reviews

  • Anna Oppermann, Paradoxical Intentions (To Lie the Blue Down from the Sky) (detail), 1988–92, mixed media. Installation view. Photo: r.e.m./Hans-Georg Gaul.

    Anna Oppermann

    Galerie Barbara Thumm

    Any one of Anna Oppermann’s “ensembles” is something like a woman-made big bang. Originating in a physical and conceptual nucleus, it expands in space and time. Some could potentially keep evolving into infinity, while others might reach a point of stasis or even shrink. Despite the works’ scale and material heterogeneity, Oppermann expressly avoided the term installation. Paintings, photographs, painted-on photographs, drawings, found images, texts, fragments objects, mirrors—these are the elements of her universes. Some are hot, detailed, dense, and intricate; others are cool, measured,

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  • Deborah Remington, Essex, 1972, oil on canvas, 95 × 66".

    Deborah Remington

    Kimmerich

    This selection of sixteen works produced between 1972 and 1982—four canvases, eleven drawings, and one oil study on paper—was the first exhibition in Germany of the American painter Deborah Remington, who died in 2010 at the age of seventy-nine, and was organized by Jay Gorney. Born in New Jersey, Remington moved to San Francisco in the early 1950s to study at what was then the California School of Fine Arts—later the San Francisco Art Institute—where Clyfford Still and Elmer Bischoff were among her teachers. Becoming part of the Beat scene, she was the only woman among the

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