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288:. As Herold smears caviar across the surface of the canvas, he transmutes the value and connotation into something invested rather than wasted. Herold, through his frequently ironic critical works, makes an allusion to figures of authority, the art market, their artistic predecessors, and the prevailing culture questioning the whole purpose of art and even its context in the world at large.
329:(2007), Herold presents five larger-than-life surrealistic human figures composed of canvas stretched over lengths of timber, vibrantly tinted in solid primary colors with glossy auto-body paint. Slender and angular, long-limbed and lacking in facial features, these figures writhe and contort into arresting body positions, as if in extreme pain or ecstasy.
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In his so-called caviar paintings, begun in 1989, Herold asks questions of material and spiritual value in a consistently more engaging manner and, as the display here shows, proves the depth of his attack by not flinching from taking his own work as a target. Yet he cannot escape the rather obvious
295:(n.n. tr. The Genetic Alteration of Mrs. Herolds DNA) (1985) depicts a DNA double-helix constructed from wire that descends from thin air to a wooden base. As it approaches the base, chunks of board wood of various lengths seem to interact with, interrupt, and distort the DNA strand at random.
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art is something that has form and meaning, and Herold's work comes close to having neither. Its meaning is deliberately obscure or absent, and its form seems imperiled, as in the brick painting, or even more often, random. One thinks of Marcel
Duchamp'surinal which he inverted, entitled
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by art critiques, galleries and journalists. Herold's sculpted figures often are slightly distorted, filiforms, stretched to the point of breaking, often reaching towards something, pushing their body postures, while trapped in an unbearable state. Some of Herold's works include:
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depicts a big cardboard box, with the words of the title scrawled on its side, evoking a child's imaginary fort. This plain setpiece is raised high above the viewer on a splendid pedestal, solid and transparent, placing access to the cardboard fortress out of the viewer's reach.
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Herold uses non-traditional mediums, lower grade everyday materials that are not commonly used in art. These include construction materials like bricks, matresses, nails, socks, buttons, paper scraps and copper making Herold's work to be associated sometimes with
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281:. He also uses eclectic household and food items, like tights, aged cheese, tea strainers, photos, and various plants, thus, transforming the role of canvas by changing it into a support that outspreads "from the frame into the picture".
309:(1995), Herold presents a collection of glass bottles and jars, each one labeled in a way that at a glance seems scientific and legitimate. Closer inspection reveals the label texts to be pseudoscientific and satirical.
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movement, whose specifics are found in his bizarre and subversive works that refer to the consumerist society. Some of Herold's works are often "allusional" and "quirky and provocative as "Dada"". An example is Herold's
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Although it is useful to see figurative paintings by
Rosemarie Trockel, Georg Herold and Martin Kippenberger, who are known in New York for three-dimensional work, their paintings make little sense in a pictorial
261:, (2002). The ironic tendency of Herold's works which leave room for interpretation, juxtaposed to the fact that he uses commonly found objects to create his artwork, influenced his style towards
542:(Berlin, Germany), Sabine Knust Galerie & Maximilianverlag (Munich, Germany), Brooke Alexander Gallery (New York), Villa Arson Gallery (Nice, France), Air de Paris Gallery (Nice) et cetera.
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322:(2005) is a plain linen canvas, from which protrude several unremarkable stacks of bricks, joined from end to end with white cement to create tall, narrow towers three bricks high.
316:(1992) consists of two doors, each painted a neutral gray. One of them is marked "There is nothing left," the other emblazoned "There is no right." Viewers are invited to choose.
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870:[With great wit and even more serious: the artist Georg Herold has been taking science and art for 30 years - with building materials and caviar. An interim report.]
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Herold finalized a traineeship as an artist blacksmith and attended the
University of Art and Design Halle (Halle, Germany) from 1969 to 1973. In 1974, Herold left the
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868:"Mit viel Witz und noch mehr Ernst: Der Kunstler Georg Herold ahmt seit 30 Jahren Wissenschaft und Kunst nack - mit Baumaterialien un Kaviar. Ein Zwischenbericht"
302:(1991) displays four dark, spiraling patterns made of Beluga caviar. The spirals resemble DNA molecules, and each caviar egg is painstakingly numbered.
