New York

Dieter Roth

David Nolan Gallery

Dieter Roth is a crazy, a genuine crazy, god bless him! He comes out of the great tradition of German mystic/psychotic art that verges on the void, struggling to articulate it. Thus, in his manic Six Piccadillies, 1969–70, Roth is not making a standard Warhol-type erasure of a famous presence, but is attempting to articulate the uncanniness of a peculiar public space. Roth attempts to turn this space’s essence inside out and discovers that it has no single essence. The space is bottomlessly full, uncannily overflowing with possibilities of spatiality; protean, it spontaneously changes its mode of appearance. It is not only far from empty, but limitless in its self-disclosure. It is the space of the supernatural.

Roth plunges into the banal, and finds himself at its core, as in Löwenselbst (Self as lion, 1969). In the extraordinary Stuttgarter Selbsthase (Stuttgart self rabbit, 1978), he

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