ArtVerve is a forum of ideas and views on women's art that celebrates, recognizes and documents women artists, current exhibitions and projects with critical theory. See Kiki Kogelnik's full gallery on Arthur, the digital museum. Pop Art outside English-speaking countries shows both similarities and differences from that made in Britain and the USA, and is often characterized by adaptations to local history, culture and politics. Kogelnik was born and raised in Austria. Pop’s comic-book blondes and advertising models have become familiar images of the idealised female body, but this exhibition will also reveal the many women artists who presented alternative visions. Kiki Kogelnik (1935–1997) was an Austrian painter, sculptor and printmaker.Born in southern Austria, she studied at the Vienna Academy of Fine Arts and moved to New York City in 1961. 2. Takashi Murakami. Warhol in History We share this view. Kandinsky: The Path to Abstraction 177.8 by 127 cm. Kogelnik is considered Austria’s most important pop-related artist, despite having been known to take issue with being considered part of the pop art movement. The Nubian Giraffe. But that mediation resulted, for her, in action. 9 oct. 2012 - Nous vous avions laissé la semaine dernière, des explosions plein la tête. Kiki Kogelnik, Transparent Woman, 1965, acrylic, enamel, India ink and ink on paper, 76 × 56 cm It’s a beautiful quirk of biography that Kiki Kogelnik married a radiation oncologist. Kogelnik returned to her hangings and to vinyl as a material, until the late 1980s. In the Ocean of Storms. open. Born in 1935, Kogelnik and her art were strongly influenced by the war and the post-war era of her youth. Kogelnik (1935-97) is often considered Austria’s pre-eminent pop artist; her 1962 sculpture Bombs in Love (two found bomb casings, painted in red and green, initialled and embellished with the images of disembodied legs) was recently included in the Tate’s 2015 retrospective The World Goes Pop, while this is her second exhibition at the König Gallery. Kogelnik’s work occupied its own cultural space, intersecting with various movements but always defying categorization. The exhibition at the National Galleries of Scotland in Edinburgh (at the Mound) commemorating the 20th anniversary of Warhol's death has dramatically set to rights the prevalent theory of the 1990s that by the time he died Warhol's best work was long back in time, that he was by then a spent force. She brought a far more jaundiced eye to the mechanization of culture, closer in spirit to Eduardo Paolozzi and J. G. Ballard, really, than her New York friends. A sui generis artist, she looked to the exterior, to the coming melding of body and machine, and to the interior, to the implications of and for technology and politics on her own body and those of women in general. While most of the works in this exhibition reference space travel only obliquely, a small collage on the wall (Ich Kogelnik Möchte Gern, 1963) overlays chocolate wrappers with images of comic-book heroes and doodled astronauts and rockets; it draws together Kogelnik’s interest in the superhuman and the power of technology to extend the parameters of human existence, while remaining characteristically tongue-in-cheek. The 21st century’s technological and sexual eruptions look more and more like the world Kogelnik predicted. From September 17th, around 160 works produced in the 1960s and 70s will be amassed in a presentation of alternative Pop stories. New York, NY 10021-0043, USA, About Born in Bleiburg, Kiki Kogelnik studied art in Vienna between 1954 and 1958. The works in this show explore a formative period in Kogelnik’s life and career: in 1961, at the height of the cold war, she moved from Austria to New York, where she became an integral member of the burgeoning pop art scene, rubbing shoulders socially and artistically with Andy Warhol, Roy Lichtenstein and Robert Rauschenberg. Although Kiki Kogelnik drew her palette and materials from Pop art, she eschewed the movement’s traditionally commercial subject matter, instead making work about emerging technologies such as space travel. She knew they were associated with feminine craft and so she reversed the narrative and wielded them for art. She embodied these interrogations in the way she lived and most prominently as