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making "little sense in a pictorial context" while in 1990, on the occasion of a group exhibition held at the Tony
Shafrazi Gallery, another
538:(Oslo, Norway), Galerie Bärbel Grässlin (Frankfurt, Germany), Sadie Coles HQ Gallery (London, UK), Gabriele Senn Galerie (Vienna, Austria),
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488:(Martin Kippenberger and Co – A Document. "I can not cut my ears every day".), a 25 minutes documentary, along with
441:(2007). All these artworks are sculptures or installations made of bricks, canvas, laths, color lacquer and screws.
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Georg Herold, from
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Herold has exhibited his artwork in museums and galleries across the US and Europe. These include:
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Martin
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1790:"Martin Kippenberger und Co – Ein Dokument. Ich kann mir nicht jeden Tag ein Ohr abschneiden"
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1220:"Museumsguide - Georg Herold, Genetischer Eingriff in die Erbmasse bei Fr. Herold, 1945/85"
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and Werner BĂĽttner. They formed a tight knit group of "provocateurs", the "bad boy group" (
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an exercise in what might be called neo-Dada minimalism - a work steeped in the present.
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506:) reviewer found that the artists had "ironic or even a bit of a bourgeois appearance".
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in Düsseldorf. Between 1993–1999 Herold was a professor at the
College of Fine Arts in
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1346:"Das Teesieb in der Kunst. Retrospektive des Plastikers Georg Herold in Baden-Baden"
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One of the examples of the nontraditional art materials that Herold uses may be his
1547:. San Francisco, California: San Francisco Museum of Modern Art. pp. 137–138.
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and, he even has counted the number of fish eggs used for creating some of his
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point that rather than destroying the valuable Beluga eggs, paintings such as
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where Herold exhibited a 1989 caviar painting and an artwork made of bricks.
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252:(1502) was created using roofing slats. Herold was also influenced by the
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Städtische
Kunsthalle MĂĽnchen (Munich's Department of Arts and Culture)
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This is about who we are : the collected writings of John
Caldwell
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Besides his artistic career, Georg Herold is also a professor at the
961:"Art Review: Georg Herold "Dear Hunter" at Perry Rubenstein Gallery"
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KĂĽnstlerische
Medizin, Patho-Ontologie (Cabinet patho-psychologique)
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Knstlerische Medizin, Patho-Ontologie (Cabinet patho-psychologique)
1735:"Die Kunst der Achtziger: Die Freiheit der "Genialen Dilletanten""
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increase their value by placing them in the luxury market for art.
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Permission to Laugh: Humor and Politics in Contemporary German Art
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series (1991-). He also portrayed different personalities like
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Georg Herold's assemblage of bricks punched through a mattress
1677:"Review/Art; Virtuoso Italian Drawings From the 18th Century"
1598:(1 ed.). Deutsche Nationalbibliothek. pp. 292–293.
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Since 1989, Herold has been created abstract figures made of
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1570:"The History of the Stick: Georg Herold's Path to Mastery"
1486:"ART VIEW: Art That Doesn't Care Too Much About Its Looks"
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597:. Chicago: University of Chicago Press. pp. 104–120.
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Eye on Europe: Prints, Books & Multiples, 1960 to Now
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Between the 80s and 90s, Herold's work was influenced by
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1118:. Santa Barbara, California: ABC-Clio. p. 316.
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Genetischer Eingriff in die Erbmasse bei Frau Herold
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Visual proficiency - A perspective on art education
810:. New York, NY: Museum of Modern Art. p. 172.
448:reviewer found the figurative paintings of Herold,
141:GĂĽnter Fruhtrunk Prize of the Academy of Fine Arts
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1114:Fraser, Catherine C.; Hoffman, Dierk O. (2006).
