), may appear romantic. Yet the gesture produced by this romanticism is relatively cold. In fact, Ruff makes use of negatives of anonymous photos from the archives of the European Southern Observatory in the Andes, because such photos of the firmament can only be taken using high-tech telescopes. The artist determines his detail, enlarges and frames it, and in this way transforms the motif into a black-and- white structure with tremendous aesthetic appeal. 20 21

His early portraits do not attempt, as is quite common, to capture categorizations. The libraries and archives she photographs are ordering the soul or essence of the person photographed. Ruff’s pictures show systems used to manage knowledge and history. Yet the magnificent the pure surface. “A portrait doesn’t get one millimeter under your skin,” and symmetrical architecture of these places in turn determines the he says, “and a single photo says nothing about the person portrayed.” structure of the photographs. Thomas Ruff, http://www.db-artmag.de/en/76/on-view/photo-artists- make-history-becher-students-in-deutsche-bank-luxe/ Candida Höfer Bibliothèque Nationale de France, Paris XVIII, 1998 C-print Andreas Gursky 58 x 42 cm (22 13/16 x 16 9/16 in.) Atlanta 1996 © VG Bild-Kunst, Bonn 2017 C-print 186 x 256 cm (73 1/4 x 100 13/16 in.) © Andreas Gursky/VG Bild-Kunst, Bonn 2017. Courtesy Sprüth Magers

Andreas Gursky also represents the turn to digital image editing, without which detailed large-format works like “Atlanta” (1996) would not be possible. In Gursky’s photograph, the futurist architecture of the lobby of the Hyatt The photographs that Thomas Struth took between 1995 and 1997 Regency in Atlanta looks as spectacular as a film set. He transforms in the narrow streets of Chinese cities are less spectacular everyday the 22-story-high atrium into an almost abstract composition consisting scenes. Even back at the beginning of his career, Struth was interested in of horizontal and vertical elements. For “Atlanta,” he fused together two random, often overlooked aspects of cities. The reconstruction views of the atrium. Gursky is a chronicler of the globalized present. of destroyed Germany was an important impulse for the artist’s work. In pin-sharp panoramas, he shows stock exchanges, supermarkets, In the 1970s, he strolled through Germany in order to “photograph ugly Madonna concerts, techno clubs, and mass marches in North Korea. areas that were normally not dealt with.” At that time, he concentrated on places hidden from everyday perception “but that show us the reality While Gursky’s panoramas are devoted to scenes of a globalized we live in.” Thomas Struth, https://www.welt.de/kultur/kunst-und- mass society, Candida Höfer is drawn to places that embody culture architektur/article152930165/So-erweitern-Thomas-Struths-Bilder-die- and tradition. Her deserted libraries, museums, and churches are Wahrnehmung.html. Thus, Struth is similar to Höfer in that he is anything diametrically opposed to Gursky’s mass scenes. Yet the artists are but a documentarist. He not only distills barely discernible social united by the cool objectivity of their works. However, Höfer uses light contexts from the architecture but also creates a very subtle composition in an almost painterly, Old Masterly manner, as in her photographs with painterly quality. of the “Bibliothèque Nationale de France” (1998). Höfer is interested in how human existence is reflected in people’s cultural and social environments, in the architecture around them, in the furnishings of rooms. Like the Bechers, she is interested in orders and 22 23

Thomas Struth Louvre 2 Paris, 1989 Annette Kelm C-Print Caps, 2008 217,5 × 179,5 cm (85 5/8 × 70 11/16 in.) C-print, Each 49 x 60 cm © Thomas Struth © Annette Kelm Courtesy: Annette Kelm & KÖNIG GALERIE

GERMANY NOW

One of the most recent works in the exhibition also corresponds with the typologies of Bernd and Hilla Becher that open the show: Suggested discussion topics Annette Kelm’s “Caps” (2008). The series by the Berlin photographic artist (b. 1975) consists of 20 pictures of nearly identical baseball caps • Reflect on the different works in the section “Between Distance woven out of straw that she discovered in New York’s Chinatown. And Proximity.” How can you describe distance and subjectivity? In a conceptual manner, Kelm shows the caps, which contrast due to their different-colored bands, from different perspectives. • How can you have an influence with color? The photos look neutral and crystal clear, yet the categories for a clear arrangement are blurred. The typically American baseball cap melds • Candida Höfer and Thomas Struth show where people work and live. with the traditional straw hat of Chinese rice farmers into a multicultural Can you describe the place where you live? Make photos or drawings. consumer product that can no longer be assigned clearly to a place. Moreover, because of the cheap production, the cap is designed so poorly that it falls off the head of its wearer.

