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Almond, Darren: All Things Pass

Almond, Darren: Terminus

Arnolds, Thomas

Brown, Glenn: Dessins

Brown, Glenn

Butzer, André

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: 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

Zhang Wei

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Collector's Editions

Out of print

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André Butzer
With texts by Daniel Mendel-Black, Philipp Schwalb, and a discussion with the artist


German / English
Hardcover
34 x 32 cm
64 pages
29 color and 2 b/w illustrations
978-3-935567-66-4
35.00 Euro


 

André Butzer has been known for roughly executed figure paintings in a style he once labeled sci-fi expressionism. This book highlights his recent black-and-white colorfield paintings that explore two anti-geometrical rectangles and their balancing act between movement and stagnation. With two essays by fellow artists and a lengthy exchange with Butzer himself, the complete inner workings of this shift toward an anti-geometric orthogonality are explored in sympathetic detail on nuanced full color plates.

 

ROUNDNESS: A DISCUSSION OF PAINTING (excerpt)


Part 1: The Number


André Butzer: The holiness of the pictorial field is connected to a measurement. Is that true, and if so, how do you measure it?


Daniel Mendel-Black: I’m not looking for a mathematical answer such as the Golden Ratio. The solution probably isn’t 1.6180339887 . . . Pythagoras, Euclid, Leonardo of Pisa, Kepler, and many others tried to quantify beauty, to discover a secret universal formula in numbers. Neither, as with the Golden Mean, do I search out the answer in ideology. I doubt that beauty is somehow located in the perfect balance of moral extremes, that the place where ethics and aesthetics touch is in any way average. These philosophical belief systems may provide elements of truth, certain clues, directions to pursue, others less fruitful to avoid, but they alone cannot contain the whole answer.


AB: That’s right. These numbers are wrong and don’t exist. Though I myself believe in the holy thing. So there is a number in terms of a relation, but unknown. It’s just something very close to the holy thing. It says: here I am, I can’t be counted.


DMB: Newton’s devotion to the discovery of the Philosopher’s Stone is a good example. He spent hours on end locked away in his dark dormitory experimenting with alchemy. Then, one day, he dons his powdered wig (the fashion of the day) and emerges into the light of morning with the manuscript of Mathematical Principals of Natural Philosophy tucked under his arm, miraculously reintegrated into his academic community—except in one key regard: he refused to take the holy orders. Why? Because he rejected the trinity. He was apparently pretty sure the secret number wasn’t 3. Perhaps I am less concerned with which number than I am with the notion that, whatever it is, it declares itself, insists on its existence.


AB: I don’t know anything about existence. For me, it’s a dream. I have to destroy only. I have destroyed the Readymade. We paint for churches only.


Every painting destroys endlessly anything else. I am alone and I can see a proportion of light. We are half man, half god, or no one. We cannot create. I wait for the holy thing, and I have seen it already in perspective.

 

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In collaboration with Galerie Max Hetzler, Berlin