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Almond, Darren: All Things Pass

Almond, Darren: Terminus

Arnolds, Thomas

Brown, Glenn: Dessins

Brown, Glenn

Butzer, André

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Ecker, Bogomir: You’re Never Alone

Förg, Günther

Förg, Günther: Forty Drawings 1993

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Hains, Raymond

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Mahn, Inge

Marepe

Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert (Paintings 2014)

Oehlen, Albert: Interieurs

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Luckenwalde

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Riley, Bridget: Measure for Measure. New Disc Paintings

Riley, Bridget: The Stripe Paintings 1961–2012

Riley, Bridget: Paintings and Related Works 1983–2010

Sammlung im Wandel: Die Sammlung Rudolf und Ute Scharpff

Smith, Josh: Abstraction

Tunga: Laminated Souls

de Waal, Edmund: Irrkunst

Warren, Rebecca

Wool, Christopher (2017)

Wool, Christopher: Road

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Yard

Zhang Wei

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Glenn Brown
With a text by Jean-Marie Gallais


English / German / French
Hardcover with dust jacket
29.7 x 31 cm
60 pages
35 color illustrations
978-3-935567-55-8
35.00 Euro


 

“Perhaps that’s what Glenn Brown is: a hunter. A good hunter, discreet, always on the lookout for his prey, the images.” The British artist knows his way around and finds his motifs in the large visual memory vaults of art libraries. His work is based on reproductions of old and modern art: he lays bare their innermost secrets and turns them into color-distorted images, whose liquefied surfaces expand both gesture and illusion of the painting medium. If picture titles often reference pop music, that’s because the art is meant to reach out emotionally like a song. This gives rise to fascinating “collisions between one universe and another, between title and image, between treatment and iconography” that Jean-Marie Gallais elucidates in his essay.


For his exhibition at Galerie Max Hetzler in the spring of 2011, Glenn Brown chose a space that would project his play on reflection and remembrance into the room: a bright apartment in Berlin, where the works could develop their post-modern interaction to the full in an art nouveau setting. Here a traditional genre-like floral still life mutated into a bouquet of bodily orifices, portraits of old men wasted away in sickly colors, while the sculptures almost suffocated under broad brushstrokes of oil paint. Add to this the mutilated physicality of large torsos: two headless female figures and a giant horse’s head, shades of Rembrandt, van Gogh, and Menzel … Brown’s complete installation is presented here in individual work images, exhibition views, and zoomed-up details revealing every single brushstroke, that will allow readers to experience everything for themselves.

 

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In collaboration with Galerie Max Hetzler, Berlin