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Peter Roehr
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Peter Roehr
When Frankfurt artist Peter Roehr died in 1968 at the young age of 23, he left behind several hundred works which exclusively pursued serial repetition. From found materials he created montages of photographs, text, typography, objects, sound, and film probing the concept of redundancy. Now that four decades have lapsed since his death, the nature of Roehr's works rises to the fore. They become amazingly enhanced and turn into narrative formulations oscillating between ready-made and seriality, pop and minimal art, everyday life and abstraction.
Peter Roehr
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Peter Roehr
Peter Roehr (1944-1968) is an artist who died young, while in his prime: In a lifetime reduced to a mere 23 years, he created more than 600 works in an impressive oeuvre. For his large-scale, mostly square panels, Roehr collected mail stickers, labels, advertising leaflets, beer coasters and milk tins, which he cut out and pasted together, added to and multiplied. At the typewriter he always typed the same letter or the same word. As brief and restless as Roehr's life was, his works of art seem so calm and meditative, and indebted to the principle of serial arrangement. Any impression of distinctiveness, any sense of individuality was to be avoided - as well as any traces of the artist. Roehr wanted to disappear behind his panels. Now he is being rediscovered. This book was produced for the eponymous exhibition at the Villa Grisebach, Berlin. It shows the 37 selected works together with an essay by Florian Illies, which brings together Roehr's Minimalist Art and his eventful life.
Peter Roehr - Field Pulsations
Erste umfassende Monographie zum Werk von Peter Roehr, einem der bedeutenden frühen Vertreter konzeptueller Kunst der 1960er-Jahre. Wie für viele andere europäische Künstler gilt auch für Peter Roehr, dass sein Werk im Kontext globaler, vor allem amerikanisch dominierter Trends Mitte des 20. Jhs. marginalisiert worden ist. In ›Field Pulsations‹ analysieren Sarah Hayden und Paul Hegarty erstmals umfassend Roehrs Leistungen im medialen Spannungsfeld von Text, Film, Sound, Objekt, Fotografie und kuratierten Ausstellungen, alles auf dem Terrain serieller Praxis. Darüber hinaus erfasst eine detaillierte Chronologie die Biographie des Künstlers im Kontext der Entwicklungen in der Kunst in den 1960er-Jahren.
Peter Roehr
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Now and Forever
Elvis Presley and Karlheinz Stockhausen. The Beatles and Andy Warhol. Terry Riley and Ken Kesey. What all these artists have in common is that loops have played a significant role in their work. The short sequences of sounds or images repeated using recording media have proved to be an astonishingly flexible, versatile and momentous aesthetic method in post-World War II art and music. Today, loops must be counted among the most important creative tools of postmodern art and music. Yet until now they have been largely overlooked as an aesthetic phenomenon. Now, for the first time, this book tells a secret story of the 20th century: how a formerly inconspicuous basic function of all modern media technology gave rise to complete artistic oeuvres, musical styles such as minimal music, hip hop and techno, and, most recently, entire scenes and subcultures that would have been unthinkable without loops.
Pop Cinema
Pop Cinema is the first book devoted to moving image works which engage with the central thematics and aesthetics of Pop Art. The essays in the collection focus in on the core concerns of Pop as a widespread and ideologically complex art movement, and examine the ways in which artists in various global locations have used forms of film practice outside of the mainstream to explore those preoccupations. The book's contributors also identify the ways in which dominant Pop aesthetics flat planes of bold colour, mechanical forms of repetition, appropriation of materials from popular culture sources were adopted, reworked, or abandoned by such filmmakers. At root, the book asks three basic questions: what shapes might a Pop form of cinema take, what materials would it engage with, and what might it have to say?
Endless Andness
In Endless Andness, Mieke Bal pioneers a new understanding of the political potential of abstract art which does not passively yield its meaning to the viewer but creates it anew - an art perceived not only through the retina but experienced viscerally. In this book, the third of her companion volumes on art's political agency, Bal explores perception through an intense engagement with the work of Belgian sculptor Ann Veronica Janssens. In a series of vividly-recalled encounters with Janssen's practice over a number of years, Balpresents a new conception of embodied perception - art experienced in a body conjured into participation and transformed by the experience. From Janssens' 'mist room...
