Georg Herold
16 Mar - 21 Apr 2011
© Georg Herold
Ohne titel, 2011
batten, canvas, lacquer, thread and screws
120 x 420 x 165 cm / 47.24 x 165.35 x 64.96"
Ohne titel, 2011
batten, canvas, lacquer, thread and screws
120 x 420 x 165 cm / 47.24 x 165.35 x 64.96"
GEORG HEROLD
Sunny Side Up
16 March - 21 Aoril, 2011
Contemporary Fine Arts is pleased to announce the second solo show by Georg Herold at the gallery, entitled "Sunny Side Up". Herold, who was born in 1947 in Jena, lives and works in Cologne, and teaches sculpture at the Kunstakademie Düsseldorf.
Using a direct, craftsman-like approach to his material, Herold modifies it with experimental intelligence and lets disparate elements clash. Standing in front of the sculptures, we see above all also the individual simple elements they are made of. Thus roof laths, tights, canvas, varnish, thread, and screws become a group of reclining nudes, as in this exhibition. These are contrasted with large-format paintings which in terms of aesthetics are reminiscent of action paintings produced with the technique of pouring and dripping paint. Since 1989, Herold has been using caviar in his paintings as a visual material for the production of both figurative and abstract paintings. Number constellations that is the numbering of the caviar are integrated into these compositions. However, only rarely has he produced such large formats as the ones that are premiered in this exhibition.
In addition to sculptures and paintings, Herold’s extensive oeuvre also includes installations and video works. His varied body of works refers laconically to art history, which he quotes in an ironic and striking manner, so that unexpected new perspectives emerge. Through the individual imagination and the humour of the beholder and critic, the artist unites contradictions and liberates us from the idea that language and the functionality of a material should be able to retell every work in a linear fashion. Never conforming, the artist opens up an independent perspective. Herold’s sober technique makes existing things appear relative and challenges us to critically reflect on our times. Because of the complex references to art history, and its self-referentiality as well, Georg Herold’s oeuvre calls for an art historical classification of its own.
Sunny Side Up
16 March - 21 Aoril, 2011
Contemporary Fine Arts is pleased to announce the second solo show by Georg Herold at the gallery, entitled "Sunny Side Up". Herold, who was born in 1947 in Jena, lives and works in Cologne, and teaches sculpture at the Kunstakademie Düsseldorf.
Using a direct, craftsman-like approach to his material, Herold modifies it with experimental intelligence and lets disparate elements clash. Standing in front of the sculptures, we see above all also the individual simple elements they are made of. Thus roof laths, tights, canvas, varnish, thread, and screws become a group of reclining nudes, as in this exhibition. These are contrasted with large-format paintings which in terms of aesthetics are reminiscent of action paintings produced with the technique of pouring and dripping paint. Since 1989, Herold has been using caviar in his paintings as a visual material for the production of both figurative and abstract paintings. Number constellations that is the numbering of the caviar are integrated into these compositions. However, only rarely has he produced such large formats as the ones that are premiered in this exhibition.
In addition to sculptures and paintings, Herold’s extensive oeuvre also includes installations and video works. His varied body of works refers laconically to art history, which he quotes in an ironic and striking manner, so that unexpected new perspectives emerge. Through the individual imagination and the humour of the beholder and critic, the artist unites contradictions and liberates us from the idea that language and the functionality of a material should be able to retell every work in a linear fashion. Never conforming, the artist opens up an independent perspective. Herold’s sober technique makes existing things appear relative and challenges us to critically reflect on our times. Because of the complex references to art history, and its self-referentiality as well, Georg Herold’s oeuvre calls for an art historical classification of its own.