Wade Guyton. Zwei Dekaden MCMXCIX–MMXIX

Total Page:16

File Type:pdf, Size:1020Kb

Wade Guyton. Zwei Dekaden MCMXCIX–MMXIX Wade Guyton. Zwei Dekaden MCMXCIX–MMXIX Hrsg./Ed. Yilmaz Dziewior Museum Ludwig, Köln, 2019/20 Text Bio Johanna Burton, Michelle Kuo, Kerstin Wade Guyton, * 1972 in Hammond, Stakemeier, Gespräch zwischen Indiana. Lebt und arbeitet in New York. Yilmaz Dziewior und Wade Guyton Wade Guyton ist vor allem für seine Wade Guyton is best known for his 24,8 × 29,2 cm, 610 Seiten/pages großformatigen Leinwandbilder mit large­scale canvas paintings made 2000 Abbildungen/illustrations ikonischen Motiven wie Flammen oder with a conventional inkjet printer, Hardcover den Buchstaben „X“ und „U“ bekannt, which feature iconic subjects such die er mit einem herkömmlichen as flames, the letters X and U, and Deutsch / English Tinten strahldrucker herstellt. Anläss­ the New York Times website. On the 978­3­96098­707­9 lich seiner großen Überblicksaus­ occasion of this major retrospective € 65,00 stellung gibt das Museum Ludwig ein exhibition, Museum Ludwig has pub­ umfassendes Gesamtverzeichnis lished a comprehensive catalogue November 2019 seiner Einzelausstellungen heraus, mit of the artist’s solo exhibitions, includ­ Abbildungen aller gezeigten Arbeiten, ing images of all works accompanied Kurztexten und Raumplänen. by short texts and floor plans. Kunst / Art 1 Deutschsprachige Ausgabe Gerhard Richter. Painting des Katalogs zur großen Retrospektive im Metropolitan Museum of Art, After All / Bilder trotz allem New York Hrsg./Ed. The Metropolitan Museum of Art, Sheena Wagstaff and Benjamin New York H. D. Buchloh Bio Text Sheena Wagstaff is Leonard A. Lauder Briony Fer, Hal Foster, Peter Geimer, Chairman, Modern and Contemporary Brinda Kumar, André Rottmann Art, at The Metropolitan Museum of Art. Benjamin H. D. Buchloh is Andrew W. Mellon Professor of Modern Art at Harvard University. Veröffentlicht anlässlich der großen Published on the occasion of the 24,1 × 25,4 cm, 230 Seiten/pages Retrospektive im Metropolitan Museum major retrospective at the Metropoli­ 200 Abbildungen/illustrations New York im Frühjahr 2020, „Gerhard tan Museum New York in spring 2020, Richter: Bilder trotz allem“ ist der um­ ‘Gerhard Richter: Painting After All’ Deutsch fassendste Überblick über das bisherige is the most comprehensive overview 978­3­96098­705­5 Schaffen des Künstlers. Im Laufe sei­ of the artist’s oeuvre to date. In the € 45,00 ner 60­jährigen Karriere hat Gerhard course of his 60­year career, Gerhard Richter sowohl die Figuration als auch Richter has used both figuration and März/March 2020 die Abstraktion als Mittel eingesetzt, abstraction as means to more ob ­ um sich mit dem geschicht lichen Erbe, jectively and personally balance dem kollektiven Gedächtnis und der Germany’s historical heritage, collec­ nationalen Sensibilität Deutschlands in tive memory, and national sensibilities. objektiver und sehr persönlicher Hin­ The elegantly designed book in­ sicht auseinanderzusetzen. Das ele­ cludes his most important paintings, gant gestaltete Buch umfasst seine from photographic paintings from the Kunst / Art wichtigsten Gemälde, von Fotogemäl­ early 1960s to portraits and later Kunst / Art den aus den frühen 1960er Jahren large­ format abstract series to select­ über Porträts und spätere großformati­ ed works in glass. The linen­bound ge abstrakte Serien bis hin zu ausge­ catalogue generously displays all the wählten Werken aus Glas. Der leinen­ works, and is explained and com­ gebundene Katalog beinhaltet mented on by experts from various großzügige Abbildungen aller Arbeiten angles. sowie Erläuterungen von Experten aus verschiedenen Blickwinkeln. 