Museum Brandhorst Opens Exhibition Celebrating German Artist Georg Herold

Georg Herold

Georg Herold (*1947), Deutsche Bügeleisen, 1990, stamped flat iron, sprayed cardboard, electric cable, paint, flat iron: 24,7 x 14 x 10,5 cm, sprayed cardboard: 17 x 25,7 x 11,5 cm. Photo: Haydar Koyupinar © VG Bild-Kunst, Bonn 2012.

Like virtually no other artist of our times, Georg Herold ironically cites the art of the 20th century in its diverse forms, rendering it disillusionary or absurd. Herold is not a painter although he creates pictures, not a sculptor although he makes sculptures and installations, not an architect although he builds. He embodies the negation of the artistic world in the academic tradition. All of his works are based on the principle of the collage or montage, even his primary intention is not one of innovation or originality but of discrepancy and contradiction. His demystification of established notions that have become the norm does not stop in the face of Kazimir Malevitch, Marcel Duchamp, Donald Judd and Joseph Beuys, among others, either. In this way Herold breaks away from conventional codes in art and encourages others to reflect upon functions they are still capable of perceiving at all, and to which they can turn today. He is considered one of the most important and influential artists not only of his own generation.

In the early 1980s Georg Herold used cheap roof slats and, since 1988/89, has repeatedly worked with expensive Beluga caviar in his pictures, objects, multiples and installations. The plain wooden slats still play a pivotal role in his works to this day, since – as he says – they “can be made to match every statement exactly.” While such objects were considered non-aesthetic at that time, the use of caviar was seen as a provocation. Bafflement changed into a slight feeling of horror and a certain disgust. Over the past 40 years, an extensive and complex œuvre has been created that has been shown successfully in numerous solo and thematic exhibitions both nationally and internationally. Apart from roof slats and caviar, Herold has repeatedly used bricks, thread, buttons and nails as well as tea strainers, handbags, nylon tights, carpets, etc. “As a matter of principle, I never use materials that speak their own language. That’s why I pick on rough, stupid materials that don’t ask questions,” the artist says.

In the past few years Herold has, surprisingly, returned to the human figure. Through his sketchily outlined figures he aims at showing how mankind has not just become alienated from itself in a stupor brought on by modern civilisation, but is simultaneously puzzling and trite, aggressive and defenceless, sexually uninhibited and disembodied, affected and coarse – or more precisely, Herold’s slat figures are not role models of mankind but bundles of highly contradictory characteristics, possibilities and capabilities. As such, they illustrate the status quo.

The concept of the exhibition was devised together with the artist, while it was clear that the multiples and sculptures in the Brandhorst Collection would be included. Apart from recent works, older ones are also on display to highlight contextual and formal correlations.

Individual works are exhibited in rooms on the ground floor which lends itself to illustrating the connections and contradictions in relation to works by other artists in the Brandhorst Collection such as Sigmar Polke, Joseph Beuys, Eric Fischl and Jannis Kounellis, among others.

There are fifty works by the artist in the Brandhorst Collection that the Museum is now exhibiting together with a similar number of other figurative works and installations until 2 September. Georg Herold’s works can be found in a number of private and public collections.

Georg Herold was born in Jena in 1947. He was arrested in 1973 for attempting to flee from East Germany. Having been sentenced to prison, his release was funded by West Germany. After a brief period in Munich, he began studying under Sigmar Polke in Hamburg and, while there, became friends with Werner Büttner, Martin Kippenberger and Albert Oehlen, among others. He has held a professorship at the Kunstakademie Düsseldorf since 1999. Herold lives and works in Cologne.

Source: Museum Brandhorst 

You Might Also Like...
Christian Marclay: Gold Silence (The Electric Chair), 2006; silkscreen ink on synthetic polymer paint on canvas; 22 × 30 1/2 in.; Marieluise Hessel Collection, Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York.
In today’s digitized world, silence is increasingly elusive. For composer John Cage, the absence of sound was not merely elusive, it was impossible. His groundbreaking composition 4’33” contained no actual ...
READ MORE
Wolfgang Laib sifting hazelnut pollen, 1992. Courtesy Sperone Westwater Gallery, New York.
The Museum of Modern Art presents Pollen from Hazelnut, a pollen field by the artist Wolfgang Laib, in The Donald B. and Catherine C. Marron Atrium from January 23 to ...
READ MORE
Ernesto Neto, It happens when the body is anatomy of time, 2000. Lycra tulle, clove, cumin, saffron, 355 x 1060 x 940 cm. D.Daskalopoulos Collection© The Artist, courtesy Tania Bonakdar Gallery and Galeria Fortes Vilaça.
The Scottish National Gallery of Modern Art announces a major exhibition bringing together works from the D.Daskalopoulos Collection, one of the most important collections of contemporary art with major works ...
READ MORE
A man visits the Picasso/Duchamp "He was wrong" exhibition at the Moderna Museet in Stockholm on August 23, 2012. In the exhibition Picasso/Duchamp "He was wrong", Moderna Museet in Stockholm is exhibiting the two giants Pablo Picasso and Marcel Duchamp together for the first time. This exhibition runs from August 25, 2012 to March 3, 2013. AFP PHOTO/JONATHAN NACKSTRAND.
With the exhibition Picasso/Duchamp “He Was Wrong”; the Moderna Museet in Stockholm sets two giants, Pablo Picasso and Marcel Duchamp, up against each other for the first time. They are ...
READ MORE
Paul Klee, Träger für ein Schild, 1934, 72. Aquarell und Kreide auf Grundierung auf Papier auf Karton, 21 x 32,7 cm. Privatbesitz, Schweiz, Depositum im Zentrum Paul Klee, Bern© VBK, Wien, 2012.
The 100th birthday of the composer, musician, philosopher, writer and thinker John Cage is celebrated all over the world. In cooperation with the Academy of Arts, Berlin, MdM SALZBURG has ...
READ MORE
Chang W. Lee/The New York Times  Ghosts in the Machine , at the New Museum, features some 140 works, including “Movie-Drome,” a mix of projected films, slides and drawings on the walls of a hemispherical room, by the filmmaker Stan VanDerBeek.
If “Ghosts in the Machine,” an ambitious, multitasking, somewhat austere exhibition at the New Museum were itself a machine, it would have lots of moving parts, but not all of ...
READ MORE
101 Spring Street, New York, 4th Floor. Photo: Rainer Judd-Judd Foundation Archives. Image © Judd Foundation.
The restoration of Donald Judd’s home and studio at 101 Spring Street in SoHo’s Cast Iron Historic District in New York City began on June 3, 2010 (the artist’s birthday) ...
READ MORE
Esther Kläs, (5) RA, 2012. Concrete, pigment, wire mesh, 86 1/2 x 12 1/2 x 17 1/2 in.
MoMA PS1 presents the first solo museum exhibition of Esther Kläs (German, b. 1981), featuring sculptures, monoprints and paintings by the Brooklyn-based artist. Working with a range of processes and ...
READ MORE
UC Berkeley Art Museum and Pacific Film Archive
German Artist Wolfgang Laib Installs Large-scale Pollen Field
Exhibition of Works from the D.Daskalopoulos Collection Opens
Picasso and Duchamp, Up Against Each Other for
Museum der Moderne in Salzburg Celebrates John Cage’s
‘Ghosts in the Machine’ Exhibition at the New
Donald Judd’s Historic New York Home & Studio
First Solo Museum Exhibition of German Artist Esther

Be Sociable, Share!
This entry was posted in Art, Art News and tagged , , , , , , , . Bookmark the permalink.

Leave a Reply

Your email address will not be published. Required fields are marked *

*

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>