The cap seems well designed but it still doesn’t work,” says Kelm, due to the loss of function, the cap becomes an object that can also be viewed as a sculpture. One principle of art is that a sculpture has to be viewed from all sides-and that’s exactly how the eye of the camera moves. Kelm is interested in transitions and cultural rifts. The arrangements of objects in her works also investigate the links between sculpture and photography.

Central in the “Germany Now” section is the work of Neo Rauch (b. 1960). Rauch, who was the first important East-West painter and the main representative of the New School* in the late 1990s, ushered in the international breakthrough of a new kind of German figurative painting. Rauch’s paintings speak of a disillusioned Germany, of an epoch in which ideologies and power blocks lost their validity. In the artist’s work, the American comic aesthetic encounters the Socialist Realism of the East. 24 25

In works like “Weiche” (Turnout, 1999), personal experiences are Katharina Grosse combined with inner visions and an investigation of German history Untitled, 2001 to create complex compositions. Parallel montages, associative Acrylic on aluminum sceneries, dreamwalking actors-on Rauch’s canvases the world seems 76 x 56 cm © VG Bild-Kunst, Bonn 2017 like a stage on which past and present mingle.

Neo Rauch Weiche/Turnout, 1999 Oil on paper 215 x 190 cm (84 5/8 x 74 13/16 in.) © courtesy Galerie Eigen + ART Leipzig/Berlin and Zwirner, New York/London VG Bild-Kunst, Bonn 2017

The work of Katharina Grosse (b. 1961) is committed entirely Pillboxes, a dartboard, a look into shady shrubbery: The pictures to abstraction. Since the mid-1980s, Grosse has consistently plumbed from Marc Brandenburg’s (b. 1965) drawing series “Meddle” (1999) the possibilities of non-representational painting. Increasingly, the artist reverse black and white, thus developing a virtually psychedelic effect. has said farewell to the traditional panel painting as well as to brush At the same time, they call to mind negatives of photographs from which and palette. Since 1989, she has preferred to use the airbrush. the positive is developed in a chemical process, or images that flicker In her spray works, she transforms entire rooms into radiant worlds on the retina when one’s eyes are closed. “Meddle” means mixing in, of color. Many of her works are not made for the long term but often interfering without consent. With Brandenburg, this can relate to both assume the character of short-term interventions. Often, viewers do not the production and the viewing of pictures. Brandenburg calls his pencil stand in front of Grosse’s works, but in their midst. “When painting, drawings “snapshots”; they’re based on semi-documentary photographs the feeling of fear is one I have the least,” said Grosse in an interview and pages torn from magazines, and he’s been presenting them with ArtMag. “There are a number of different emotional states that play in psychedelic installations since the late 1990s, in darkened rooms an important role for me: anger over social structures in which I don’t illuminated by fluorescent black light. His drawing series are reminiscent feel at home and against which I defend myself. Perhaps this is why a of film stills, single images portrayed in distorted perspective and certain aggression has become a part of the work. I can direct negative form. The interplay between photography, digitally manipulated this aggression into the channels of color and structure.” copies, and drawings is reflected in cultural references as well. If Grosse is concerned with imbuing complex color compositions with her The paintings of Daniel Richter (b. 1962) combine motifs from art history, subjective feelings, Andreas Slominski’s (b. 1959) oeuvre is characterized mass media, and pop culture into idiosyncratic pictures. His work is by a conceptual approach. His pictures, sculptures, and performative distinguished by remarkable stylistic complexity and mutability, which is works often reference everyday objects and place them in a new context. documented by his early works from the Deutsche Bank Collection. In the 1990s, he reworked and enlarged a collection of old postcards By the mid-2000s at the latest, Richter was regarded as one of and photographs for his extensive group of inkjet prints. As a result, Germany’s most exciting painters and increasingly has made a name the motifs gain a surprising presence. At the same time, however, for himself internationally. At the beginning of his career in the mid- he makes the cliché aspect of these images clear-in the postcard 1990s, Richter worked exclusively abstractly, mixing graffiti, Willem de pictures it is the purportedly typical Dutchwoman, who can’t be found Kooning-like color smears, and Action Painting à la Jackson Pollock anymore in the Netherlands-as well as the wishes and longings they into expressive, non-figural compositions. stand for. 26 27

