Artist News
- Matthias Mansen at Schloss Gottorf----------
- Hann Trier & Norbert Kricke----------
- Alice Neel in NUDES----------
- Ernst Wilhelm Nay in Mythos und Massaker----------
- Norbert Kricke at Franz Marc Museum, Kochel----------
- Alice Neel in Dix und die Gegenwart----------
- Alice Neel at Munchmuseet, Oslo----------
- Alice Neel at OCMA, CA----------
- Alice Neel at Barbican Centre, London----------
- Alice Neel at Centre Pompidou, Paris----------
- Neil Gall at British Museum----------
- Norbert Kricke at Lehmbruck Museum, Duisburg----------
- Alice Neel at Musée de l'Elysée, Lausanne----------
- Norbert Kricke in Eisen- und Stahlplastik----------
- Ernst Wilhelm Nay - Retrospektive----------
- Vivian Greven at Museum Langmatt, CH----------
- Alice Neel at MET, New York----------
- Stefan Löffelhardt in "Nachts"----------
- Vivian Greven @ ak-raum----------
- Nils Dunkel in Berlin Masters 2019----------
- Nils Dunkel @ Salon Dahlmann----------
- Alice Neel @ Museum of Modern Art Warsaw----------
- Norbert Kricke @ ZKM Karstruhe----------
- Stefan Löffelhardt @ Kunsthaus Essen----------
- Norbert Kricke @ Triennale Fellbach----------
- Öyvind Fahlström @ Kunstverein Hamburg----------
- Michael Wutz @ Kupferstichkabinett, Berlin----------
- Vivian Greven @ Lyles & King, New York----------
- Vivian Greven @ Kadel Willborn, Düsseldorf----------
- Greven @ Golsa Gallery, Oslo----------
- Alice Neel @ David Zwirner, New York----------
- Alice Neel @ Centre Pompidou Metz----------
- Vivian Greven @ Galerie Thomas Fuchs----------
- Vivian Greven in 'Ladies Only'----------
- David Schutter in 'Kleine Welt'----------
- David Schutter in 'Trance' by Albert Oehlen----------
- Wolfgang Betke in 'Notebook'----------
- Michael Wutz in 'Auf dem Weg zum Motiv'----------
- David Schutter in 'Content is a Glimpse'----------
- Öyvind Fahlström @ Met Breuer, New York----------
- Ernst Wilhelm Nay at Staatsgalerie Stuttgart----------
- Alice Neel at Kunsthalle Mannheim----------
- Norbert Kricke at Museum Palais Populaire----------
- Vivian Greven at Sammlung Philara----------
- Vivian Greven at Practise----------
- David Schutter in The Wall Street Journal----------
- Norbert Kricke at LH2 Contemporary----------
- Vivian Greven at Kunstmuseum Stuttgart----------
- Ernst Wilhelm Nay Symposium----------
- Vivian Greven at Lyles & King, New York----------
- Carolin Eidner at Orangerie Schloss Benrath----------
- Öyvind Fahlström at Ludwig Forum Aachen----------
- Neil Gall at Henry Moore Institute, Leeds----------
- Tom Chamberlain at Kunstverein Wolfsburg----------
- Neil Gall at z20 Sara Zanin Gallery----------
- Alice Neel at Deichtorhallen, Hamburg----------
- Jonathan Bragdon at Kunsttempel, Kassel----------
- Öyvind Fahlström at Pérez Art Museum, Miami----------
- Michael Wutz at Kunstmuseum Stuttgart----------
- Alice Neel at Tate Modern, London----------
- David Schutter at DOCUMENTA 14 Kassel----------
- Tom Chamberlain at Thinking Tantra, Plymouth----------
- Norbert Kricke at Galerie Parterre, Berlin----------
- Ernst William Nay at Ketterer Kunst, Berlin----------
- Alice Neel at David Zwirner, New York----------
- Michael Wutz at unttld contemporary, Vienna----------
- Studio Visit: Stefan Löffelhardt, Düsseldorf----------
- David Schutter at The Goma, Madrid----------
- Öyvind Fahlström at La Terrasse, Nanterre----------
- Tom Chamberlain at Drawing Room, London----------
- Alice Neel at S.M.A.K., Gent----------
- E.W. Nay at Haus der Kunst, Munich----------
- Jonathan Bragdon at Kunstmuseum Appenzell----------
- Jonathan Bragdon at Kunstmuseum Thun----------
- Alice Neel at Talbot Rice Gallery, Edinburgh----------
- E.W. Nay at Angermuseum Erfurt----------
- Alessandro Twombly at Galerie Knoell, Basel----------
- Alice Neel at Ateneum Art Museum, Helsinki----------
- David Schutter at Magazzino, Rome----------
- Alice Neel at Whitney Museum, New York----------
- Alice Neel at The Met Breuer, New York----------
- E.W. Nay at Centre Pompidou, Paris----------
- Öyvind Fahlström at MoMA, New York----------
- Öyvind Fahlström at Kunsthalle Baden-Baden----------
- Michael Wutz at Kunstverein Gütersloh----------
- Michael Wutz at Galerie Friese, Berlin----------
- Wolfgang Betke at Kienzle Art Foundation----------
- Jonathan Bragdon at Kunstmuseen Krefeld----------
- Jack Pierson at Schirn Kunsthalle Frankfurt----------
- David Schutter at Fondazione Memmo, Rome----------
- E.W. Nay at Almine Rech Gallery, London----------