the subject and site for her boldest experiments in performance, sculpture, and painting, including Moonhappening, 1969, Bombs in Love, 1962, and her 1964 Self Portrait. Tongari-Kun. En ce beau mardi du mois d’octobre, alors que partout dans le monde les peuples vivent en … Gerald Laing. Kiki Kogelnik Courtesy Kiki Kogelnik Foundation Vienna/New York Turning away from European abstraction and the Viennese avant-garde art scene, Kiki Kogelnik moved to Santa Monica in 1961 and relocated to New York in 1962, where she met American pop artists Roy Lichtenstein, Andy Warhol, Tom Wesselmann, Robert Rauschenberg and Claes Oldenburg, among others. A thought-provoking blend of high fashion, art and culture brought to you by the creators of AnOther Magazine KIKI KOGELNIK Hands 1967-68 Oil and acrylic on canvas 70 by 50 in. Untitled (2001) Maurizio Cattelan "Yammy at Home" Cao Fei "Deep Breathing" Cao Fei. After a period of European travel, Kogelnik visited New York in 1960 and settled in downtown Manhattan in late 1961. Bombs in Love. Inspried by medical technology and interior forms of technology, X-rays, stamps of the human body, and other medical symbols pushed their way into Kogelnik’s work. Those years also found Kogelnik distilling simplified forms into a language of paintings, ceramic wall works, and drawings that riffed on feminism and politics, but very much in conversation with the punk and new wave culture that sprung up around her SoHo studio. While largely eschewing their interest in the commercial, Kogelnik was influenced enough by these artists to move from the abstract style of early works she had shown in Vienna to a new, bright aesthetic, experimenting with new materials and addressing the allure of technology. She cut into her drawings of bodies, leaving nearly surgical holes through which she wove sinews of ink and paint. your own Pins on Pinterest Born in Bleiburg, Kiki Kogelnik studied art in Vienna between 1954 and 1958. Kiki Kogelnik Bombs in Love 1962. Her tool for cutting, scissors, became a potent symbol, too. Kiki Kogelnik was born in 1935 in Bleiburg, a small city in the state of Carinthia in Austria. View Kiki Kogelnik’s 776 artworks on artnet. From the overtly politicised visual language of Kiki Kogelnik’s anti-war sculpture Bombs in Love König Galerie, Berlin 6 February – 6 March 2016. The effect is dreamlike and disquieting, the figures simultaneously comic and slightly menacing. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. Marcello Nitsche I Want You 1966. “I’m not involved with Coca-Cola,” she once said. Caravaggio . In these dark, drab surroundings, the bright colours of Kiki Kogelnik’s paintings – produced in the same period in which the church was built – are showcased to brilliant effect. The story goes that in 1909 the minor American painter Max Weber, a friend of Gertrude and Leo Stein in Paris, brought in his suitcase the first Picasso. Kiki Kogelnik. Studio. After her studies at the Fine Arts Academy of Vienna, she moved to Paris in 1959 and later to New York in 1961. In Siempre Por Tio (1964), hung outside the exhibition’s main entrance, another floating figure is cut off at the feet, his disembodied footprints hovering between his calves. Biography of Kiki Kogelnik: Kiki Kogelnik (1935–1997) was an Austrian artist based in New York, whose work defied the categorizations of her time. She created abstract artworks alongside artists Maria Lassnig and Arnulf Rainer but felt somewhat out of phase with Abstract Expressionism. The Lichtenstein retrospective at the Hayward Kiki Kogelnik in her studio on 29th St., New York, 1965. Kogelnik’s palette is joyfully neon: green, red, pink and yellow dance across the canvas, either in formal shapes or exuberant spatters, many of which retain an almost wet sheen. navy store and transformed them into Bombs in Love. Roy Lichtenstein David with the Head of Goliath. KIKI KOGELNIK Dynamite Darling 1972 Oil and acrylic on canvas 72 by 48 in. Kiki Kogelnik dans Beaux Arts Magazine par Emmanuelle Lequeux. Her silhouetted bodies are distressed and broken amid an onslaught of brightly colored flat symbols of atoms, rockets, and nuts and bolts. Kiki Kogelnik during the Moonhappening at Galerie nächst St. Stephan in 1969, Vienna.