Robert Grosvenor | Richard Prince
Galerie Max Hetzler is pleased to announce the exhibition Robert Grosvenor | Richard Prince, featuring a single work by each artist.
The exhibition develops a dialogue between two artists who know each other and have great respect for the work of one another.
Robert Grosvenor is known for his spacious sculptures which capture the viewer through their specific materiality and unconventional formal language. He himself considers his sculptural work as 鈥渋deas that operate between floor and ceiling鈥� and thus reveals an essential aspect of his practice: The preoccupation with the relation between an object and its surrounding as well as the effect that emerges from this connection.
In the 1960s, his work was perceived in the context of Minimal Art and later Land Art. Yet, although his works display a certain minimalistic aesthetic, Grosvenor never adopted the movement鈥檚 programmatic claims. His works are rather characterised by a playful dealing with the properties of materials and the complexity of disposals while never ascribing to a particular artistic style. Often his sculptures seem to overcome the principles of physics, especially gravity. They appear massive and yet floating, both static and dynamic. His work Untitled, 2015-2017, evokes a boat, not only though its shape but also through the use of plywood and fiberglass.
Untitled, 2009/2010, is a monumental example of Richard Prince鈥檚 Check Paintings 鈥� a series initiated in the early 2000s. Composed of three panels, the work challenges the viewer with an eclectic visual language in which black delineated letters and colourful images collide amongst drips and swift brushstrokes of white, pale greens, blues and ochre. The work was created by superimposing excerpts of borrowed jokes and reproductions of nurse-romance book covers. Bringing together two of Prince鈥檚 most iconic motifs - the nurses and the jokes - Untitled is both a synthesis of his concerns with authorship, and a brilliant example of the artist鈥榮 continuous innovation in the realm of painting.
A pioneer of the 鈥濸ictures Generation鈥�, Prince has been challenging ownership, testing the limits of authorship. Appropriation and de-contextualisation - the very essence of Pop Art - are the foundations of his practice. For the Check Paintings, the artist heightens canvases with both paint and collage, drawing from vintage items from his personal collection including book, vinyl and magazine covers, as well as his own personal cheques. Further exploring his fascination with American subcultures, Prince creates works that touch upon a variety of concerns ranging from collective mythologies to unconscious stereotypes.
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Galerie Max Hetzler is pleased to announce the exhibition Robert Grosvenor | Richard Prince, featuring a single work by each artist.
The exhibition develops a dialogue between two artists who know each other and have great respect for the work of one another.
Robert Grosvenor is known for his spacious sculptures which capture the viewer through their specific materiality and unconventional formal language. He himself considers his sculptural work as 鈥渋deas that operate between floor and ceiling鈥� and thus reveals an essential aspect of his practice: The preoccupation with the relation between an object and its surrounding as well as the effect that emerges from this connection.
In the 1960s, his work was perceived in the context of Minimal Art and later Land Art. Yet, although his works display a certain minimalistic aesthetic, Grosvenor never adopted the movement鈥檚 programmatic claims. His works are rather characterised by a playful dealing with the properties of materials and the complexity of disposals while never ascribing to a particular artistic style. Often his sculptures seem to overcome the principles of physics, especially gravity. They appear massive and yet floating, both static and dynamic. His work Untitled, 2015-2017, evokes a boat, not only though its shape but also through the use of plywood and fiberglass.
Untitled, 2009/2010, is a monumental example of Richard Prince鈥檚 Check Paintings 鈥� a series initiated in the early 2000s. Composed of three panels, the work challenges the viewer with an eclectic visual language in which black delineated letters and colourful images collide amongst drips and swift brushstrokes of white, pale greens, blues and ochre. The work was created by superimposing excerpts of borrowed jokes and reproductions of nurse-romance book covers. Bringing together two of Prince鈥檚 most iconic motifs - the nurses and the jokes - Untitled is both a synthesis of his concerns with authorship, and a brilliant example of the artist鈥榮 continuous innovation in the realm of painting.
A pioneer of the 鈥濸ictures Generation鈥�, Prince has been challenging ownership, testing the limits of authorship. Appropriation and de-contextualisation - the very essence of Pop Art - are the foundations of his practice. For the Check Paintings, the artist heightens canvases with both paint and collage, drawing from vintage items from his personal collection including book, vinyl and magazine covers, as well as his own personal cheques. Further exploring his fascination with American subcultures, Prince creates works that touch upon a variety of concerns ranging from collective mythologies to unconscious stereotypes.
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