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<<::Picture Generation .( 1974 - 1984 )...........................................kunstwissen.de

'Die Bildergeneration' ist schwer fassbar wie jedes einer Gruppe von zeitgenössischen Künstlern beigefügte Etikett. Wie es häufig verwendet wird, bezieht sich der Ausdruck auf eine Reihe von US-Malern und Fotografen aktiv während der 1970er Jahre und der 80er Jahre, deren Arbeit von von der Massenkultur verwendeten Images Gebrauch machte: Cindy Sherman, Richard Prince Barbara Kruger. Aber keiner jener Künstler war ein Teil einer Gruppe , die für eine Show unter diesem Namen in einem gemeinnützigen Ausstellungsraum 1977 zusammengebracht wurden.

Curated durch Douglas Crimp, zeigte die Ausstellung Troy Brauntuch, Sherrie Levine, Jack Goldstein, Robert Longo, und Philip Smith. Seitdem ist die Legende der Show mit der Wichtigkeit von Aneignungsmethoden der Kopie in der zeitgenössischen Kunst gewachsen. 2009 veranstaltete das Metropolitanmuseum seine kolossale Ausstellung "The Pictures Generation," curated by Douglas Eklund.

 

Von MINIMALIST-ANFÄNGEN

Man kann Warhols "Elektrischer Stuhl" (1972) als Ausgangspunkt nehmen.Die Mitglieder der Bildergeneration wuchsen während eines Jahrzehnts auf, als sich Kunst radikal änderte. Während der 60er Jahre sah die Kunstwelt den Anstieg von verschiedenen und auseinander gehenden Bewegungen von der Pop Art zur Conzept Art, und schließlich zum Minimalismus. Jeder hatte seine eigene Tagesordnung und Stil, aber alle drei Bewegungen spielten eine Rolle in der Auflösung der Grenzen zwischen der Malerei, Skulptur, Fotografie und Performance. Es geht nicht um subjektiven Ausdruck sondern die Analyse der Gesellschaftlichen Situation in sachlichen Darstellungen.

 

Als Kinder der 60er Jahre wurden die Bilderkünstler durch die Massenmedien geschult. Verbunden mit der politischen und sozialen Unruhen bildeten diese Themen und Inhalte jener Künstler.

In 1977, Douglas Crimp brought together five artists in Artists Space, a small alternative gallery in Tribeca, for a show called "Pictures." The show drew attention because of Artists Space’s radical reputation, but it was the artists themselves who caused the show to go down in art history. They were grappling with the idea of "re-presentation, not representation," as Crimp put it in his essay (also titled "Pictures"), which appeared in October two years later.

 

e-presentation involved the appropriation of images, presenting them in new ways, and then having viewers think about the new meanings of these images. As Eklund put it in his catalogue for the Metrolpolitan exhibition, after Minimalism became an endgame for art, re-presentation appeared to some artists to be the only option left.

 

PHOTOGRAPHS OF PHOTOGRAPHS

Louise Lawler, Pollock and Tureen: Arranged by Mr. and Mrs. Burton Tremaine, Connecticut, 1984Louise Lawler's Pollock and Tureen: Arranged by Mr. and Mrs. Burton Tremaine, Connecticut (1984)

For the original "Pictures" artists and even more so for those who came, photography became an important medium for experimentation. It’s not surprising, considering their interest in mass-reproduced images, often taken from advertisements. Even when grappling with art from earlier times, the general public was probably more familiar with the reproduced image than the original image. With this in mind, Sherrie Levine’s re-photography of Edward Weston’s photographs for her After Edward Weston series becomes a question of originality. It asks about the difference between originals and copies. To some observers it threatened to become the final nail in modernism’s coffin by commodifying modernist art.

Richard Prince, Untitled (1977)Richard Prince's Untitled (1977)

For many of the "Pictures" artists a central tenet was that it is up to the viewer to complete the images by bringing their own experiences and ideas to a work. In some ways, it was an idea derived from the writings of French philosopher Roland Barthes, who theorized that individual authorship was dead, and that society’s ideas gave things their meaning.

The idea of viewer completion was realized in various ways. For some artists, viewer completion became political. In Laurie Simmons’s art, for example, female dolls are photographed in various domestic settings to understand how certain images can inform certain gender roles. But in other cases, viewer completion became a more theoretical activity. For Conceptual photographer Sarah Charlesworth, the point was to present an image and let the viewer find possible referents. As Richard Prince put it, his re-photographed advertisements “turn the lie back on itself” by relying on viewers to understand that they had seen the same images a million times over, and that these images were a fiction.

David Salle, Good Bye D (1982)David Salle's Good Bye D. (1982)

It wasn’t until 2009 that the "Pictures" artists got the museum show they always deserved. In a then-rare move for the Metropolitan, "The Pictures Generation, 1974-1984" was given a sizable amount of space for an exhibition of contemporary art, and its catalogue was pretty hefty, too. Of course, as is always the case with exhibitions, some art history got rewritten. Only four of the five original Pictures artists made it into the exhibition—Philip Smith’s work was notably absent. (In response, Smith wrote a fiery letter to Art in America and claimed that Eklund never even considered his work.) At the same time, Eklund added a few artists to the show, too. David Salle, who had typically been regarded as a conceptual influence on the "Pictures" artists, was exhibited alongside the work of Levine and Sherman, and the generation was extended to include artists' work through 1984.

Today, the influence of the Pictures artists is still being evaluated. It wasn’t until this year that Jack Goldstein, an original Pictures artist, received a posthumous solo museum show (at the Jewish Museum). Even with all Levine and Longo’s success, Smith and Brauntuch still await their own solo museum shows.

Picture Generation (kritische Pop Art bzw kritische Realismen

Die Picture Generation besteht -im Gegensatz zu den Neoexpressionisten- auf der intersubjektiven d.h. objektivierten Darstellung der Wirklichkeit im Sinne einer Sachlichkeit. Ihre wesentlichen Vertreter sind Richard Prince, Gilbert& George, Cindy Sherman und Jeff Wall. Methodisch setzen sie die Arbeit der Pop Art und des Photorealismus fort , sind aber dokumentarischer in der Darstellung und Nutzen die Erkenntnisse von FLUXUS in ihren Darstellungsmitteln, d.h. sie gehen ab vom Tafelbild und nutzen Foto, Objekte und Installationen.

...... Fotografie und Kunst

USA: - Cindy Sherman , Barbara Kruger, Longo, Baldessari, Jeff Wall, Jeff Koons, General Idea, Nan Goldin, Candy Ass , Tim Rollins & KOS, Richard Prince ,
D:
Kocheisen+Hullmann , Judith Samen ,

GB: Gilbert&George


 

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