art should be more affordable and accessible
to the public. The same can be said for the music, which is, in its appeal to the senses, most pleasurable when it is played alone.One should not forget that the Neue Sachlichkeit is not a pure expression of artistic sensibility. It is a statement about social and economic conditions, and a statement of the reality of life in the most advanced countries. The artist must take account of these conditions, for they are the conditions that dictate his art. He must also be aware of the fact that he is dealing with the most powerful and ailing of peoples, and he must always be ready to take responsibility for them. He must be able to recognize that the most complex and difficult problems are those of his own art, which, though it seeks to express the most complex and difficult problems, must always be able to do so.
to the public, which could be a good thing, since the artist seems to have a lot of energy and is constantly working on new things. He doesnt waste time with self-promotion and has no need to force any of it; rather, he uses his energy to create work that is both playful and vital.
, so that the art of the future will not be dominated by the past, but will instead be informed by the future. While the curators of the Kunsthaus Zurich are currently reviewing the work of this young Swiss artist, the project is well underway. The show will travel to the Galerie nationalartinetworks in Geneva in March.
art should be more affordable and accessible to the public. This should be reflected in the way she uses her materials, which should be more participatory. The work is also important in that it can be viewed as a critique of the current ways in which the art world operates. For example, in her recent exhibition, based on her investigations of the practices of the German discotheque, she presented a work that made clear the possibility of its being turned into a work of art. This was the case with a piece titled Schön für einen Bildnisse, (Head for an examination, 1994), in which a number of chairs were arranged on a table, each bearing a small camera that was placed under each chair and facing a large projection screen. The chairs were all arranged according to the same principle of structural symmetry, so that the viewer could observe the elements that define the chair, and the projection screen, as well as the various objects that the chairs carry: a mirror, a small book, a pencil, and so on. The result of this work was an observation of the artistic process, of how the artist is concerned with the placement of objects on the floor and the relationship between the objects and the viewers. The possibility of a work of art being turned into a work of art is also present in an installation called Der Bild (The painting, 1993), in which a series of drawings hung on the wall, depicting the artists own paintings in a variety of contexts. They were also made in collaboration with his wife, who was also a painter. In a sense, the drawings were a response to the artists own work. The drawings were also a response to the fact that the artists wife is also a painter. It is not the case that the artist can be put off by the possibility of a wife painting, but that the wife can become an artist.