- David Schutter at P420, Bologna----------
- Michel Auder at the Martos Gallery----------
- Michael Wutz at Bauart Galeri, Istanbul----------
- Neil Gall at DOMOBAAL----------
- Jonathan Bragdon at kunsTTempel Kassel----------
- Jonathan Bragdon at GALERIE KLÜSER, Munich----------
- Neil Gall at Simmons & Simmons, London----------
- Stefan Löffelhardt at kunstgalerie, Bonn----------
- Thomas Rentmeister at Gallery Bačva, Zagreb----------
- Thomas Rentmeister, Installation in Cologne----------
- Öyvind Fahlström at MNCARS, Madrid----------
- Gavin Turk at Manchester Art Gallery----------
- Erich Reusch at Art Academy Düsseldorf----------
- Erich Reusch at Museum Ettlingen----------
- Michel Auder at the Whitney Biennial----------
- David Schutter at Rhona Hoffman Gallery----------
- Michael Wutz at Städtische Galerie Wolfsburg----------
- Michael Wutz at blank_space gallery, Sidney----------
- Michael Wutz at Galerie Kornfeld----------
- Jack Pierson at Galerie Rudolfinum, Prague----------
- Wolfgang Betke at Ballhaus Ost, Berlin----------
- Wolfgang Betke at Nicole Gnesa, Munich----------
- Michael Auder in the Whitney Biennial 2014----------
- Jonathan Bragdon at the Kunsttempel Kassel----------
- Tom Chamberlain at La Maison Rouge, Paris----------
- Erich Reusch at Kunstverein Ruhr----------
- Öyvind Fahlström at MACBA, Barcelona----------
- Michael Auder at Portikus, Frankfurt/Main----------
- Öyvind Fahlström at Raven Row, London----------
- Wolfgang Betke at Nicole Gnesa, Munich----------
- Michael Wutz at Haus am Lützowplatz, Berlin----------
- “Anleitung zum direkteren Staunen” – 5.09.13----------
- Thomas Rentmeister at Stadtmuseum, Borken----------
- Neil Gall at The Torrance Art Museum, USA----------
- E.W. NAY in BONN and NEW YORK----------
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- Behind Pop - Kito Nedo about Ray Johnson----------
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David Schutter at DOCUMENTA 14 Kassel
What is an artist’s artist? In the person and painterly practice of David Schutter, this elusive phrase connotes a singularly deep awareness of art-historical precedents that is best exemplified both in a dogged dedication to time-honed techniques as well as his ongoing dialogue with past masters, such as (to name but a few) Bernardo Parentino, Frans Hals, Salvator Rosa, Antoine Watteau, Jean-Baptiste-Camille Corot, Édouard Manet, and Max Liebermann—the kind of artist who artist David Schutter could be said to be in turn.
Schutter, who was born in Pennsylvania in 1974, is best known today for his mid-scale, quasi-monochrome gray paintings—meticulous marvels of surface texture and illusory nuance that, when seen up close, reveal the riches and range of this seemingly most neutral of colors. Indeed, the crux of Schutter’s project is located in the patience and probing focus of his gaze; so too the experience of viewing his work requires lengthy looking to better appreciate the understated drama of paint applied to the picture plane. Two such paintings are on view in Kassel and act as deposits of the artist’s memory of having spent long days just looking at two works by the early Renaissance painter Parentino now housed at the Galleria Doria Pamphilj in Rome. Both works depict Saint Anthony Abbot, one showing him giving alms to the poor, while “shunning gold” in the other—timeless motifs rendered more than merely topical in the current crisis-stricken economic climate. If gray is a color that refuses to take sides, so to speak, all the more import becomes attached to the “originals” Schutter models his memories after, more often than not images charged with brooding political meaning.
In recent years, Schutter has increasingly turned to drawing’s complicated relationship to painting as a form of prelude, particularly dwelling upon the notion of études, or studies: foreshadowing as much as scrawling, draft versus sovereign eidolon. In Schutter’s hand, the pencil or stylus becomes an even more powerful mnemonic tool, capturing the fleeting, capricious impressions of time spent poring over drawings made centuries ago. Or in the case of a more recent (and politically much more sensitive) vintage, the works drawn from the Gurlitt art trove highlight the artist’s detective-like approach to art-historical dialogue and interest in the mania of collecting.
—Dieter Roelstraete
Posted in Public Exhibition
Excerpted from the documenta 14: Daybook
DOCUMENTA 14
Schöne Aussicht 1
34117 Kassel
10.06. - 17.09.2017