A completely different course is taken by the Berlin artist Karin Sander (b. 1957), who in her oeuvre often combines influences of Minimal Learning Unit 2: and Conceptual Art* with interventions in public space. Beloved Red and Shimmering Shapes: But her interventions are so minimal and inconspicuous that they are only recognizable as “art” at second glance. This is true of the work Exploring Color, Form, and Sound in Art she realized for “Moment,” a series launched by Deutsche Bank featuring temporary artworks in public space. Sander’s project “Word Search” took place on October 2, 2002, in one of the world’s most famous newspapers, Look around: Colors and shapes are everywhere. They occur naturally The New York Times. In the columns of the business section, (leaves, sun) and things can be given color and form (painted car, form which are normally reserved for stock prices and share quotations, of the house). Colors and shapes often represent something: Red hearts the artist had words printed from 250 mother tongues spoken always symbolize love, the sun is yellow, and we drive when the traffic in New York. Each word, whether personally meaningful or particularly light turns green. Some pictures seem to feel cold or warm or to visually characteristic of the “donor’s” culture, is in turn translated into every “step out of themselves.” They can shimmer like desert sand or have the other language spoken in New York. The filigree web of text arising visual effect of a sculpture. Square or circle-which shapes do we know out of this strategy and covering the pages of the newspaper may and what effect do they have on us? be read as a kind of dictionary. As an abstract image, “Word Search” Artists use colors and shapes sometimes to represent what they see, documents the multitude of languages spoken in New York, as well as feel, and think. all the encounters needed to gather the words and translate them. This workshop explores the colors and shapes in the artworks found in the GERMAN ENCOUNTERS exhibition. Try to do experiments with color Suggested discussion topics and shape in relation to sound. Some paintings can be loud like a siren or very quiet like the rustling of a palm tree in the summer wind. Josef • Take a look at Annette Kelm’s “Caps.” What do you notice in regard Albers, one of the most important artists in Germany, wanted to open to object and material? our eyes with his art. We comply with his wish.

• Can you find combinations of an object and material that have nothing in common? Think of a fashion item like Annette Kelm did in her series “Caps.” LEARNING OBJECTIVES

• Explore the meaning and the creative use of color and shapes. • Sculpture is always three-dimensional, photography two. Take a photo • What do colors and shapes stand for? of a 3D object with your phone or a camera. How can you investigate • Learn how to use a color wheel and mix colors. the links between sculpture and photography? • Discuss the emotional qualities of color and think critically about the use of it in artistic expression. • Picture and text: Neo Rauch’s figures seem to be isolated and closed • Explore how color is associated with happiness, sadness, and fear. off within their own world. Take a look at the scenery and sketch a short story around it. How do they feel? What do they think?

• The power of color and expression is essential in the artworks of ARTWORKS WE SUGGEST DISCUSSING Katharina Grosse: How would you express anger, love, hate, or happiness

in colors and brushstrokes? Josef Albers “Homage to the Square,” 1970 • Which colors and shapes do you see? • Which forms do you know? (geometric/organic shapes) • Karin Sander made a global sculpture in words: Not only in New York • The square is a geometric shape. What characterizes a square? but also in Doha, many different languages are spoken that represent • We see surfaces and stripes of color. Which ones jump forward a wide range of ethnic backgrounds and nationalities. Do some research and which ones stay back? Describe your observations. and choose one word and ask people around you about it. • How many squares do you see in a picture? Compare their colors! What languages does Doha speak? • Do they follow a fixed scheme? • How might you create these colors? 28 29