2 3 Rosemarie Trockel. The Same Richard Hamilton. Different (Det Lika Olika) Introspective Hrsg./Ed. Bio Hrsg./Ed. Bio Iris Müller­Westermann Rosemarie Trockel, * 1952 in Phillip Spectre alias Richard Hamilton Richard Hamilton, * 1922 in London, Schwerte, Germany. Lives and works † 2011 in London. Text in Cologne and Berlin. Text, Bildredaktion und Layout Jo Applin, Iris Müller­Westermann, Richard Hamilton Ann­Sofi Noring Moderna Museet, Stockholm, 2019 Rosemarie Trockel hat stets mit With analytical acuity, humour and 22,4 × 27,9 cm, 172 Seiten/pages „Introspective“ ist die Referenz ­ ‘Introspective’ is the most important 20,7 × 25,5 cm, 408 Seiten/pages analytischer Schärfe, Humor und Sinn­ a sensuality that is all her own, 100 Abbildungen/illustrations publikation zu Leben und Werk des book about the life and work of British 540 Abbildungen/illustrations lichkeit eine kritische Bestandsauf­ Rosemarie Trockel has always aimed Softcover britischen Künstlers Richard Hamilton. artist Richard Hamilton. This auto­ Hardcover mit Schutzumschlag/ nahme von Kunst, Gesellschaft und for a critical examination of art, society Er hat diese Autobiografie als Gegen­ biography is the companion piece to with dustjacket Geschlechterrollen angestrebt. Sie and gender roles. A recognisable Englisch / Schwedisch stück zu seinem 2003 erschienenen ‘Retrospective’, a catalogue raisonné verzichtet in ihren Arbeiten auf eine style in her work cannot be found. The 978­3­96098­568­6 Werkverzeichnis „Retro spective“ (1937–2000) published in 2003. English wiedererkennbare Handschrift. catalogue traces Trockel’s career € 35,00 konzipiert. Inhalt, Typografie und Bild­ Content, typography and image 978­3­88375­695­0 Der Katalog zeichnet Trockels Lauf­ journey from her feminist examinations auswahl entstanden in einem dyna­ evolved together in a dynamic inter­ € 48,00 bahn nach, von ihren feministischen of the 1990s to later works in which mischen Wechselspiel. Das gedruckte play. No changes or additions were Untersuchungen der 1990er Jahre she addresses issues of animal ethics, Buch entspricht dem unvollendeten made to the unfinished book; it is bis zu jüngeren Arbeiten mit Themen artistic processes and what art Zustand, in dem es sich befand, als published as Hamilton left it in 2011, wie Tierethik und Grundsatzfragen can be. Hamilton 2011 verstarb. with blank pages and pagination. zur Kunst. Kunst / Art Künstlerbuch / Artist Book 4 5 Charlotte Posenenske. Work in Progress Hrsg./Ed. Baumeister, arbeitete als Bühnen­ Alexis Lowry, Jessica Morgan und Kostümbildnerin, Studium der Soziologie. Freundschaft mit Thomas Text Bayrle, Peter Roehr und Paul Maenz. Isabelle Malz, Rita McBride, Charlotte † 1985 in Frankfurt am Main. Posenenske, Daniel Spaulding, Catherine Wood Dia Art Foundation 2019, Museu d’Art Contemporani de Barcelona, 2019/20, Bio K20, Düsseldorf, 2020, Mudam, Charlotte Posenenske, * 1930 in Luxembourg, 2020/21 Wiesbaden. 