1194:"Georg Herold, Albert Oehlen, Christopher Wool"
1116:Pop Culture Germany! Media, Arts, and Lifestyle
312:Punning on the political left and right wings,
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269:has been hosting Herold's artworks, including
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1087:"Fanciful to Figurative to Wryly Inscrutable"
291:A sculpture composed of metal wire and wood,
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153:(born 1947) is a German artist. He works in
1073:, 1992, originally exhibited at Documenta 9
468:"seminal and astral". In 2012 took place a
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720:. BAWAG Contemporary. 1999. Archived from
389:Herold's sculpturing style is accepted as
193:(1974–76). Harold left Munich and went to
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1764:"Jacqueline Kaess-Farquet Filmscreening"
1594:Bering, Kunibert; Niehoff, Rolf (2015).
1344:Gampert, Von Christian (11 March 2005).
1291:"Georg Herold at Museum Ludwig, Cologne"
1168:"Georg Herold at Contemporary Fine Arts"
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747:"George Herold: Uncertain Relationships"
314:There is Nothing Left, There is No Right
1457:Christofori, Ralf (13 September 2005).
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271:There is nothing left—There is no right
111:There is nothing left—There is no right
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1645:Brenson, Michael (10 February 1989).
806:Weitman, Wendy; Wye, Deborah (2006).
259:Herrenperspektive (Men's Perspective)
208:While studying under the guidance of
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1864:Literature by and about Georg Herold
1854:Sadie Coles HQ Gallery: Georg Herold
1318:Stonard, John-Paul (February 2008).
1255:Stonard, Jean-Paul (February 2008).
779:Christofori, Ralf (September 2005).
658:Stonard, Jean-Paul (February 2008).
1620:"Georg Herold at Gerhardsen Gerner"
1374:Campagnola, Sonia (May–June 2009).
1675:Smith, Roberta (12 October 1990).
1484:Smith, Roberta (22 January 1989).
1436:. Berlin: Contemporary Fine Arts.
218:University of Fine Arts of Hamburg
189:, went to Munich and attended the
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1796:(in German). Independent Artfilms
1028:"Documenta 9 at Documenta Kassel"
1919:20th-century German male artists
1647:"Review/Art; 'The German Image'"
866:Volske, Daniel (February 2009).
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1874:Works by and about Georg Herold
1704:Rosenberg, Karen (4 May 2012).
1200:. The Renaissance Society. 1989
1085:Cotter, Holland (8 July 2005).
1740:Frankfurter Allgemeine Zeitung
1706:"The NADA Art Fair in Chelsea"
1568:Gilois, Bettina (8 May 2013).
1501:To the left is Georg Herold's
1224:www.museumsguide.steiermark.at
499:Frankfurter Allgemeine Zeitung
431:Platz des himmlischen Friedens
197:where, under the mentoring of
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1849:Saatchi Gallery: Georg Herold
1742:(Frankfurt General Newspaper)
838:(in German). 14 December 2015
593:Williams, Gregory H. (2012).
1914:20th-century German painters
1878:Deutsche Digitale Bibliothek
1844:Petzel Gallery: Georg Herold
1733:Voss, Julia (23 July 2015).
718:www.bawagpskcontemporary.com
458:Solomon R. Guggenheim Museum
63:Art Center College of Design
1934:German installation artists
1909:German contemporary artists
1434:Georg Herold: Sunny Side Up
959:Pagel, David (3 May 2013).
504:Frankfurt General Newspaper
419:Resteuropa (Rest of Europe)
325:With his sculpture series,
32:1947 (age 76–77)
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1816:"Georg Herold's Biography"
1794:www.independentartfilms.eu
1320:"Georg Herold - MutualArt"
1198:www.renaissancesociety.org
749:. InLiquid. Archived from
560:Liquid relief/light relief
187:German Democratic Republic
265:'s approach. Since 1980,
1880:(German Digital Library)
1820:www.gerhardsengerner.com
1054:"Georg Herold: Articles"
878:(in German) (2): 44–52.
631:www.gerhardsengerner.com
516:Kunstakademie DĂĽsseldorf
470:New Art Dealers Alliance
464:reviewer found Herold's
181:Early life and education
173:. He lives and works in
1894:German modern sculptors
1868:German National Library
1543:John, Caldwell (1996).
203:University of Fine Arts
201:, he has graduated the
1624:Contemporary Art Daily
1522:www.saatchigallery.com
1172:Contemporary Art Daily
1058:www.saatchigallery.com
345:abstract expressionism
298:Herold's large canvas
143:1998
1929:German male sculptors
1524:. The Saatchi Gallery
836:Kunst Kultur Quartier
1924:German male painters
1289:Buchmaier, Barbara.
