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Fetting
Rainer Fetting became known together with a circle of artist colleagues who founded the artists gallery am Moritzplatz in 1977 and which soon became known as the Moritz boys. Fetting became their star. With his swift, radiant style of painting he was counted among the group of Jungen Wilden who caused a stir in Germany and around the world. In the early nineteen eighties, his paintings were shown at such important exhibitions as A New Spirit in Painting in the London Royal Academy in London, or Zeitgeist in the Martin-Gropius-Bau in Berlin. Fetting moved to New York in 1983. He produced his first material pictures, sculptures and photographs there in which he continued to make use of urban motifs and male nudes. He returned to Berlin after the fall of the Wall. In 1996, he designed a 3.7 metre tall statue of Willy Brandt for the headquarters of the Social Democratic Party in Berlin, which caused a sensation, as well as a bust of Helmut Schmidt ten years later. This is the first comprehensive monograph on Fetting's work. English and German text.
Waters
Text by Desmond Cadogan.
Perspective 45/98
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Artbibliographies Modern
Abstracts of journal articles, books, essays, exhibition catalogs, dissertations, and exhibition reviews. The scope of ARTbibliographies Modern extends from artists and movements beginning with Impressionism in the late 19th century, up to the most recent works and trends in the late 20th century. Photography is covered from its invention in 1839 to the present. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Published with title LOMA from 1969-1971.
Post-peripheral Flux
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Rainer Fetting
Surfers, and not the Internet kind, compose the majority of Rainer Fetting's latest group of paintings, set amid the sunny environs of Venice Beach, California (in contrast to his more typical urban subjects). Surfing as a subject of art has made a comeback worthy of Brian Wilson's Smile, as seen in Catherine Opie's photographs and Robert Longo's recent paintings, among others. Fetting's thick paint applied in simple adjacent lines flirts with abstraction but also conveys the power of waves, with matchstick-bodied surfers at nature's mercy. At other times, single firgures balancing on boards playfully allude to Botticelli's "The Birth of Venus" and Dufy-esque views from a beachside hotel capture California colors in a testament to the painter's versatility. And what's more Californian than a sunset--over a car?
