Gruppe SPUR
Gruppe SPUR was born Autumn 1957 BirthAlten Botanischen Garten, Munich, Germany.
Heimrad Prem (1934 - 1979), Helmut Sturm (1932), Hans-Peter Zimmer (1936) Lothar Fischer (1933).
Categories: Painting Writing Situationism International
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The foundation of the Gruppe SPUR followed a joint exhibition held in autumn 1957 in the Pavillon im Alten Botanischen Garten in Munich by the painters Heimrad Prem (1934-1978), Helmut Sturm (1932), Hans-Peter Zimmer (1936-1992) and the sculptor Lothar Fischer (1933-2004). They devised the group’s name in January 1958 when thinking about the tracks of their own footprints in the snow. Their shared goals related to their criticism of Art informel, which they regarded as devoid of content and too private…
Kleine Zeittafel zur Gruppe SPUR.
Die Gruppe SPUR leistete einen wichtigen Beitrag zur deutschen Avantgarde der Kunst des 20. Jahrhunderts (siehe SPUR-Manifest weiter unten). Ihr gelang der Anschluss an die europäische Moderne nach dem Zweiten Weltkrieg…
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Documents of Contemporary Art. Utopias: Throughout its diverse manifestations, the utopian entails two related but contradictory elements: the aspiration to a better world, and the acknowledgment that its form may only ever live in our imaginations. Furthermore, we are as haunted by the failures of utopian enterprise as we are inspired by the desire to repair the failed and build the new... |
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South African Art Now. South African Art Now documents, through in-depth essays and stunning full-color photographs, the remarkable work of nearly one hundred South African artists working in every medium from painting, sculpture, and video to cutting-edge performance art. This lush volume includes the impressive work of art world stars such as William Kentridge and Marlene Dumas; newly prominent artists such as Berni Searle, Robin Rhode, and Mustafa Maluka; and exciting newcomers still unknown outside their own country, but clearly marked for success... |
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James Rosenquist. Painting Below Zero: Notes on a Life in Art. “Frank, funny, truthful, ironic and in every way an entertaining account of one major American artist’s involvement in an art movement that interests everyone–and, more than that, of his own character. Jim Rosenquist is a true American original and his book ought to be read by anyone who wants to understand the last half-century of his country’s visual culture, high, low, and in between.” –Robert Hughes, amazon |
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