832:"I Believe in DĂĽrer"
625:Gerner, Gerhardsen.
214:Franz Erhard Walther
191:Academy of Fine Arts
1939:Mixed-media artists
1822:. Gerhardsen Gerner
1432:Nedo, Kito (2011).
540:Galerie Max Hetzler
450:Martin Kippenberger
226:Martin Kippenberger
59:Woodbury University
1859:MoMa: Georg Herold
1710:The New York Times
1681:The New York Times
1651:The New York Times
1490:The New York Times
1091:The New York Times
909:www.sadiecoles.com
462:The New York Times
446:The New York Times
320:Delivering the WOW
116:Delivering the WOW
1605:978-3-89896-774-7
1503:For Members Only,
1324:www.mutualart.com
1125:978-1-85109-733-3
1060:. Saatchi Gallery
965:Los Angeles Times
536:Gerhardsen Gerner
484:Herold played in
456:exhibited at the
454:Rosemarie Trockel
435:Lost in Tolerance
377:Charles de Gaulle
365:William Burroughs
234:enfants terribles
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466:caviar paintings
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333:For Members Only
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1626:. 19 June 2013
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267:DOCUMENTA IX
258:
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222:Günther Förg
210:Sigmar Polke
207:
199:Sigmar Polke
184:
159:installation
151:Georg Herold
150:
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120:
115:
110:
105:
100:
96:Notable work
81:installation
23:Georg Herold
1899:1947 births
1744:(in German)
1352:(in German)
526:Exhibitions
403:G.O.E.L.R.O
373:Barry White
279:Arte Povera
177:, Germany.
167:photography
85:photography
47:Nationality
1888:Categories
1032:artmap.com
568:References
427:Red Square
398:minimalism
391:minimalism
353:Mike Tyson
248:'s, whose
1870:catalogue
1388:August 2,
1383:Flash Art
884:936181807
520:Frankfurt
405:(1988),
369:Sean Penn
347:like the
327:Figur I-V
171:video art
155:sculpture
121:Figur I-V
89:video art
73:sculpture
55:Education
1826:3 August
1800:2 August
1774:2 August
1748:2 August
1715:3 August
1686:1 August
1663:context.
1656:1 August
1630:3 August
1579:2 August
1528:2 August
1495:1 August
1469:3 August
1417:2 August
1356:9 August
1329:9 August
1300:9 August
1274:9 August
1268:Artforum
1264:Artforum
1229:9 August
1204:3 August
1178:2 August
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970:2 August
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889:2 August
842:2 August
791:2 August
757:2 August
728:2 August
688:Untitled
679:2 August
673:Artforum
669:Artforum
636:2 August
510:Teaching
472:fair in
444:In 1989
439:Flamingo
437:(2006),
433:(2005),
429:(2005),
425:(2004),
423:Rumsfeld
421:(1998),
417:(1990),
415:Untitled
413:(1989),
409:(1989),
395:Neo-Dada
349:Untitled
300:Untitled
163:painting
128:Movement
118:, (2005)
113:, (1992)
103:, (1991)
101:Untitled
77:painting
1876:in the
1866:in the
1144:Monopol
876:Monopol
546:Gallery
474:Chelsea
411:The Bow
273:(1992)
216:at the
195:Hamburg
175:Cologne
40:Germany
1770:. 2010
1602:
1551:
1463:Frieze
1440:
1122:
937:. 2016
882:
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785:Frieze
601:
562:, 1997
169:, and
138:Awards
123:(2007)
108:(1995)
50:German
1379:(PDF)
1260:(PDF)
996:(PDF)
872:(PDF)
665:(PDF)
1828:2017
1802:2017
1776:2017
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1632:2017
1600:ISBN
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1465:(93)
1438:ISBN
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880:OCLC
844:2017
812:ISBN
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730:2017
681:2017
638:2017
599:ISBN
532:MoMa
480:Film
452:and
254:Dada
250:Hare
240:Work
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36:Jena
29:Born
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