Imi Knoebel “Untitled” from the series “Drachenzeichnung” SUGGESTED ACTIVITIES (Dragon Drawing), 1980 • Compare these paintings to Imi Knoebel’s “Grace Kelly” and describe the differences. Welcome to the experimental sphere. Use water-based paints in primary • Many artists use color to express a feeling or a state of mind. colors and mix them. Now think of a color and a form that you like How do you think the artist uses colors to represent emotions? or that represents you or an emotion. How do you feel today? • Where do you know the colors red and yellow from? Happy, sad, lazy, angry? Which color could represent your emotion? • Can you describe yourself in colors? Before you present your personal portrait to the whole group, make up • Make a gesture that imitates the paintings! a sound for each color and shape in your artwork. • Make up a sound (uff, grrr, fzzzz) for each color and shape in the drawings. MATERIALS Georg Baselitz “Adler” (Eagle), 1977 • What do you see? • Research journal • What emotions does the painting evoke? • Color wheels (1 per table/ 1-3 students) • Which colors did Baselitz use? • Water-based paints (primary colors: red, blue, yellow, black, white) • Describe the image in weight-is it light or heavy? • Selection of brushes • Do you know the difference between figurative and abstract art? • Color palettes • Canvas Gerhard Richter “Schwarz, Rot, Gold” (Black, Red, Gold), 1999 • Good-quality color art paper (primary colors: red, green, blue, yellow, • These are Germany’s national colors. What colors does the flag have black, white) in the country where you were born? • Extra white paper for experimentation • Do you know what a “symbol” is? • Printouts of recommended and discussed artworks • A flag is a symbol. What might the colors of Qatar’s flag mean? • Printout of Kazimir Malevich’s “Black Square” • Design your personal flag. What would it look like?

Rosemarie Trockel “Untitled,” 1986 and 1991 • This is a pattern. What is a pattern and which ones do you know? Make a pattern lexicon! • What shapes do you see? Guessing game: What might that represent?

Thomas Struth “Stern 16h 30m/-50,” 1995 • From one dot (Trockel) to another. What kind of dots are they? • Which colors do you see? • What do you feel when you look at the sky? • Is the picture loud or quiet?

Katharina Grosse “Untitled,” 2001 • Use your color wheel. What colors do you see? • Note: The primary colors are yellow, red, and blue. The primary colors are the colors we use to make other colors. • Complementary colors are located opposite each other on the color wheel. Which color can you see in the painting and which one is it complementary to? • Which color is cool and which warm? Where do you see them? • Check how the painter mixes colors. Can you describe what happens when blue and yellow come together? •Try to redraw the movement of the painting 30 31

Thomas Struth “Stern 16h 30m/-50,” 1995 Learning Unit 3: • So far we have seen works on paper. This is also paper, More Light! The Significance of Light in Art but what is the name of this medium? • How does photography work? • Where does the light come from? • These images are taken from Earth. Can you imagine them at day To see art, we need light; every child knows that. But can we make art or nighttime? What changes? out of light? • What objects do you see? In the exhibition, we encounter many artists who love to experiment. Otto • Can we see light and shadow? Piene impresses us with his experimental handling of the elements of air, • Action: We will do a few experiments: Take a yellow paper star and hold fire, and light. Heinz Mack shows us prints with everyday materials, it in front of black paper. Do the same with white paper. What changes? and his friend Günther Uecker uses nails to leave traces of light and shadow on images. We adventurously discover photographs Annette Kelm “to a snail, I,” 2003 by Thomas Ruff and Annette Kelm that wouldn’t exist without light. • What are light sources in the night? Name a few ones you know. We observe and discuss, note down our experiences in our research • If you could measure the temperature of the artwork, journal, and subsequently make our own artistic light experiments. would you describe it as cold or warm? Explain why. • How would you describe the atmosphere? • What do think the artist wanted to capture? LEARNING OBJECTIVES • How do colors change in the night?

• Explore light in the paintings and artworks. • Get to know the art of experimenting by the group ZERO. SUGGESTED ACTIVITIES • Get to know photography. • To “read” an artwork-to visually explore an image and understand it Otto Piene and Günther Uecker were artists whose light-based through looking. sculpture work occupied the intersections between light, technology, art, • Learn different techniques in art. movement, and environment. Otto Piene’s “Lichtballett” (Light Ballet) performances were first produced using hand-operated and later ARTWORKS WE SUGGEST DISCUSSING automatic lamps directed through perforated stencils. They consisted of revolving lamps, grids, globes, and discs operated by electric switchboards. We will design our own light ballet by Otto Piene “Feuerblume” (Fire Flower) constructing a three-dimensional object with perforated metallic paper. • What a beautiful title-how can you relate to it? When we put a light in and darken the room, we will have our own light • Do you know how the work was created? performances inspired by Otto Piene. • What are the characteristics of fire and why do you think the artist loved this element?