Â. She was political in other ways in her paintings of women. Yet her arresting paintings have a strangely metaphysical dimension that befits their church surroundings: these powerful works deserve to cement Kogelnik’s reputation as an important and prescient interrogator of humanity’s position in an ever-dehumanising world. The great ideological debate between abstraction and figuration has given way to a more considered view of the dialogue between the two, yet many misguided views and myths remain. In retrospect, Kogelnik had the distinct advantage of being a European amidst all the Americana. Since the mid-1950s, she has been part of a group of avant-garde artists who gravitated around the figure of Otto Mauer. Start studying WSC Art 2017 (images), ARTS WSC 2017, WSC 2017 Art & Music. critical apparatus to understand it. In 1967 Kiki Kogelnik (1935-1997) proclaimed that “Art comes from artificial.” There was no pure nature for Kogelnik, everything was mediated. The answer – an unlikely one, given the building’s foundation as a Catholic church in 1967 – is an exciting programme of modern art exhibitions. Mar 10, 2016 - Bombs in Love | Kiki Kogelnik, Bombs in Love (1962) Kogelnik (1935-97) is often considered Austria’s pre-eminent pop artist; her 1962 sculpture Bombs in Love (two found bomb casings, painted in red and green, initialled and embellished with the images of disembodied legs) was recently included in the Tate’s 2015 retrospective The World Goes Pop, while this is her second exhibition at the König Gallery. Convertible. Piet Blom. Sep 20, 2015 - This Pin was discovered by ; ). These stand-ins for the artist became her last great series, intersecting with devastating self representations as she underwent treatment for what was ultimately a fatal cancer diagnosis. The following year, he was to exhibit 'Entre'Act 3' at the Stedelijk Van Abbe Museum in Eindhoven. Kiki found its own remarkable and poetic handwriting. Kiki Kogelnik (Austria), Bombs in Love, 1962 Moving away from European abstraction and the Viennese art scene, Kiki Kogelnik relocated to America in the 1960s, where she met Roy Lichtenstein, Andy Warhol and Claes Oldenburg and other leading Pop Art figures. Robert Rauschenberg. The same era brought her Hanging series—vinyl silhouettes, flopped over clothes hangers. Since 2011, when the disused building was acquired on a 120-year lease by art dealer Johann König and given a makeover by architect Arno Brandlhuber, the church’s lofty main hall and hidden crannies have been home to the König Galerie. Austrian, American based visual artist. Nous revoici aujourd’hui avec le deuxième opus de cet article consacré au boum et au bang dans l’art. Similarly, war-related artefacts such as retired missiles are re-clothed in hippy paints and textiles, as in the case of both Kiki Kogelnik’s Bombs in Love and Colin Self’s gaudy Leopardskin Nuclear Bomb No. The Tate gallery in London sees Kiki as one of the most important Pop Art artists of the world. In the late 60s, Kogelnik extended her flat figures into three dimensions by turning her paper stencils into dismembered vinyl bodies that she hung over metal clothing racks: a small yellow Hanging is presented here, a strangely compelling signature style that recalls the mobiles of Alexander Calder. Kiki Kogelnik; Selected Works; Publications; The Foundation; Mailing List Kiki Kogelnik was an Austrian painter and sculptor who was involved in the Pop Art movement during the early 1960s. Tate Modern, 17 September 2015–24 January 2016 His body is split down the centre, separated by an exaggerated spine of blue circles, while large pins hold the two fractured halves together. Cube Houses. Studio International is published by: Kiki Kogelnik Fallout c.1964. 13.09.2017 - Просмотрите доску «Kiki Kogelnik» пользователя Daria Kanevskaya в Pinterest. Gallery establishes an interesting timescale in terms of the appreciation Kogelnik was particularly fascinated by the advances in space travel heralded by the cold war, and, in 1969, she spent the live broadcast of the landing of Apollo 11 in performance at the Galerie Nächst St Stephan in Vienna, creating a series of moon-themed silkscreens for the occasion. 