Adrian Schiess
The Song Element

Ruth Wolf-Rehfeldt (b. Wurzen, Germany, 1932; lives in Berlin) is one the few East German female artists who devoted themselves to graphic art produced on the typewriter. Working on her trusty “Erika,” she arranged letters, digits, commas, and plus signs to compose imaginative visual creations. Under her hands, the black and red characters were transformed into poetic verbal images, gently undulating waves, serial patterns, and architectonic or figurative formations. Sometimes verging on concrete poetry, these typewritings also evince unmistakable affinities with conceptual and minimalist art. In the 1980s, the artist expanded on them in collages that recall Hannah Höch’s Dadaist visual montages. With her graphic work, Wolf-Rehfeldt was also an active participant in the GDR’s mail-art program: she sent the typewritings to artists beyond the impassable borders of her country, building an extensive network of correspondences that spanned the globe.

The richly illustrated monograph underscores the diversity and contemporary relevance of Wolf-Rehfeldt’s works, which were created in the shadow of the Cold War and address the fragility of peace as well as early manifestations of the environmental devastation wrought by the industrial age.

Sabrina Fritsch’s (b. Neunkirchen/Saar, 1979; lives and works in Cologne) paintings explore the potentials of the compositional process and the mechanisms of perception. Many of them feature coarse structures, textile surfaces, and delicate superimpositions. In this publication, Fritsch, who was recently appointed professor at the Düsseldorf Academy of Fine Arts, presents a résumé of the painterly oeuvre she has developed since her graduation from the same school in 2008. It encompasses two related books, each of which undertakes a structured study of a major strand in Fritsch’s art. One offers a chronological survey of a representative selection of works created between 2008 and 2019 that illustrate her playful and experimental engagement with the constituents of the painted picture: the picture-as-object, the organization of pictorial space, and the phenomenology of physical color. In addition to works on canvas boasting a wide variety of applications of materials and paint, it also covers serial variations in prints. The other showcases three exhibitions and bodies of work dating from 2020 and 2021 that are dedicated to the three color systems RGB, black-and-white (BAW), and CMYK.

“Today’s images are echoes of how people have always been depicted.”

Steven Shearer (b. New Westminster, BC, 1968; lives and works in Vancouver) works in a range of media including printmaking, sculpture, painting, drawing, and collages of found photographs. His portraits of individuals in decorated settings earned Shearer international acclaim. They show heroes from the past—protagonists of musical subcultures or the history of art. The archetypal creative minds in their studios appear together with their works; the interiors surrounding them reflect their psychological constitution. Shearer paints them in the style of Symbolism, the German Romantics, or the Fauves. Imitating the perspective painting of the Renaissance, he virtually pulls the beholder into his pictures.

Steven Shearer participated in the Nova Scotia College of Art and Design New York Summer Studio Programme in 1992 and studied at the Emily Carr College of Art, Vancouver, in 1992. In 2011, he represented Canada at the 54th Venice Biennale.