Heinz Mack “Untitled” MATERIALS • Do you know the material? • Do you know how the work was created? • Research journal • Can you make a movement that imitates the technique of the artist? • Flashlight • Tea candle Günther Uecker “Spirale,” 1972 • Punching pencil/stick • What material did the artist use? • Disco ball • How did he make the work? • Metallic paper • What is essential to the appearance of it? • Scotch tape • Let’s discuss shadow. What would happen if you would change • White high-quality art paper the spotlight on the artwork? • Black high-quality art paper • Extra paper for experimentation • Printouts of recommended and discussed artworks 32 33

• Even though these are just lines, does it remind you of something? Learning Unit 4: (window) The Big Draw: The Line in the Deutsche • Action: Make a spontaneous drawing of a window in your research journal. Allow your hand to move freely in a continuous, fluid movement. Bank Collection the spotlight on the artwork?

Imi Knoebel, “Untitled” from the series “Drachenzeichnung” (Dragon It all begins with a drawing. The architect makes a sketch for a new Drawing), 1980 house, the musician draws notes for a composition, and animated • Describe the different lines in the painting. films consist of millions of individual images. Many drawings from • Make a gesture that imitates them. the Deutsche Bank Collection have been brought together in the Fire • Compare these paintings to Albers’s “Homage to the Square” Station to tell us their stories, to amaze and move us. Can a line dance, and describe the differences. be lazy or excited? Can a dot also be a sound? Which techniques can we • Many artists use color to express a feeling or a state of mind. recognize, and are there links to Islamic calligraphy? But passive viewing How do you think the artist uses colors to represent emotions? isn’t enough-we will become active ourselves. We will use and discover • Action: Think of an emotion and make a “speed drawing” drawing as way to act spontaneously and react quickly to ideas. We will in your research journal that expresses your feeling. wield the pencil and our thoughts will begin! Inspired by Albers, Rauch, • Action: Make up a sound (uff, grrr, fzzzz) for each line and Grosse, we will make speed drawings, graffiti, and precise copies and make a drawing. in our journals. On long rolls of paper, we will then develop a drawing cosmos. Don’t be afraid of the empty sheet: everything is allowed! Günther Uecker, “Tusche Fließend – Han Seoul” (Flowing Ink – Han Seoul), 1988 • How would you describe these lines? LEARNING OBJECTIVES • What lines do you know that describe an organic form? • How do light and dark lines and parts of the small artworks define • Explore geometric forms. the image? Do you know what the artist intended to express? • Express feeling with the drawing. • Do you know the technique Günther Uecker used? • To “read” an artwork-to visually explore an image and understand it through looking. Sigmar Polke, “Kallablüte” (Arum Lily), 1965 • Learn different artistic and drawing techniques. • Do you know the technique Sigmar Polke used? • Where do you know it from? (mass media) • The work shows the pixelation of newspaper photographs. Action: ARTWORKS WE SUGGEST DISCUSSING Use a magnifying glass to explore an image in the daily newspaper. What effect do you see? Josef Albers, “Homage to the Square,” 1970 • Josef Albers experimented with the effects of colors, forms, lines, Sigmar Polke, “Untitled (Drehung)” (Rotation), 1965 and surfaces on each other. What shapes do you see? (geometric/ • Compare this artwork to Sigmar Polke’s “Kallablüte.” organic shapes) • Where do you know the type of image from? (comics) • What other geometric figures do you know? >> Check learning • Check the title: How can you describe it by observing the picture? material/printouts • Polke mixes techniques here: What other lines on the paper do you see? • The square is a geometric shape. What characterizes a square? • Can you make graffiti? • How many squares do you see in the picture? • Action: Make up a story of the images you discovered! • How would you define the horizontal line? • Where do you know it from nature? Isa Genzken, ”Untitled”, undated • A long line: The work consists of many pieces of paper. Look at one Günther Förg, “Untitled,” 1992 and then step back and see all of them. What do you think? • In this picture we see horizontal as well as vertical lines. • How did Isa Genzken draw it? • What is the difference from the lines you have seen before? • Action: Now do the opposite of a free drawing. Think of yourself as an observer: Draw a long line and control the movement of the pencil on the paper of your research journal. 34 35

