Cristina Lucas
Immobile Engine

The multimedia artist Olaf Breuning (b. Schaffhausen, Switzerland, 1970; lives and works in Upstate New York) has built a multifaceted oeuvre in installation art, photography, video, sculpture, drawing, and performance that questions contemporary reality. In a recent series of paintings, he playfully grapples with pressing concerns such as global warming. Like his earlier work, the new ensemble manifests his unorthodox approach. Breuning devised a unique painterly technique involving large-format wooden stamps with which he presses paint onto the canvas. The result is unconventional and fresh.

The publication—the first book dedicated exclusively to Breuning’s paintings—presents two dozen pictures as well documentation of the production process in the form of wooden stamps and sculptures. A dialogue between Katharina Beisiegel, director of the Kirchner Museum, Davos, and Gianni Jetzer, designated director of the Kunstmuseum St. Gallen, delves into parallels and differences between the oeuvres of Ernst Ludwig Kirchner and Olaf Breuning.

Breuning trained as a photographer in Winterthur from 1988 until 1993 and completed a master class in photography from 1992 until 1995. In 1995–1996, he was enrolled in a postgraduate program at today’s Zurich University of the Arts. He has had solo exhibitions at the NRW-Forum, Düsseldorf; the Palais de Tokyo, Paris; the Chisenhale Gallery, London; and the Zentrum Paul Klee, Berne. He participated in the 2008 Whitney Biennial and has had work in group exhibitions at the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Haus der Kunst, Munich; Kunsthalle Zürich; the Walker Art Center, Minneapolis; the Jeu de Paume, Paris; the KW Institute for Contemporary Art, Berlin; the Whitechapel Gallery, London; and the Mori Art Museum, Tokyo.

The Protagonist of the Modern Woodcut

The German painter, draftsman, and graphic artist Martin Noël (b. Berlin, 1956; d. Bonn, 2010) played a leading role in reviving the linocut and the woodcut, two techniques that had long been eclipsed by other media. In his large-format works on paper, he staked out a widely regarded and distinctive position in contemporary art. Noël was especially interested in the compositional relationship between line and surface. Released on occasion of the retrospective of his oeuvre at the Albertina, Vienna, this book presents an overview of the most important periods in the artist’s creative evolution, with an emphasis on the woodcut carved into the printing plate and the woodblock’s subsequent emancipation as an art object in its own right. Particular attention is paid to the application of ink to the surface and its painterly structure as well as the picture’s migration from object to canvas. The resulting paintings are exemplary of Noël’s late oeuvre.

Martin Noël studied graphic art and painting at what is now the Cologne University of Arts and Sciences. His art garnered numerous prizes and other honors, including fellowships from Kunststiftung NRW, Stiftung Kunstfonds, and Letter Stiftung. Works by Noël are in the German Federal Collection of Contemporary Art, Kunstsammlung Chemnitz, and the collection of Museum Pfalzgalerie Kaiserslautern.

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.