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As Andrea Büttner is announced as the winner of the Max Mara Art Prize for Women, Laura McLean-Ferris talks to her and to Iwona Blazwick, Chair of the Jury, and Director of the Whitechapel Gallery in London, where the prize is hosted.
here is a great wood cut print by her:
Lucie Beppler
Klaus Gallwitz
On the Works of Lucie Beppler
Summary
The visitor entering the atelier is being spoken to. He is being asked questions.
He has to recognize a distance which lies between the bright atelier light, the clear order of table, chair and cupboard, easel and modelling trestle and the works which have taken control of the space.
Lucie Beppler keeps an artistic household in which the hand crafted and the contextual operations are undertaken with the same seriousness, with quiet impartiality and rigor.
There is a conspicuously large illustration stapled to the studio wall in Frankfurt ó an unusual format of an almost physical quality.
She worked on this for over five years, excluding the breaks, carefully composing the picture base with chalk and bone-glue until it gradually became darker.
Pencil, etching needle and the traces of woodcarving instruments have gradually covered, etched and violated the firm paper. And now the almost black piece of paper looks like an old stretched skin or like a dark sky from whose depths a few lights still penetrate.
Because the work in this drawing was not done on the table but directly facing the wall, she deposited something similar to iron-shavings on the strokes extending beyond the edge of the paper, making an electromagnetic field visible.
The drawings lie in many drawers of the document cabinet, organized thematically in groups ó the result of lengthy days and nights of work.
There is a drawer for most of them: abstract/structural, abstract/figure-like, cosmic, organic, plant, landscape are some of the categories, while completely different expressions form in the mind and underhand at work.
These are related to pain, frailty, fading away and destruction.
And still, at this most extreme point, beauty and sensuality can also suddenly shine through. Like a craved for but unexpected finding, not unlike an excavation, they appear unexpectedly and spread their radiance.
Hard content and tender strokes by no means preclude one another as can also be said of drastic figure modelling and contemplative peace.
Translation: Jeremy Gaines
He has to recognize a distance which lies between the bright atelier light, the clear order of table, chair and cupboard, easel and modelling trestle and the works which have taken control of the space.
Lucie Beppler keeps an artistic household in which the hand crafted and the contextual operations are undertaken with the same seriousness, with quiet impartiality and rigor.
There is a conspicuously large illustration stapled to the studio wall in Frankfurt ó an unusual format of an almost physical quality.
She worked on this for over five years, excluding the breaks, carefully composing the picture base with chalk and bone-glue until it gradually became darker.
Pencil, etching needle and the traces of woodcarving instruments have gradually covered, etched and violated the firm paper. And now the almost black piece of paper looks like an old stretched skin or like a dark sky from whose depths a few lights still penetrate.
Because the work in this drawing was not done on the table but directly facing the wall, she deposited something similar to iron-shavings on the strokes extending beyond the edge of the paper, making an electromagnetic field visible.
The drawings lie in many drawers of the document cabinet, organized thematically in groups ó the result of lengthy days and nights of work.
There is a drawer for most of them: abstract/structural, abstract/figure-like, cosmic, organic, plant, landscape are some of the categories, while completely different expressions form in the mind and underhand at work.
These are related to pain, frailty, fading away and destruction.
And still, at this most extreme point, beauty and sensuality can also suddenly shine through. Like a craved for but unexpected finding, not unlike an excavation, they appear unexpectedly and spread their radiance.
Hard content and tender strokes by no means preclude one another as can also be said of drastic figure modelling and contemplative peace.
Translation: Jeremy Gaines
http://www.kudlek-vandergrinten.de/cms/857743fefa1199b70f8f6cc71efc901a/de/-/artists/lucie_beppler/picture_show.html#
Isabelle Cornaro
http://www.drawingcenter.org/viewingprogram/share_portfolio.cfm?pf=1469
Born in 1974.
Lives in Berlin and Paris.
Asnat Austerlitz
i-want-a-print is an online platform dedicated to museum quality, limited edition prints.
Born 1969, Israeli artist Asnat Austerlitz has exhibited abundantly throughout the world in exhibitions such as East International 2005 in Norwich, Art from Great Britain Now at the Wetterling Gallery in Stockholm, and at the Machida Municipal Museum of Prints in Tokyo. Austerlitz works with drawing, sculpture, photography and video, the freedom to move between the mediums is extremely important to her creative process. Austerlitz, an MFA graduate from The Slade School of Fine Art in London deals mostly with the idea of loss and absence in her work. This subject stems from her biography and is present in the reductive process of making the work and in its minimal results.
http://www.i-want-a-print.com/untitled-2.html
Joseph Beuys / early watercolors
"Basically I don't call this work with colors watercolors or whatever. first of all I call everything drawing. whether oil paint or mordant. I despise chalk, but charcoal I tend to like more, or graphite. Chalk doesn't suit me. So basically everything is drawings." 1970
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“I can only say that if I hadn’t made all these drawings, I wouldn’t have been able to do the political work. I also think that completely false concepts would be going around in my head if I hadn’t done this work. I still consider these drawings to be among the most important things I’ve ever done, since all these attempts and experiments in drawing form an extremely important apparatus for me. it hasn't at all been ordered, not even by me. When I now look at the older drawings, then I think: that hasn't been done, that hasn't been carried out, that hasn't even been touched. There is an awful lot in them. So, for me they are an important element in my life" 1981
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Thomas Müller
" These bipolarities so inherent in Mueller's work:
order and disorder, distraction and concentration, pluralism and individuality present themselves in a convincing logic.
The plethora of elements chosen, create a secret formal language on the paper communicating with us but it cannot be decoded in away a message can be read as it is full blank spaces, keeping the communication open and appealing to the viewer's activity.
This might be a technique Mueller used to apply when he studied lyrical structures during his studies of literature.
Transferring the way literary texts are working- each word gaining significance in the context of the neighbor word - to Muellers concept of contextuality intertextuality is a key to reading of his drawings."http://www.fruehsorge.com/galerie/