nolde/kritik/documenta (German)

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.

In recent years, a Wagnerian night has settled over Brandon Lipchik’s (b. Erie, PA, 1993; lives and works in Brooklyn, NY, and Berlin) pictures. Moons rise; beasts and titans populate a homogeneous world of swimming pools, white picket fences, and neatly mowed lawns. Synthesized on a computer screen and then transferred to canvas by hand, the artist’s paintings revolve around the backyard as a mythically fraught scene of popular culture. The garishly lit multiperspectival pictures replicate characteristic shots from 1980s gay porn films and quote a clean American Apparel look. Lipchik subjects men’s bodies, spaces, plants, objects, and animals to digital deconstruction, obtaining rudimentary and abstract shapes. Staring at smartphones or gazing on water surfaces, his characters recall early digital animations and seem oddly hollow, like empty avatars waiting to be filled with new speculative content.

Between French Modernism and the New York School

The American painter, musician, and filmmaker Larry Rivers (b. 1923, New York; d. 2002, New York) is considered one of the most influential protagonists of the New York art scene in the period from the 1950s to the 1970s. He played with Miles Davis and Charlie Parker, was a close friend of Frank O’Hara, and pioneered Pop Art. In dealing with contemporary artist colleagues and historical role models, he always strived to making painting visible as a medium of reflection. From an early age, Rivers was preoccupied with French painting of the late nineteenth century. During his stay in Paris in 1961/62, he met Jean Tinguely and Niki de Saint Phalle, whereupon the range of materials he used was extended to wood, cardboard, and electric light. For the first time, the present volume – the first monograph in twenty years – sheds light on Larry Rivers’ idiosyncratic art with a view to the tension between traditional French painting and Abstract Expressionism around Willem de Kooning.