Leon Golub
28 Apr - 23 Jun 2012
LEON GOLUB
Knife to Heart – Modernism is Kaputt
28 April - 23 June 2012
The work of Leon Golub (1922–2004) roots in issues of power and vulnerability in all its for m s and ramification s in human nature. The tragic figure is central in the work of the multiple documenta-participant who is one of the protagonists of American Realism. He examines his central theme closely by studying ancient sculptures, frescoes and mythology. In his edgy, unsettling infectious paintings and works on paper Golub lays paint in layers and crusts as sediments above one another. By partially scraping them with butcher axes he enforces the dramatic tenor of his work.
The exhibition is concentrating on Golub’s late works on paper. Executed with expressive gesture and in part showing intense color, they reflect his shift to more intimate and personal works. They address violence as well as violability, alternating between bleak war images and keyed-up erotic emotions. In his scenic pictures the artist mixes the roles of victims, perpetrators and gender and he confronts the recipient with grotesque human-animal-figures as a personification of horror or brute lust.
We ar e grateful to Barbara Gross, Munich and Anthony Reynolds, London for their cooperation.
Knife to Heart – Modernism is Kaputt
28 April - 23 June 2012
The work of Leon Golub (1922–2004) roots in issues of power and vulnerability in all its for m s and ramification s in human nature. The tragic figure is central in the work of the multiple documenta-participant who is one of the protagonists of American Realism. He examines his central theme closely by studying ancient sculptures, frescoes and mythology. In his edgy, unsettling infectious paintings and works on paper Golub lays paint in layers and crusts as sediments above one another. By partially scraping them with butcher axes he enforces the dramatic tenor of his work.
The exhibition is concentrating on Golub’s late works on paper. Executed with expressive gesture and in part showing intense color, they reflect his shift to more intimate and personal works. They address violence as well as violability, alternating between bleak war images and keyed-up erotic emotions. In his scenic pictures the artist mixes the roles of victims, perpetrators and gender and he confronts the recipient with grotesque human-animal-figures as a personification of horror or brute lust.
We ar e grateful to Barbara Gross, Munich and Anthony Reynolds, London for their cooperation.