Münchenstein, Switzerland

Left to right: Dieter Roth, Literaturwurst (Martin Walser: “Halbzeit”) (Literary sausage [Martin Walser: “Half-time”]), 1961, shredded book and sausage ingredients, 20 5/8 x 16 3/4 x 4 3/4“. Dieter Roth, P.O.TH.A.A.VFB (Portrait of the Artist as Vogelfutterbüste), 1970, chocolate, 9 1/4 x 5 7/8 x 4”.

Left to right: Dieter Roth, Literaturwurst (Martin Walser: “Halbzeit”) (Literary sausage [Martin Walser: “Half-time”]), 1961, shredded book and sausage ingredients, 20 5/8 x 16 3/4 x 4 3/4“. Dieter Roth, P.O.TH.A.A.VFB (Portrait of the Artist as Vogelfutterbüste), 1970, chocolate, 9 1/4 x 5 7/8 x 4”.

Dieter Roth

Schaulager

“Dieter Roth resisted fame all his life; in spite of his self-proclaimed jealousy of other artists’ success, he did little to encourage his supporters,” wrote Richard Hamilton in these pages a few months after Roth’s death in the summer of 1998. And among these supporters were not only fellow artists of different generations—from Hamilton and Marcel Broodthaers to Paul McCarthy and Jason Rhoades—but also a small number of totally devoted friends and collectors who provided studio space and apartments all over Europe and also, more surprisingly, took over various forms of production and archiving. There was Roth’s lawyer Philipp Buse, who personally framed many of his pictures and who, in the early 1990s, founded the private Dieter Roth Museum in Hamburg; there was Roth’s Stuttgart dentist (and, obviously, dear friend) Hanns Sohm, who, instructed by the artist, would put various German

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