Neo Rauch, “Weiche” (Turnout), 1999 • Describe what you see. What are the people doing? Keywords • How would you describe the atmosphere? • There are figurative and abstract parts in the painting. Abstract Expressionism: Abstract Expressionism is the term applied Explore the different aspects. to new forms of abstract art developed by American painters such • Is it hard to invent a story for the picture? as Jackson Pollock, Mark Rothko, and Willem de Kooning in the 1940s • Action: Make a precise copy of an object that is around you! and 50s. It is often characterized by gestural brushstrokes or mark-making and the impression of spontaneity. Daniel Richter, Serratum III, V, XI, 1997 • What colors do you see? Bauhaus: The state Bauhaus art school was founded in 1919 • What lines do you see? by Walter Gropius in Weimar, Germany. It was a completely new concept • Can you describe the pattern? at the time, as the Bauhaus brought together art and crafts. • Write your name in graffiti style. Today, the historical Bauhaus is regarded as the most influential educational center in the field of twentieth-century art and design. The Bauhaus existed from 1919 to 1933 and is considered around SUGGESTED ACTIVITIES the globe to be the wellspring of avant-garde classical modernism in all areas of free and applied art. The Bauhaus continues to have an impact The group will work together on a long roll of paper and develop their today and has a decisive effect on our image of modernist movements. own drawing cosmos. They can be free to draw anything they want. Maybe they want to go back to Polke’s realistic images from the mass Conceptual Art: Conceptual Art is art for which the idea (or concept) media and develop their own ad for the daily newspaper. You might want behind the work is more important than the finished art object. to invent a story and tell them to illustrate it by drawing with different It emerged as an art movement in the 1960s. techniques. Or maybe they want to do different self-portraits using only lines that describe the different emotions one feels-small, tall, shy, bold, Fluxus: This artist movement, an international and interdisciplinary angry, or happy. group of artists, composers, designers, and poets, took shape in the 1960s and 70s. The artists tried to have an impact on society MATERIALS with their actions and to encourage communication.

• Research journal Kazimir Malevich: Kazimir Severinovich Malevich (1878–1935) • Ruler was a Russian painter and art theoretician. He was a pioneer of • Triangle geometric abstract art and the originator of the avant-garde Suprematist • Yarn movement. He was a devout Christian mystic who believed the central • Long, white paper rolls task of an artist was that of rendering spiritual feeling. • Color wheels (1 per table/ 1-3 students) • Good-quality art paper Minimal Art: Minimal Art or Minimalism is an extreme form of abstract • Extra paper for experimentation art developed in the USA in the 1960s and typified by artworks composed • Printouts of recommended and discussed artworks of simple geometric shapes based on the square and the rectangle. • Printouts with different geometric forms such as triangle, square, With minimalism, no attempt is made to represent an outside reality; the circle, rectangle artist wants viewers to respond only to what is in front of them. • Magnifying glass The medium (or material) from which it is made and the form of the work • Daily newspaper is the reality. Minimalist painter Frank Stella famously said about his paintings “What you see is what you see.”

Neo-Expressionism: It was seen as a reaction to the minimalism and conceptual art that had dominated the 1970s. There was a major development of neo-expressionism in Germany, as might be expected with its expressionist heritage, but also in Italy. In Germany the neo-expressionists became known as “Neue Wilde.” 36 37

New Leipzig School: The term refers to a movement in modern German Participating Artists painting that was taught and embraced in Leipzig, Germany. and Short Biographies Non-objective art: Non-objective art defines a type of abstract art that is usually, but not always, geometric and aims to convey a sense of simplicity and purity. The Russian Constructivist painters such as Josef Albers Kazimir Malevich were pioneers of non-objective art. It was inspired born 1888, Bottrop, Germany; died 1976, New Haven, CT, USA by the Greek philosopher Plato, who believed that geometry was the highest form of beauty. Georg Baselitz born 1938, Deutschbaselitz, Germany; lives and works in Salzburg, Austria Photographic art: Photography refers to the process or practice of creating a photograph-an image produced by the action of light Bernd Becher on a light-sensitive material. born 1931, Siegen, Germany; died 2007, Rostock, Germany

