Until his 2011 Guggenheim Museum show, Feldmann’s fame remained largely confined to Europe. He studied painting at the University of Arts and Industrial Design Linz in Austria, only to leave that medium behind in 1968.ĭuring the ’70s, Feldmann appeared in two editions of Documenta, the famed recurring German art show in Kassel, cementing his reputation in the country’s art scene. Hans-Peter Feldmann was born in Düsseldorf, Germany, in 1941, and would remain in that city for much of his career. Photographic works by Hans-Peter Feldmann often involved seemingly banal images culled over the course of many years. The few I could get, I really wanted to see.” And it was actually the fact that there was such a small quantity of images around that made me so interested in them. “After World War II, there were very, very few pictures in Germany,” he told Art in America in 2011. While these works could’ve been written off as unserious endeavors, Feldmann was clear that they were, in fact, rooted in something serious: his experience in postwar Germany. Instead, the installation was composed of 101 pictures of people aged 8 months to 100 years old that Feldmann had sourced from his family and friends. At the P.S.1 Contemporary Art Center in 2004, he showed 100 Years (2001), a work whose title suggested a survey exhibition, only to subvert that logic. He produced two books, both titled Voyeur, in 19, that featured a wide array of images, from documentation of plane crashes to nudes. Divorced from their original contexts, these shots took on new, strange meanings in the hands of Feldmann, who circulated them in ways their creators may not have intended.įeldmann’s photographic works grew more expansive during the course of his career. 11 Bilder, for example, consisted of fewer than a dozen pictures of women’s knees. Known as “Bilders” (“Pictures”), these booklets, produced between 19, were made available for free. Some of Feldmann’s earliest notable works involve groupings of appropriated images that seem banal. Some have even grouped his art in with the strain of Pop that could be found during the ’60s in Germany, his home country. His works, many of them composed of pictures he’d collected over the years into a massive archive, are today considered important, if under-known, forerunners to appropriation art of the ’80s. In 1999, he had master craftsmen produce a plaster replica of a Neoclassical sculpture Feldmann then painted it bright pink.īut critics saw these works as more than just pranks. In 2011, when he became the oldest artist to win the Guggenheim Museum’s $100,000 Hugo Boss Prize, he pinned that amount in $1 bills to the institution’s walls. Many of Feldmann’s artworks would have been considered stunts if they were done by lesser artists. The exhibition will also include a selection of these striking images.Ilya Kabakov, Pioneering Installation Artist and Gimlet-Eyed Critic of Russia, Dies at 89 In the 1980s, Bartuszová frequently photographed her works outdoors to emphasise their close ties to nature. Later, she allowed the balloons to burst, creating delicate works similar to cocoons or nests. Some suggest raindrops, seeds or eggs, others the human body. She shaped the sculptures by pushing, pulling, or submerging them into water, creating unique and distinct shapes. Inspired by playing with her young daughter, she created abstract shapes by pouring plaster into rubber balloons – her signature material was white plaster, giving the sculptures a fragile quality. The exhibition starts in the 1960s, when Bartuszová experimented using her own distinctive method of casting plaster by hand. She created around 500 sculptures, from small organic forms to commissions for public spaces as well as works in the landscape, despite restrictions on her artistic life during this period. Bartuszová worked over three decades in Košice, the second-largest city in Slovakia. Bringing together many works rarely exhibited before in the UK, this survey exhibition will highlight the abstract sculptures of Prague-born Slovak artist Maria Bartuszová.
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