PRINT February 2003

Andrea Fraser

I was probably introduced to Martin at my first one-woman gallery show, which was at Galerie Christian Nagel in Cologne in 1990. He bought a copy of one of my museum-tour videos and a group of aluminum smiley and frowny faces I made to be installed next to other artworks. One of the interesting things about Kippenberger is how supportive he was of women artists, even though he performed, in a perfectly excessive way, the role of the macho German painter. Such support really challenged that ’80s opposition between painting, particularly German painting, and the postmodernist, neo-Conceptualist feminist positions that I identified with. Unfortunately, at the time I was too informed by that opposition to get past the drunken macho persona.

When I began developing work about the position of the artist a couple of years ago, I began thinking seriously about Kippenberger’s projects again. John

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