TABLE OF CONTENTS

ANGLE OF REPOSE: THE ART OF ANDREA BÜTTNER

Andrea Büttner, Piano Destructions, 2014. Rehearsal view, Walter Phillips Gallery, Banff Centre, Canada,
April 11, 2014. Photo: Rita Taylor. © Andrea Büttner/VG Bild-Kunst, Bonn.

“I WANT TO LET THE WORK FALL DOWN.” These words sing out from (and provide the title for) a black-and-white woodcut that Andrea Büttner printed in 2005—and as it was written, so it would be done. Biblical overtones, we’ll see, are pertinent to the Frankfurt- and London-based artist’s oeuvre, which over the past decade has splintered into various media, including screen prints, wallpaper, photography, books, furniture, textiles, paintings on glass, instruction-based works, ephemeral installations involving live moss and wet clay, and videos she variously shot herself, collated from archives, or had nuns film for her. Her scope of inquiry ranges through Catholicism, philosophy, music, art history, shame, and botany, among other topics. Yet what remains constant is the fall: Büttner lets things go, allows them to drop, pushing the limits of form and refusing fixity, singularity,

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the March 2015 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.