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been developing a series of works and installations based on motifs from nature. She reduces grasses to their basic formal structures and transfers the resulting sculptural idea to her preferred material, stainless steel. The grasses and stalks that seem to bend in the wind serve as a metaphor for society reacting to new challenges without breaking. Her sculptures always relate to the outdoors and resonate with the landscape, such as the blades of grasses which she conceived and exhibits for the
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At the beginning of her artistic work, the focus was on figures and heads, and she worked predominantly in plaster and ceramics. Their formal language became increasingly abstract and reduced. She interprets the human body through lines and arcs and focuses on aspects of movement. Since 1999 she has
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Characteristic of Beate
Schroedl-Baurmeister is that she works in groups of works. She is dedicated to two overarching themes: people and nature. She is known for her abstract stainless-steel sculptures, some of which are six meters high. She discovered steel as a material early on. She develops her
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For three years she had a state-funded residency in the Senate studios Käuzchensteig in Berlin-Dahlem, today the
Kunsthaus Dahlem. She has resided in Wuppertal, NRW, since 1988 and maintains her workshop and studio there. In 2003 she was awarded the Lorenzo il Magnifico Prize at the 4th Biennale of
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Over and above, she got to know dancers from the Pina Bausch dance theatre in
Wuppertal; her work "Momentum" displayed in the Art biennale Venice 2024 is one of a series of worksthat evolved out of this exposure to modern dance. The sculpture may be interpreted as a metaphor for the dynamic and
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Which reliable source -- somebody unrelated to BSB; probably an art historian, art journalist, or art critic -- has either (A) said/wrote that it may be interpreted in this way, or (B) interpreted it in this way? And where did they say/write it?
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from 1978 to 1983. After a three-year postgraduate course, she completed her studies with the second state examination in 1985.
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The sculpture may be interpreted as a metaphor for the dynamic and kinetic energy of dancers or of a society in transition.
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from experienced editors. These venues are only for help with editing and the submission process, not to get reviews.
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Beate
Schroedl-Baurmeister grew up in Bamberg and later studied art with the emphasis on sculpture in the class of
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Since 2007 she has also focused on urban spaces, integrating motifs from nature into an urban environment.
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when addressing this issue). If no additional references exist, the subject is not suitable for
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433:, 225x250x220 cm, in stainless steel at a solo exhibition in the town hall Wuppertal, Foto: Gernot Erler
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908:"Ausstellung "Dancing the self" - Die KĂĽnstler Beate Schroedl-Baurmeister und Amouzou Amouzou-Glikpa"
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Dancing the Self - Die KĂĽnstler Beate
Schroedl-Baurmeister und Amouzou Amouzou-Glikpa,
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Schroedl (1986). Senator fĂĽr Bau- und
Wohnungswesen (ed.). "Kunstaktionen im Park".
173:. Some WikiProjects are more active than others so a speedy reply is not guaranteed.
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Schroedl (1982). Colloquium Verlag (ed.). "Abformance. Karl-Hofer-Symposium 1982".
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Schroedl, Beate (1988). Gustav WeiĂź (ed.). "Workshops zu bildhauerischen Themen".
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from 1972 to 1978. Parallel to this she studied art history and sociology at the
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Please note that if the issues are not fixed, the draft will be declined again.
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445:, 610Ă—300Ă—340 cm, in stainless steel at an exhibition at Dyck Castle, JĂĽchen
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This page will be placed in the following categories if it is moved to the
801:"Der Bildhauer Joachim Schmettau und seine Klasse in Selbstdarstellungen",
774:"Der Bildhauer Joachim Schmettau und seine Klasse in Selbstdarstellungen".
472:. After her first state examination she became a pupil of the sculptor
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1997: National
Gallery of Contemporary Art, Bucharest, Romania
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Gustorf, Maike (2007). "Eine wachsende Wiese aus
Edelstahl".
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Katalog Ausstellung, DĂĽsseldorf (Landtag NRW) 2021, S. 6-7.
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coverage (not just passing mentions) about the subject in
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This submission's references do not show that the subject
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Weise-Bonczek, Marina (2004). "Portrait Beate Schroedl".
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kinetic energy of dancers or of a society in transition.
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2004 – 2010: Gallery Hannah Peschar Sculpture Garden, UK
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Contemporary Art in Florence. She created the sculpture
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2009: Swiss Triennale of Sculpture, Bad Ragaz und Vaduz
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2003: Biennale of Contemporary Art, Florence, Italy
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691:jagals, kah (1993). "Reduktion und Musikalität".
968:ISBP International Society of Blood Purification
888:WeiĂź, Gustav (1984). "Beate Schroedl Portrait".
805:(in German), vol. 8, pp. 554–555, 1982
752:WeiĂź, Gustav (1984). "Beate Schroedl Portrait".
652:Schroedl, Beate (2004). "Schöpferisches Licht".
497:ideas by shaping models for later enlargements.
47:. If you need help with referencing, please see
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665:Moche, Benjamin (2003). "24-Stunden live".
837:"Ein "Schwung" in beständigem Edelstahl".
587:Ateliergespräch – Skulpturen aus Edelstahl
667:Barmenia-Versicherungen, Hauszeitschrift
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530:2006: Austrian Art Biennale, Klagenfurt
561:Schweißen für Florenz – Beate Schroedl
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739:Schroedl (1985). "Wiesenlabyrinth".
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843:(in German). 2003-04-17.
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