Galerie Max Hetzler, Cologne 1986
Add to Cart
Out of Stock
Over a career spanning five decades, Günther Förg (1952–2013) developed a distinctive and prolific body of work, including experiments in abstraction and monochrome painting, against the general trend of figurative painting predominant in Germany in the 1980s. Wall paintings, sculptures, large format photographs, portraits and architectural views, as well as drawings and graphics, executed in a range of mediums, bear witness to the innovative diversity of the artist’s approach. Universal concepts of form, mass, proportion, rhythm and structure constitute a common thread in his work. From the late 2000s, Förg’s painting took a brighter and more gestural turn, resulting from an intuitive approach to colour and composition.
‘Art, artists, architecture, landscapes, films and literature are all constant sources of inspiration for Günther Förg, and the notion that art is generally more likely to be derived from other art than from nature comes through in his various work cycles and series as well. His spontaneity of conception and dynamic gesture is contrasted with complex references and their associated meanings. Förg is concerned with self-reflecting experience and self-analysis in painting. By referring to the most diverse of artists from widely varying eras and styles of the 20th century, he brings out individual positions that were arguably of unparalleled relevance to artistic practice in subsequent decades, while at the same time he links periods and ideologies that were often mutually contradictory.’
B. Reiss, Günther Förg: Paintings, Walls, and Photographs in Günther Förg 1987–2011, exh. cat., Berlin: Galerie Max Hetzler and Holzwarth Publications, 2012
Artist page on maxhetzler.com
From the very beginning, Jeff Koons’ (b. 1955) popular, influential, celebrated and controversial oeuvre has questioned the traditional concept of art. His contextual sleight-of-hand, which transforms banal items into sumptuous icons, takes on a psychological dimension through dramatic shifts in scale, spectacularly engineered surfaces, and subliminal allegories of animals, humans, and anthropomorphised objects. While his approach is unconceivable without Marcel Duchamp and Andy Warhol as precursors, the subject of art history is a constant undercurrent in his work, whether Koons elevates kitsch to the level of classical art or produces works in the manner of Baroque sculptures.
‘As Arthur Danto once aptly said: “Everyone likes Koons' art, Koons himself might say, unless they have been taught not to.” In this sense, Koons' primary motivation is direct and clear communication with as many people as possible, which is why he focuses on universally understandable themes that he showcases artistically by means of contextual changes, dimensional shifts, and a high degree of perfection in the execution. [...] Koons, the imperturbable optimist, aims at the expression of happiness, self-assurance, and emotional abandon.’
A. Hüsch, A sensory overload on spin cycle: The sensual universe of Jeff Koons in Jeff Koons, Galerie Max Hetzler and Holzwarth Publications, 2009
Kamekestraße 21, Cologne
Exhibition page on maxhetzler.com