Beate Höing
It’s all about Love

Color Is Light

Intense monochrome areas of color, radiant pigments, and multifaceted surfaces are the characteristics of the art of Winston Roeth (b. Chicago, 1945; lives and works in Beacon, New York, and Waldoboro, Maine). He has devoted himself to abstract color field painting since the 1970s, with the grid as a leitmotif running through his oeuvre; both are fraught with painterly memories of light, “a light that can jump out and grasp the beholders, a color saturation that throbs with a deep glow,” as the artist himself puts it. It emanates from the strata of paint in his pictures, encountering the light that, falling upon his works, molds their chromatic effect. Roeth experiments with pure pigments, which he mixes by hand to make paints he applies in layers to diverse media including paper, aluminum, honeycomb, slate, and wood panels. The book documents a tour of an exhibition, presenting works dating from between the early 1990s and 2020.

A Tribute to the 100th Birthday. One of the Important Figurative Positions of the Young Federal Republic of Germany

She was an unusual painter who sought to hide her gender behind a pseudonym, while at the same time addressing her own circumstances as an independent artist and single mother in her large-format canvases. Gudrun Irene Widmann (b. 1919, Reutlingen; d. 2011, Reutlingen) created an oeuvre that lays claim to being one of the most important figurative positions of the 1950s and ’60s. This retrospective volume pays testimony to a strong personality and sheds light not only on her self-image as an artist but also on the influences of society and personal contexts — representative of the situation of female artists in general.

Gudrun Irene Widmann studied at the academies in Düsseldorf, Stuttgart, and Vienna during the Second World War. She worked in her own studio in her hometown of Reutlingen until her death.

The Artist’s First Publication in more than Thirty Years

For more than forty years Stephen Buckley (b. 1944, Leicester) has concerned himself with addressing the major themes of the twentieth century through a personal style oscillating between the matière of Kurt Schwitters, the dandyism of Francis Picabia and the intellectual rigour of Marcel Duchamp. He takes the two most basic components of a conventional painting (canvas and stretcher), and makes multi-dimensional constructions, joins groups of single canvases together in overlapping structures, makes shaped canvases, cuts a stretcher with a variegated edge, stitches and weaves together strips of canvas, patches pieces of canvas onto another support, and adds cardboard tubing, rope, found objects and cut out shapes. In the 1970’s and 1980’s, Buckley saw extended prominence in the art press, starting with the artist being described as “the Punk Rock of contemporary painting” and ending with him gaining the title of “the ubiquitous Stephen Buckley”. There is now a large portfolio of themes, references, motifs and symbols which are continually reworked and reinvented. Since then, he has made some of his most compelling paintings, lush pop canvases full of symbols and colour, a far cry from the pared-down, industrial feel of some of his early works.