Helmut Draxler

  • “Five German Sculptors”

    For more than a decade Peter Pakesch has been functioning as a kind of trapdoor for the work of West German artists, most recently that of Günther Förg, Georg Herold, Hubert Kiecol, Meuser, and Reinhard Mucha. Collectively, their work has provided a synopsis of the current trend in West Germany toward an art that is brash, intellectual, and precise—what I would like to call an “Aesthetik der Austrocknung” (esthetic of drying out)—as evidenced in a new reduction of materials, form, and subjective content. The confrontation with this rigorous esthetic has thrown the Vienna art world, with its

  • Ernst Trawöger

    From Franz Egger-Lienz to Walter Pichler, the art that has emerged from the Tirol has been stolid and massive, groaning under the weight of its Alpine landscape. But “Das arme Land Tirol” (poor Tirol), as Franz Marc referred to it, has recently undergone enormous changes and has begun to make its own significant contributions to Modern art. There is now a counter movement that aims to eliminate all materiality, a new art that moves with agility, and sets wit and spirit free. At the forefront of this movement is Heinz Gappmayr, who has developed a sensitive, highly personal Lettrismus (calligraphy)