1951 studierte bei Willi Charlotte Posenenske steht für radika­ Charlotte Posenenske’s work is distin­ 19 × 25,4 cm, 246 Seiten/pages le Offenheit: Sie nutzte Permutation guished by its radically open­ended 208 Abbildungen/illustrations und Kontingenz als spielerische kon­ nature; she used permutation and Hardcover zeptuelle Mittel. Diese längst über­ contingency as playful conceptual Pierre Huyghe fällige Monografie zeichnet ihre Ent­ devices. The catalogue traces the English wicklung von frühen Experimenten evolution of Posenenske’s practice 978­3­96098­630­0 at the Serpentine über Wandreliefs aus Aluminium bis zu from early experiments with mark Deutsch (März/March 2020) den industriell gefertigten modularen making to transitional aluminum wall 978­3­96098­726­0 Skulpturen nach, die in unlimitierter reliefs and industrially fabricated je/each € 45,00 Auflage produziert wurden und von den modular sculptures, which are pro­ Betrachtern nach Wunsch verändert duced in unlimited series and assem­ werden können. bled or arranged by viewers at will. Hrsg./Ed. Serpentine Galleries, London, 2018 Rebecca Lewin, Natalia Grabowska, Melissa Larner Bio Kunst / Art Pierre Huyghe, * 1962 in Paris. Lives Kunst / Art Text and works in New York. Dorothea von Hantelmann, Pierre Huyghe, Hans Ulrich Obrist Diese Publikation ist ein Überblick This publication is a survey of Pierre 15 × 22 cm, 448 Seiten/pages über Pierre Huyghes Schaffen der letz­ Huyghe’s practice from the last ten 530 Abbildungen/illustrations ten zehn Jahre. Im Mittelpunkt stehen years: ‘The Host and the Cloud‘ Softcover wegweisende Arbeiten: „The Host (2009–2010) took place in a former and the Cloud“ (2009­2010), fand in museum in Paris; ‘Untilled‘ (2012) was English einem ehemaligen Museum in Paris developped during documenta (13); 978­3­96098­709­3 statt; „Untilled“ (2012), wurde während ‘After ALife Ahead‘ (2017) was con­ € 28,00 der documenta (13) entwickelt und ceived in a disused ice rink as part of „After ALife Ahead“ (2017) in einer Skulptur Projekte Münster; ‘UUmwelt‘ stillgelegten Eisbahn als Teil von (2018), which was installed first at the Skulptur Projekte Münster konzipiert; Serpentine Galleries in London, and „UUmwelt“ (2018), das zuerst in den later at Luma Arles, is the culmination Serpentine Galleries in London und of a ground­breaking approach to später im Luma Arles installiert wurde, exhibitions. A conversation between ist der Höhepunkt einer bahnbrechen­ Hans Ulrich Obrist and an essay by den Ausstellungschronik. Zeichnungen, Dorothea von Hantelmann offer a Diagramme, Pläne, Text­ und Refe­ comprehensive discussion of this peri­ renzbilder, Fotos und Fillstills ergänzen od. Drawings, diagrams, plans, text sich zu über 400 Seiten und machen and reference images, photographs diese Publikation zu einer wichtigen and film stills add to over 400 pages Referenz der aktuellen Kunstentwick­ and make this an important reference lungen. book. 6 7 Thea Djordjadze. Dieter Schwarz. one is so public, and the other, Sol LeWitt: Folds and Rips so private.
Recommended publications
  • Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
    Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe.
    [Show full text]
  • Documenta 5 Working Checklist
    HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha.
