PRINT September 2017


Kerstin Brätsch, Poli‘ahu’s Curse: First Bone Chill, 2012–16, luster and enamel on antique glass, drawn glass, glass jewels, agate, lead, 36 1/2 × 25".

THE MULTIPLICITY AND ABUNDANCE of Kerstin Brätsch’s collaborations, her voracious appropriations of precursors and models, and her disregard for the borders between genres and disciplines have made her a standard-bearer for a still surprisingly prevalent kind of art criticism—one that would like to see ironic gestures and the collapse of high and low not only as the main accomplishments of postmodernism but as the defining characteristics of contemporary art. Especially when considered as a painter, Brätsch seems predestined to serve first and foremost as an exemplary figure for the expansion of the still powerfully aura-laden medium of painting into the social field, since it doesn’t take much to cast her work as a stand-in for the totality of what David Joselit has called “painting beside itself.”

The current survey exhibition of Brätsch’s work at the Museum Brandhorst in

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