Hirst's series, Two Weeks One Summer come together with selected works by Arnulf Rainer.In this exhibition, Damien Hirst's expressionistic and self-reflective still lifes from 2008 to 2012 encounter Arnulf Rainer's energetic finger paintings, actionistic Face Farces and contemplative over-paintings from the early 1950s.Published on the occasion of the exhibition Commotion at Arnulf Rainer Museum, Baden, 25 April - 5 October 2014.English and German text.
Published in conjunction with the exhibition Arnulf Rainer at the Solomon R. Guggenheim Museum, New York, May 13-July 9, 1989 and elsewhere
Erstmals nach ihrem gemeinsamen Auftritt vor einunddreißig Jahren bei der Weltausstellung der Kunst - der documenta VII (1982) in Kassel - werden Werke Arnulf Rainers und Mario Merz' wieder unter der Regie des international renommierten Ausstellungsmachers Rudi Fuchs wieder miteinander korrespondieren. Die großformatigen Gemälde Arnulf Rainers und die raumgreifenden Installationen und Bildobjekte Mario Merz' erzählen trotz all ihrer formalen Unterschiede eine gemeinsame Geschichte: jene von der Suche nach größtmöglicher künstlerischer Integrität, Authentizität und Freiheit.
Sculptor Georg Herold has developed a strong presence in the United States since his career took off in the early 1970, when he alongside Albert Oehlen and Martin Kippenberger, was part of a group of radical young German artists mentored by Sigmar Polke. This full color catalog highlights many aspects of Herold s work, such as his fetishistic, larger than life figures made of unexpected materials like roof laths, canvas and screws or his abstract portrait made of numbered fish eggs. Herold continues to revel in an ironic, pop tinged sensibility that turns viewer expectations upside down. With texts by Rudi Fuchs, Friedrich Wilhelm Heubach, Nina Schleif and Armin Zweite.
Archives of an Attitude
This book is a creative guide to the making of arguably the most extraordinary art object to be made in the 21st century. Published to accompany the 2007 exhibition Damien Beyond Belief at White Cube, London, it gives a fascinating pictorial insight into how Hirst's diamond skull piece "For the Love of God" was conceived and produced. Illustrated with candid behind-the-scenes photographs by Johnnie Shand Kydd, the book includes a number of preparatory drawings by Damien Hirst and a fold out image of the diamond skull. Accompanying this is an essay by the art historian Rudi Fuchs, who "The skull is out of this world, celestial almost. I tend to see it as a glorious intense victory over death." A number of leading experts in the fields of archaeology and dentistry have also contributed detailed studies on the diamond skull, including analyses of its age and ancestry.
No discussion of postwar Dutch art--or postwar European art--is complete without mentioning Karel Appel, whom many consider Holland's most important painter. Appel attended the Academy of Arts in Amsterdam from 1940 to 1943, and then bided his time painting landscapes and portraits in an era when artists were forbidden to buy materials or exhibit unless they joined the German "Chamber of Culture." After the liberation, as reproductions of works by Picasso and others began to find their way to Holland, Appel rebelled against his studio training, founded several avant garde groups (including Cobra), and then moved to Paris. Years of travel and experimentation with subjects, colors and materials, left him with a close relationship to the American art community and studios all over the world. Appel is a sculptor and a ceramist, too, but he is above all an expressionist, a man of passion led by spontaneity, who has conversely made a lasting mark.
Over the course of more than four decades, Katharina Sieverding (b. Prague, 1944; lives and works in Düsseldorf) has built an oeuvre that has charted a wide terrain between the poles of individuality and society, sentiment and critique, presence and withdrawal. The book, designed by Sieverding and her studio, presents a novel documentation of the work Stauffenberg-Block. Created in 1969, Stauffenberg-Block consists of sixteen large-format color photographs and is dedicated to Claus Stauffenberg, a member of the resistance against Hitler who was executed in 1944 after his failed attempt to assassinate the dictator. The book combines it with the series F (1969) and Transformer-Cyan-Solarisation (1973/74). The three ensembles of works are based on the conceptual use of the artist’s self-portrait. Its serial repetition and continual transformation calls the capacity of the individual portrait to record the subject’s identity in question. Two works from the series Visual Studies (2002) and the archival storage unit ORWO (2014), presented as a spatial object, round out the selection. They hint at the wide-ranging visual archive on which Katharina Sieverding’s work draws. With an introductory essay on feminism, antifascism, and psychedelia by Diedrich Diederichsen.