    [Show full text]
  • Seriell Formations Introduction Wiehager Engl
    Serielle Formationen. 1967/2017 First thematic exhibition on Minimalist trends in Germany at the time Curator 2017: Renate Wiehager. Curators 1967: Paul Maenz and Peter Roehr. Daimler Contemporary Berlin June 3 – November 5, 2017 Opening: June 3, 2017, 11 a.m. – 6 p.m., guided tours all day The exhibition ‘Serielle Formationen’ [ Serial Formations ], jointly curated by Peter Roehr and Paul Maenz for the studio gallery of the University in Frankfurt in 1967, can be seen as the first thematic exhibition on Minimalist trends in Germany. In the context of its exhibition series ‘Minimalism in Germany’, which started in 2005, the Daimler Art Collection is making a first attempt to re-stage the historical presentation. ‘Serielle Formationen’ was an outstanding exhibition that brought together the contemporary trends of the period. In particular, it showed artwork by artists from Germany and elsewhere side by side. A total of 62 artworks by 48 artists were selected because they were pictures and objects with ‘serial order’ as a visual feature—although the concepts behind them were highly diverse and sometimes downright contradictory. The European Zero movement was represented, alongside manifestations of Nouveau Réalisme, Pop and Op Art and American Minimal and Conceptual Art. The exhibition was accompanied by an ambitious catalogue containing six original graphical works and extensive artwork documentation and artist statements. “The ambition of ‘Serielle Formationen’ was to inform and to identify the differences between seemingly similar art phenomena.” (Maenz) The show at Daimler Contemporary Berlin features artworks from the Daimler Art Collection as well as loans from German and International collections.
    [Show full text]
  • Documenta 5 : 30
    documenta 5 : 30. Juni bis 8. Oktober 1972 June 30 - October 8, 2007 CHECKLIST Artwork Art & Language. Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing). offset-printed ; 28.5 x 20 in. ; black-and-white ; edition unknown. unsigned and unnumbered ; Köln, Germany : Paul Maenz, 1972. Two-sided poster produced by Art & Language in conjunction with Documenta 5. Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. Reference: Charles Harrison, Essays on Art & Language. MIT Press, Cambridge, MA, 2001, pp. 63 - 81. Steven Leiber, "Extra Art." Smart Art Press, Santa Monica, CA, 2001, pp. 60 - 61. Paul Maenz and Germano Celant, Paul Maenz : Köln 1970 - 1975. Paul Maenz, Köln, Germany, pp. 48. Good / Very Good. Yellowing newsprint, folded in eight. [Object # 9812] $450.00 Joseph Beuys. Rose for Direct Democracy. 33.5 x 5 x 5 cm. ; edition 440 signed and numbered copies (plus unlimited unsigned and numbered copies). signed and numbered ; Heidelberg, Germany : Edition Staeck, 1973. A graduated glass measuring cylinder with incised texts and certificate on the letterhead of "Organisation for Direct Democracy through referendum," with rubber-stamping, numbering and signature of Beuys. A similar glass (without the incised text) was in the permanent political office on Beuys' desk during Documenta 5. Reference #71 in Jörg Schellmann and Bernd Klüser, Joseph Beuys : The Multiples. Busch-Reisinger Museum, Harvard University Art Museums, Cambridge ; Walker Art Center, Minneapolis ; Edition Schellmann, Munich & New York, pp. 103, 441. Fine. This copy SIGNED and NUMBERED by Beuys on certificate. [Object # 9824] $3,500.00 Joseph Beuys.
