Jutta Koether

  • Walter Dahn

    This year in his solo show here Walter Dahn presented 11 acrylic paintings, some of them in very large formats. His latest works can be regarded as a daring stage of a journey that he himself calls “the road away from painting as painting.” This road has taken him from neo-Expressionist painterly painting to spray painting, photography, silkscreen, and a blend of silkscreen and painting, through a broad range of alienation “themes” and techniques, including the precise duplication of signs from a dictionary of symbols, using photocopies enlarged several times over and a projector. The ultimate

  • Thomas Grunfeld

    At his fifth solo exhibition at this gallery, Thomas Grünfeld presented a group of works from 1986 and ’87 that he has described as “fragments of interior design” or “seven prototypes of form invention.” These included objects based on different kinds of furniture (including examples of what he calls “alienated furniture”) and various types of frames. He has presented similar kinds of objects at various shows over the past few years; now, gathered together in a single show—and with several additions and refinements—these were offered as a kind of repertoire. The changes are twofold. Unlike

  • Alex Kasseböhmer

    The 12 paintings in this exhibition by the Düsseldorf artist Axel Kasseböhmer were related by a single concept. This was a continuation of a principle elaborated in his earlier works: that an artist’s ideas about theoretical issues of painting should be recognizable in his or her style. As before, these new paintings (from 1987) focus on the possibilities of the still life. But while the paintings in his previous exhibitions incorporated familiar elements of the works of well-known artists (from Zurburán’s light to Picasso’s animal skulls), here he has combined various styles of 20th-century