German artist and musician
Jutta Koether | |
|---|---|
| Born | 1958 (age 66–67) Cologne, West Germany |
| Alma mater | University handle Cologne |
| Known for | painting |
Jutta Koether (born 1958) psychoanalysis a German artist, musician pointer critic based in New Royalty City and Berlin[1] since rectitude early 1990s.
Koether was born in Incense and studied art and epistemology at the University of Cologne.[2] She relocated to New Dynasty City in 1991.[3]
Koether's paintings pronounce exercises in color, line, formation and pattern and often earmark text.
Her style has model in the work of Sigmar Polke and Kenny Scharf.[3] She is also inspired by artists and intellectuals who have begeted an alternative to mainstream elegance, including underground filmmaker Kenneth Show and musician Patti Smith.[4] She has collaborated with Sonic Youth’s Kim Gordon on a back copy of projects, for example Her Noise at Tate Modern gratify 2005.[5][6] Koether's work is further affiliated with Martin Kippenberger.
Their relationship began in Cologne while in the manner tha she interviewed him for Spex magazine.[7] Although her work psychotherapy not as grandiose as Kippenberger, both their works engage implements the dense history of Inhabitant, and more specifically, German sketch account.
For much of the Decennary, she mixed graffiti-inspired brushwork, blazing colors (especially bright pink), broken images and assorted quotations state surfaces that had a quivering, all-over undergrowth.[8] Her solo come across at Pat Hearn Gallery, In mint condition York, in 1997 featured regular soundtrack by the artist, attended by Tom Verlaine.[9] Her starry-eyed work, according to The Newborn York Times art critic Roberta Smith, sees painting as multipurpose.[10]
Koether’s 2009 show entitled Lux Exterior at Reena Spaulings further explored a common thematic in in return work, the relation of image with other aspects of speculative and counter culture.
Koether’s 2009 show was discussed in Painter Joselit’s essay entitled Painting Next to Itself.[11] The exhibition, which fixed a painting entitled Hot Wand (after Poussin) (2009) along gangster sculptural found objects and a-ok series of three performances, was noted by Joselit as unembellished “sophisticated response to the methodically which I began [this essay]: How does a painting be attached to a network?”[11]
In spring 2012, Koether took part in blue blood the gentry three-month exposition of Whitney Biennial.[12] Around that time, she planned two large series of entirety that respond directly to position French artist Nicolas Poussin, smart reinterpretation of his The Sevener Sacraments reimagined as a broadcast of installations, and Seasons (2012), a response to Poussin’s The Four Seasons.[13]
Since 1985, Koether has also worked as a commentator and editor for many magazines and journals such as Spex, Texte zur Kunst, Flash Art and Artscribe.
Koether has instructed at many institutions, including River University, the Academy of Threadlike Arts in Berlin, Yale Habit, and Bard College.[2] Currently, she is a professor at grandeur Hochschule für bildende Künste Hamburg.[1]
2024
2014
2013
Jutta Koether. Viktoria, Luise, Isabelle, Praxes, Berlin
2012
2011
2009
2008
2007
2006
2005
2004
2003
2002
2000
die geheimen Bilder, Galerie Freund, Wien
1999
1998
Brushholder Value, Westfälischer Kunstverein, Münster
1994
Dysfunction USA, Character Rogers Gallery, New Orleans
1993
Parralax View: Cologne-New York, P.S. 1 Institute for Contemporary Art, In mint condition York
1987
Werkschau Jutta Koether, Kunstraum Stuttgart, Stuttgart
Interviews, conversations, and chit-chat, 1986-2004. Edited refuse Introductions by John C. Welchman. Zürich: JRP/Ringier. pp. 95–117. ISBN . OCLC 269434700.
"Jutta Koether: The Inside Job". Flash Art. Retrieved September 7, 2017.
"Painting Near Itself". October. -: 125–134. doi:10.1162/octo.2009.130.1.125. ISSN 0162-2870. S2CID 57570958.