    [Show full text]
  • MISFITTING TOGETHER. Serial Formations of Pop Art, Minimal Art and Conceptual Art
    MISFITTING TOGETHER. Serial Formations of Pop Art, Minimal Art and Conceptual Art MISFITTING TOGETHER “I was reflecting that most people thought the Factory was a place where everybody July 1, 2020 to May 24, 2021 had the same attitudes about everything; the truth was, we were all odds-and-ends misfits, somehow misfitting together.” (Andy Warhol and Pat Hackett, POPism: The Warhol Sixties, London 2007/1980, p. 276) Andy Warhol’s titular words serve as the starting point for the first exhibition of mumok’s thematic Warhol focus, which is conceived as a trilogy. The two other parts—ANDY WARHOL EXHIBITS a glittering alternative and DEFROSTING THE ICEBOX. Guesting at mumok: The Hidden Collections of the Antiques Collection of Kunsthistorisches Museum Wien and Weltmuseum Wien—will open on September 25, 2020. Andy Warhol’s last exhibition at mumok was in 1981, when he was still alive. Some forty years later, it seems long overdue to present his oeuvre in a comprehensive art- historical context. The collection exhibition, MISFITTING TOGETHER. Serial Larry Poons Nixe’s Mate, 1961 Formations of Pop Art, Minimal Art and Conceptual Art faces the challenge not Photo: mumok – Museum only of situating Warhol in the field of Pop Art but also of painting a more moderner Kunst Stifung Ludwig Wien nuanced picture of the times by including works of Minimal and Conceptual Art— © Bildrecht Wien, 2020 both collection emphases of Peter and Irene Ludwig. Juxtaposing these movements will show how strongly they have influenced each other and how hard it is to pigeonhole them art-historically. Warhol’s work can thus be experienced in a contemporary historical context.
    [Show full text]
  • May 30, 2010 Renate Wiehager Minimalism Germany 1960S Attempt
    Minimalism Germany 1960s Daimler Contemporary, Berlin March 12 – May 30, 2010 Renate Wiehager Minimalism Germany 1960s Attempt at defining a location This exhibition Minimalism Germany 1960s shows important trends in 1960s abstract art in Germany from the Daimler Art Collection: Constructivism, Zero, Minimal Art, Concept und Seriality. Starting from predecessors in the 1950s – such as Josef Albers, Norbert Kricke, Herbert Zangs, Siegfried Cremer – the show looks at developments in abstract art in the cities of Frankfurt, Düsseldorf and Krefeld, Stuttgart, Berlin, Munich and also considers neighboring Swiss approaches. We are presenting about 60 works by 28 artists from the period 1954 to 1974. One of the key areas of the Daimler Art Collection, founded in 1977, is 20th century abstract art, from the Stuttgart circle around Adolf Hölzel in 1910 via Bauhaus, Constructivism, Concrete Art, Minimalism, conceptual tendencies, Neo Geo to the most recent contemporary art. Groups of works by German artists have been acquired on this basis over the last ten years, representing pioneering abstract trends in the 1950s and 1960s. Given the acute discontinuity brought about by restorative art policies in Nazi Germany, a young generation of artists in post-war Germany had to seek reconnection with the abstract avant-gardes of the 1910s to the 1930s. At the same time a formal language had to be developed to reflect what had been achieved artistically on to the current cultural and political scene, and to look for successive responses to trends in American art as they emerged. The first major bridges to abstraction were the approaches made in the theoretical writings of Willi Baumeister (‘Das Unbekannte in der Kunst’, 1947) and Paul Klee (his writings on formal and creative theory were published in 1956 as ‘Das bildnerische Denken’), and also the reappraisal conducted from the early 1950s onwards of the German Bauhaus tradition.
