Christine Mehring

CAR CULTURE: WOLF VOSTELL’S CONCRETE TRAFFIC

January 2017

I’VE NEVER FELT such a rush of excitement as when I first saw Wolf Vostell’s Concrete Traffic, 1970, one summer day in 2011. There it was: a vintage Cadillac encased in a massive shell of concrete, sitting in an industrial wasteland on … READ ON

IN PRINT January 2017 [TOC]

“Call to Action: Franz Erhard Walther”

May 2016

Curated by Gaëtane Verna Despite Walther’s studies at the Kunstakademie Düsseldorf in the early 1960s, a hotbed of European artistic talent that bred classmates such as Gerhard Richter; despite his subsequent four-year immersion in New York… READ ON

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SHOCK VALUE: SIGMAR POLKE’S 1976 RETROSPECTIVE IN DÜSSELDORF

April 2014

PAINTINGS STILL WRAPPED in shipping materials and photographs strewn across the floor; a gate blocking access to key works; an exhibition design revolving around an outrageous invocation of the Holocaust: It is unlikely that such provocations… READ ON

IN PRINT April 2014 [TOC]

the Judd Foundation’s 101 Spring Street

News

May 2013

CHRISTINE MEHRING  SOME TWENTY YEARS after purchasing 101 Spring Street in November 1968, Donald Judd recalled thinking at the time that “the building should be repaired and basically not changed. It is a nineteenth-century building.” This … READ ON

IN PRINT May 2013 [TOC]

“For the Time Being”

May 2013

Curated by Friedrich Meschede The Lascaux caves prove wall painting to be civilization’s most durable art form. But in the modern era, which freed art from its ritual context and made it into a circulating commodity, wall painting became an… READ ON

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“Franz West: Wo ist mein Achter?”

January 2013

“Few artists have as radically collapsed the presentation of their art with its making and meaning as Franz West.”… READ ON

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“Wols: Die Retrospektive”

January 2013

Curated by Ewald Rathke and Toby Kamps The discrepancy between Wols’s reputation in Europe and stateside is hard to overestimate. A household name there, the French-German Informel artist Wolfgang Schulze (1913–1951) long stood as proof that… READ ON

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“Inventing Abstraction, 1910–1925”

October 2012

“Inventing Abstraction, 1910–1925” will be—surprisingly—the first large-scale survey of its kind at MoMA (the very bastion of modernism) since Alfred Barr’s “Cubism and Abstract Art” in 1936.… READ ON

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“Histories in Conflict: Haus der Kunst and the Ideological Uses of Art, 1937–1955”

May 2012

Curated by Sabine Brantl and Ulrich Wilmes These days, most young artists from Germany have shed the “German artist” label that for decades confined their art to an Adornian working through of the past. Perhaps no institution better embodies… READ ON

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Hans-Peter Feldmann

January 2012

In 1972, as Hans-Peter Feldmann’s work first garnered international attention at Documenta 5, Avalanche asked the German artist a series of questions.… READ ON

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