Pop Art: Pop Art is a conceptually influenced type of painting Hilla Becher that questions the production conditions of art, ideas of what it means to born 1934, Potsdam, Germany; died 2015, Düsseldorf, Germany be an artist, and the reproduction of pictures in mass media and advertising. Joseph Beuys born 1921, Krefeld, Germany; died 1986, Düsseldorf, Germany August Sander: August Sander (1876-1964) was a German portrait and documentary photographer and has been described as “the most Marc Brandenburg important German portrait photographer of the early twentieth century.” born 1965, Berlin, Germany; lives and works in Berlin, Germany With his works, like the 1929 series of portraits entitled “Face of Our Time,” he intended to document German society between the two world Günther Förg wars. Sander sought to create a record of social types, classes, born 1952, Füssen, Germany; died 2013, Freiburg, Germany and the relationships between them, and recognized that the display of his portraits as a collection revealed so much more than the individual Isa Genzken images would alone. born 1948, Bad Oldesloe, Germany; lives and works in Berlin, Germany

Katharina Grosse born 1961, Freiburg, Germany; lives and works in Berlin, Germany

Andreas Gursky born 1955, Leipzig, Germany; lives and works in Düsseldorf, Germany

Candida Höfer born 1944, Eberswalde, Germany; lives and works in Cologne, Germany

Jörg Immendorff born 1945, Bleckede, Germany; died 2007, Düsseldorf, Germany

Annette Kelm born 1975 Stuttgart, Germany; lives and works in Berlin, Germany

Martin Kippenberger born 1953, Dortmund, Germany; died 1997, Vienna, Austria

Imi Knoebel born 1940, Dessau, Germany; lives and works in Düsseldorf, Germany 38 39

Markus Lüpertz born 1941, Reichenberg, Germany; lives and works in Märkisch Acknowledgements and Credits Wilmersdorf, Germany

Heinz Mack born 1931, Lollar, Germany; lives and works in Mönchengladbach, Germany, and Ibiza, Spain

Otto Piene born 1928, Bad Laasphe, Germany; died 2014, Berlin, Germany

Sigmar Polke born 1941, Oels, Germany; died 2010, Cologne, Germany This exhibition is organized by Qatar Museums in collaboration with Neo Rauch Deutsche Bank AG, Art, Culture & Sports. born 1960, Leipzig, Germany; lives and works in Leipzig, Germany Special thanks to: Gerhard Richter born 1932, Dresden, Germany; lives and works in Cologne, Germany QATAR MUSEUMS EXTERNAL ASSISTANCE

Daniel Richter Dr. Jelena Trkulja Texts born 1962, Eutin, Germany; lives and works in Berlin, Germany Director of Education Regarding arts Oliver Koerner von Gustorf Thomas Ruff Haya Jabor A M Aljabor born 1958, Zell am Hammersbach, Germany; lives and works in Düsseldorf, Senior Programs Coordinator, Education & QMA Library Copyediting Germany Thill Verlagsbüro, Cologne Milka Cekovska Jennifer Taylor Karin Sander Logistics Supervisor, Department of Education born 1957, Bensberg, Germany; lives and works in Berlin, Germany, and Translation Zurich, Switzerland GOETHE-INSTITUT From German to English Burke Barrett Andreas Slominski Dr. Gabriele Landwehr born 1959, Meppen, Germany, lives and works in Berlin and Hamburg, Director Goethe-Institut Gulf Region From English to Arabic Germany Ahmed Hegazy Maya Röder Mohanad Nahas Anton Stankowski Cultural Program Coordinator, Goethe-Institut Gulf Region born 1906, Gelsenkirchen, Germany; died 1988, Esslingen, Germany Images DEUTSCHE BANK ART, CULTURE & SPORTS Andrea Stengel Thomas Struth Theresa Maria Weise born 1954, Geldern, Germany; lives and works in Düsseldorf, Germany Christina März Curator of Exhibitions, Art CREDITS Rosemarie Trockel born 1952, Schwerte, Germany; lives and works in Cologne, Germany Julia Rosenbaum Parts of the keyword section Education and Concept are taken from “Tate Art Günther Uecker Terms” born 1930, Wendorf, Germany; lives and works in Düsseldorf, Germany http://www.tate.org.uk/art/ art-terms