    [Show full text]
  • In the Same Box: Unhinging Audiovisual Media in the 1960S and 1970S
    All in the Same Box: Unhinging Audiovisual Media in the 1960s and 1970s A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Kalani Bianca Michell IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Professor Rembert Hüser, Advisor August 2018 Kalani Michell 2018 © Abstract All in the Same Box: Unhinging Audiovisual Media in the 1960s and 1970s This project examines problems in media theory in contemporary art and visual culture, specifically by arguing that there should be more of it in the visual arts. If one wants to rigorously engage with objects that don’t correspond to disciplinary boundaries and ‘high’ and ‘low’ aesthetic categories, as is the case with several multimedial artistic projects of the 1960s and 1970s, then one must accept that theories of photography, television, painting, print culture and sound objects can no longer be considered apart from one another. These kinds of projects cannot be deemed part of art history and then analyzed with a bit of Marshall McLuhan. Nor can they be claimed by film studies and peppered with Rosalind Krauss. These are projects that take relocation, or their unhinging from standard sites of production and exhibition, as their point of departure, and thus they force, in my readings, central intermedial concerns to the foreground, from questions of medium specificity to problems of storage and containment. Three such case studies structure my dissertation: 1) an exhibition of a collective ‘performance’ including Joseph Beuys on live television
    [Show full text]
  • MISFITTING TOGETHER. Serial Formations of Pop Art, Minimal Art and Conceptual Art
    MISFITTING TOGETHER. Serial Formations of Pop Art, Minimal Art and Conceptual Art MISFITTING TOGETHER “I was reflecting that most people thought the Factory was a place where everybody July 1, 2020 to January 6, 2021 had the same attitudes about everything; the truth was, we were all odds-and-ends misfits, somehow misfitting together.” (Andy Warhol and Pat Hackett, POPism: The Warhol Sixties, London 2007/1980, p. 276) Andy Warhol’s titular words serve as the starting point for the first exhibition of mumok’s thematic Warhol focus, which is conceived as a trilogy. The two other parts—ANDY WARHOL EXHIBITS a glittering alternative and DEFROSTING THE ICEBOX. Guesting at mumok: The Hidden Collections of the Antiques Collection of Kunsthistorisches Museum Wien and Weltmuseum Wien—will open on September 25, 2020. Andy Warhol’s last exhibition at mumok was in 1981, when he was still alive. Some forty years later, it seems long overdue to present his oeuvre in a comprehensive art- historical context. The collection exhibition, MISFITTING TOGETHER. Serial Larry Poons Nixe’s Mate, 1961 Formations of Pop Art, Minimal Art and Conceptual Art faces the challenge not Photo: mumok – Museum only of situating Warhol in the field of Pop Art but also of painting a more moderner Kunst Stifung Ludwig Wien nuanced picture of the times by including works of Minimal and Conceptual Art— © Bildrecht Wien, 2020 both collection emphases of Peter and Irene Ludwig. Juxtaposing these movements will show how strongly they have influenced each other and how hard it is to pigeonhole them art-historically. Warhol’s work can thus be experienced in a contemporary historical context.
    [Show full text]
  • Introduction by Curator Renate Wiehager
    37 The emergence of the generation of ‘67 RENATE WIEHAGER “For more than half my life I have been labelled the ‘generation of ’68,’ As Paul Maenz reminisces, “consciousness industry describes the situa- along with all the other apt and somewhat less apt descriptions possible. tion at the time and was not least of all the core of the ‘dissatisfaction’ we For a few decades now, people aren’t shy about putting the adjective ‘old’ were feeling, something that applied to art and society in equal measure. in front of the label, emphasizing it sympathetically. This does not apply We were suffering at the hands of the lyrical-hedonistic, cloudy back- to me; I was never part of the ‘generation of ’68.’ I am from the ground music, as it still surrounded Zero and New Tendencies. Corre- generation of ’67, an old one if you like. 1967 – That was my year!” spondingly, Roehr’s deliberations always demonstrate a desire for Reinhard Mey, in: Frankfurter Allgemeine Zeitung, January 2, 2017, p. 7 conceptuality, for ‘structure’; the exhibition ‘Serielle Formationen’ [Serial Formations] is an expression of this. It is a pity that Peter did not live to experience Art & Language and the analytical wings of Conceptual Art, which addressed much of what busied us back then in the true sense of 3 the word, including social and political topics.” In May 1963, theoretical discourse in Germany turned to serial discourse. The death of the renowned publisher Peter Suhrkamp—an explicit oppo- This introduction is perhaps a surprising one. However, the topics and nent