'Fuzzy Logic' followed at the Pompidou Centre in Paris, and from about this time his work really took off internationally. Documenting the Obvious: Picasso and American Art Keiichi Tanaami Crayon Angel 1975. Kiki (Kiki O. K.) Kogelnik Austrian, 1935–1997 2 works online. Kiki Kogelnik (née le 22 janvier 1935 à Bleiburg, mort le 1 er février 1997 à Vienne) est une artiste autrichienne.Son travail concerne la peinture, la sculpture et l'installation.Elle est considérée comme une représentante autrichienne du Pop art même si elle a toujours nié cette appartenance.. Biographie [modifier | modifier le code]. In M (c1964), the central figure, who recalls Leonardo da Vinci’s Vitruvian Man, has his knees conjoined by a dumbbell-shaped pin, suggesting an ominous restriction of movement; behind him is printed a large cog, its spokes made up of human footprints. Douglas Gordon: Superhumanatural Focusing exclusively on the years 1962-68, this small but fascinating exhibition does not feature Kogelnik’s more explicitly feminist pieces of the 70s, nor her astonishing later works, which extended her interest in mortality, and the increasing fear of human irrelevance to a world transformed by technology, by closing in, eerily, on skulls and faces. Discover Kiki Kogelnik. In the 1960s, within a male-dominated arts scene, Austrian artist Kiki Kogelnik never ceased to question the body, aligning feminism with technology. Kiki Kogelnik, Bombs in Love 1962, Kevin Ryan/Kiki Kogelnik Foundation Vienna/New York. The works in this show display Kogelnik’s preoccupation with machinery. In her lifetime she seldom exhibited in her adopted city, although she showed with great frequency and success in Austria. The exhibition will include the Austrian Kiki Kogelnik’s anti-war sculpture Bombs in Love 1962, and the subverted commercial logos of Boris Bućan in Croatia. Feb 10, 2016 - The EY Exhibition: The World Goes Pop is the culmination of far-reaching new research, showing how different cultures contributed, re-thought and responded to the Pop art movement. One has to look at fellow feminist artists such as Ursula LeGuin and Kogelnik’s one-time neighbor, Carolee Schneemann to see a subversion of gendered expectations as generative. Her work and her example as an artist are thus more philosophically valuable than ever. Biography. Her 1965 drawing Untitled (Pump for Heart) is a pastiche of anatomical illustration: a small circle outside the outlined body leads by a thread to a neon-green heart, and is designated by a label reading “pump for heart”; man has become machine. They could be commentaries on the fluidity of identity, or the impermanence of the human body, or the power of Kogelnik herself to affect reality. Several of the paintings focus on a silhouetted human form (Kogelnik made life-size paper cut-outs of her friends for this purpose) held together by cogs, with hinges at the knees and elbows. All rights reserved. Associated with the movements of mid-century abstract painting, Pop art and feminism, Kogelnik cultivated a signature style in painting, drawing, sculpture, printmaking, installations, assemblages, films and Happenings. Her paintings are bold assemblages of shapes, often flattened figures set against abstract backgrounds, with elements sprayed or printed on to the hefty canvases: her playful style is exemplified in Portrait of an Attractive Man (1964), in which several coloured figures float orgiastically on their sides, contorting and flailing either in pleasure or in pain, as disembodied limbs sail by. Maschinenhände (1965) depicts a sinister contraption in which two hands are attached to bone-like rods by heavy screws. In 1971, she stood like a conquering general, enormous scissors in hand, cut-outs at her feet, in her Women’s Lib group of images. Kiki Kogelnik (1935 - 1997), 'Brick' 1996 green coloured glass plaque with image of face, reverse cameo, engraved signature to side etched 'KK estate 1996' and number to other side 163 / … When she explored the space age she did so by exploiting the obviously phallic nature of bombs, and the inherent danger of the much glorified atomic age. Посмотрите больше идей на темы «треугольный арт, художники, работы». Then, pushing her modular system of signs and symbols even further, she cut out her silhouette, using this bodily representation as a tool for sculpture and image making. Retroactive. 