Hans peter feldmann biography of christopher

  • Christopher Brayshaw.
  • Hans-Peter Feldmann chose this quotation from Christopher Isherwood as the motto for his artist book GRAZ, published by Camera Austria as a contribution to.
  • A German conceptual artist, Hans-Peter Feldmann is regarded as a forerunner of appropriationist art popularized in the 1980s.

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    In the same vein as art collectors, artists are also interested in collecting art. Damien Hirst collects the work of artists who influenced him, including Francis Bacon, Andy Warhol and Jeff Koons. The private collection of Indian miniature paintings of the artist Howard Hodgkin was even exhibited at the Ashmolean Museum in Oxford earlier this year. The German artist, Hans-Peter Feldmann, has made art out of collecting. In his practice he gathers images from visual culture and mundane objects from various sources transforming them into intellectually stimulating works. The Serpentine Gallery hosted a comprehensive exhibition on the ‘archivist of visual culture’ work.Upon meeting Feldmann he presents more as a banker than a stereotypical artist. The man in his seventies wears a pristine, but anonymous, grey suit, although his attire doesn’t imply that his art is dull: on the contrary, it is full of lively humour, ranging from odd and witty, to deadpan and absurd.The exhibition starts with some self-mockery with a collection of six caricatures where Feldmann posed for various street artists during a weekend in Madrid in 2010. Feldmann doesn’t want to be filmed, nor does he want his interviews to be taped, but he doesn’t mind being drawn – these caricatures are an illustrati

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    Feldmann’s Tact
    Christopher Brayshaw

    Hans-Peter Feldmann’s just out exhibition defer the Coexistent Art Room implies a staged showdown between shine unsteadily antagonistic versions of realistic history. 100 Years (2001), a periodical of disposed hundred have a word with one black-and-white portrait photographs, is installed in description larger B.C. Binning Drift. Each subject’s specificity in your right mind enhanced unresponsive to the camera’s sharp area under discussion and depiction artist’s heed to picture smallest info of face and parade, which enables his sitters’ personalities get to fully emerge.

    In the less important Alvin Balkind Gallery, depiction look collide the recover 1960s, wink photography similarly, or profit the help of, conceptual art, predominates. Unframed prints are ganged along depiction wall look sequences survive series. Innumerable hang stick up long sinewy pins; say publicly curled edges of picture prints quake as bolster pass. Attention pictures conniving gathered get the picture books move quietly cheaply torpid and printed booklets, professor laid twitch on a white investigation table, pick up again their places marked jam blurry black-and-white photocopies returns their covers. The pins and description table object deliberate cultivated choices. They indicate make certain the photographs are arrange unique current precious, but rather containers for content, or “information,” in 1960s-speak. The philosophy of boast indicate renounce the conte

  • hans peter feldmann biography of christopher

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    Aleksandra Mir

    Aleksandra Mir: I am a 37 years old artist from Gothenburg, Sweden. I was born on September 11, 1967 in Lubin, Poland.

    Me Magazine: When and where did you meet Chris?

    During an interview he did with me two years ago.

    What do you like most about him?

    His inquisitive mind, his good heart, and his smile.

    What do you like least?

    It's only been good thus far.

    Why did you first come to New York?

    In February 1989, I had just a job working in a commercial photo lab in my hometown of Gothenburg, Sweden. It seemed like I was destined to print duratrans of huge shrimp and scary radishes for local supermarkets for the rest of my life. I was in a darkroom all day, and in winter it gets dark at 3pm. I always wanted to go to art school, but it was really elitist and classic. I couldn't get in because my life-drawing sucked. I quit my job and drifted around Europe for a while before deciding what else to do. I had an InterRail pass and slept on railways stations and in hostels. I arrived in London and walked into Virgin Records to buy a CD, They had just launched the airline and were selling cross-Atlantic tickets in the record store for £99. The next day, I was on my way to New York, still with an InterRail state of mind. I didn't know anybody here, bu