    [Show full text]
  • Peter R Oehr
    Peter Roehr 37 works Katalog zur Ausstellung Grisebach, Berlin 2016 Mit einem Beitrag von Florian Illies Exhibition Catalogue Grisebach, Berlin 2016 37 works With a contribution by Florian Illies Roehr Peter Peter Repeat Offender How Peter Roehr made the aesthetic method of serial representation unique By Florian Illies Er lag schon im Krankenhaus, damals, im Winter He was already in the hospital, that time in the 1966/67, 22 Jahre alt, allmählich verstummend, sich winter of 1966/67; he was 22 years old, slowly tak- abwendend, in langsamer Verabschiedung. Da mel- ing leave of this world, retreating into silence. After Der Wiederholungstäter dete sich nach sehr langer Zeit sein Vater bei ihm a very long time, his father contacted him and und fragte hilflos, ob er ihm Apfelsinen schicken asked, helplessly, whether he should send him solle. „Nein“, sagte Peter Roehr, „schick mir keine some oranges. “No,” Peter Roehr replied, “don’t Apfelsinen. Schick mir ausgefräste Blechkästen.“ send me any oranges. Send me milled metal box- Der Vater, in der Metallveredlung aktiv, tat wie ihm es.” His father, who worked in metal finishing, did geheißen. Er lieferte zehn abgekantete verchromte as he was asked. He delivered ten chamfered, Metallkisten in den gewünschten Maßen 119 mal 119 chrome-plated metal boxes in the requested Zentimeter. Sein Sohn, so wusste er von seiner dimensions of 119 centimeters square. He had geschiedenen Frau, war ein bisschen resoluter heard from his ex-wife that his son had become geworden. Er wollte ihm den Wunsch erfüllen. Er somewhat obstinate, fixated on precise details. He ahnte nicht, dass es der letzte war.
    [Show full text]
  • Maximin : Maximum Minimization in Contemporary
    Todos nuestros catálogos de arte All our art catalogues desde/since 1973 MaxiMin MaxiMuM MiniMization in ConteMporary art 2008 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es Fundación Juan March 1 Fundación Juan March This catalogue, and its Spanish edition, are published on the occasion of the exhibition MAXImin Maximum Minimization in Contemporary Art Fundación Juan March, Madrid February 8 — May 25, 2008 Fundación Juan March MAXImin MAXIMUM MINIMIZAtion IN CONTEMPORARy ART Fundación Juan March Fundación Juan March ACKNOWLEDGEMENTS The Fundación Juan March would like to thank the Corporate Art Depart- ment of Daimler AG and especially Dr. Renate Wiehager and her entire staff – particularly Mathis Neidhart – for the help, understanding and ex- traordinary collaboration they extended to us at every phase of this exhibi-
    [Show full text]
  • Galerie Paul Maenz KöLn Records
    http://oac.cdlib.org/findaid/ark:/13030/tf0n39n43f No online items Finding aid for the Galerie Paul Maenz Köln records, 1956-1991 (bulk 1970-1990) Lynda Bunting. Finding aid for the Galerie Paul 910066 1 Maenz Köln records, 1956-1991 (bulk 1970-1990) Descriptive Summary Title: Galerie Paul Maenz Köln records Date (inclusive): 1956-1991 (bulk 1970-1990) Number: 910066 Creator/Collector: Galerie Paul Maenz (Cologne, Germany) Physical Description: 40 Linear Feet(89 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: German gallery in Cologne, dealing in contemporary art. Maenz exhibited, loaned, and sold works by conceptual artists and the German neo-Expressionist painters. Correspondence, financial files, artists' biographies, press clippings, printed matter, and photographs cover virtually every facet of the gallery's operations, 1970-1990. The photograph files comprise approximately half of the archive and document works by artists and most of the gallery's exhibitions. Request Materials: To access physical materials on site, go to the library catalog record for this collection and click "Request an Item." Click here for access policy . Language: Collection material is in German and English. Biographical /Historical Note Galerie Paul Maenz Köln was instrumental in introducing avant-garde art of the 1970s and 1980s to what was initially a German audience, but would later move beyond to the rest of Europe and North America. The gallery functioned as a facilitator for artists to realize their work in a new context.
    [Show full text]