Horst Keinig
Scoop

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.

Lebensraum of our Time: Contemporary Landscape Painting

The central theme of Heike Negenborn (b. 1964, Bad Neuenahr-Ahrweiler; lives and works in Windesheim) is the seen lebensraum. In reference to seventeenth-century Dutch landscape painting, her works stand in a specific tradition of capturing reality. With her new group of works titled Net-Scape – Landscape in Transition, Negenborn transfers art historical references into contemporary images. The artist is interested in the possibilities of media transfer and the increasing appropriation of analog reality by the digital image. The present volume provides impressive insights into the developments of the landscape painter from 2007 to 2020.

Heike Negenborn studied fine arts at Austin College, Texas, Art Education at Johannes Gutenberg Universität Mainz, and Painting and Printmaking at the Akademie für Bildende Künste Mainz.

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.