182.9 by 121.9 cm. In firm contrast to the traditional white cube, the walls remain the rough grey concrete set by the original architect Werner Düttmann, a pioneer in the 1960s West Berlin urban regeneration programme. She arrived just as Pop was ascending, and became friends with Roy Lichtenstein, Claes Oldenburg, and Larry Rivers, among others. KIKI KOGELNIK Love Couple 1965 Mixed media assemblage and screws on joined canvas board in metallic frame 24 1/8 by 36 1/8 by 5 in. Learn vocabulary, terms, and more with flashcards, games, and other study tools. To his side floats a headless blue figure, a blue ball shape covering its midriff, which is mirrored on the painting’s left by a swarm of bubbles, linked in turn to the central figure by a protruding, childlike bone shape. Copyright © 1893–2021 Studio International Foundation. Feb 23, 2016 - Pop Art artist have much more problems to find a own recognizable language: collage and mixed media are less personal than the traces of a pen or colours. The film and video artist Douglas Gordon had his first one-man exhibition in Britain at the Lisson Gallery in 1994, sponsored by its perceptive director Nicholas Logsdail, to which he returned again in 2001. Kiki Kogelnik; 01.12.2017 Beaux Arts Magazine. She used the hyper-stylized shadows and glyphs of the time to build exuberant self portraits that reached new heights in her late 1980s and 90s series of spike-haired heads in bronze, glass, and on canvas. Notably following her acquaintance with Sam Francis, who advised her to move to the United States, she left in 1961 for Santa Monica and later, New York. See available prints and multiples, sculpture, and paintings for sale and learn about the artist. The title Studio International is the property of the Studio International Foundation and, together with the content, are bound by copyright. Find out about current and sold works by Kiki Kogelnik at Dorotheum Auctions. Kiki Kogelnik’s art has rarely been seen in New York aside from a superb 2012 show of work from the 1960s at Simone Subal, despite the fact that the artist, who died in 1997, lived in the city for the entirety of her adult life and maintained close friendships with other significant artists such as Roy Lichtenstein and Claes Oldenburg. Since her passing, her work has been rediscovered and re-examined by a generation of artists and historians who are also looking beyond Pop to Kogelnik as an innovator in the use of explicitly personal subject matter in. Discover (and save!) “Make love, not war” is the clear message from the killing machines adorned with little hearts. 61.3 by 91.8 by 12.7 cm. Tate Modern is ready to tell a global story of pop art, breaking new ground along the way, and revealing a different side to the artistic and cultural phenomenon. Her work is now regularly exhibited in New York and throughout Europe, and has been included in recent revisionist exhibitions on Pop art, as it exemplifies a road not taken by other artists, and is a de facto rebuke to the objectification of women so prevalent in the genre. Exhibitions Pop Impressions Europe/USA: Prints and Multiples from The Museum of Modern Art Feb 18–May 18, 1999. Oct 27, 2016 - Explore Natasha Kay-Sportelli's board "Kiki Kogelnik" on Pinterest. and significance of Lichtenstein's work and the development of a Jacques-Laurent Agasse. Nightmare of George V. Huang Yong Ping. See more ideas about kiki kogelnik, pop art, pop artist. For decades, art history taught us that Kandinsky was the greatest pioneer of abstract art, the artist who removed the subject matter from painting. In the mid-1960s she turned more directly to the body itself. She attended the Academy of Fine Arts Vienna alongside Hans Hollein, Maria Lassnig and Arnulf Rainer, and when she finished in 1958, she’d passed through Tachisme and Art Informel phases, as well as cultivated some of the mytho-figurative symbols that she employed throughout her life. performance, installation, and painting, and who view her boldly feminist use of her own body as a site for art-making as both ingenious and prescient. the Studio International Foundation, PO Box 1545, The windowless, brutalist bunker of St Agnes church in Kreuzberg, Berlin, looks from the outside like a forbidding fortress; since the heavy door opens on to a thick black curtain, the visitor enters with an uneasy uncertainty as to what lies within.
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