Artist's Books / Special Editions
Almond, Darren: All Things Pass
Almond, Darren / Blechen, Carl: Landscapes
Brown, Glenn: And Thus We Existed
Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022
Chinese Painting from No Name to Abstraction: Collection Ralf Laier
Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige
Demester, Jérémy: Fire Walk With Me
Dienst, Rolf-Gunter: Frühe Bilder und Gouachen
Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before
Ecker, Bogomir: You’re NeverAlone
Elmgreen and Dragset: After Dark
Förg, Günther: Forty Drawings 1993
Förg, Günther: Works from the Friedrichs Collection
Galerie Max Hetzler: Remember Everything
Galerie Max Hetzler: 1994–2003
Gréaud, Loris: Ladi Rogeurs Sir Loudrage Glorius Read
Hatoum, Mona (Kunstmuseum
St. Gallen)
Eric Hattan Works. Werke Œuvres 1979–2015
Hattan, Eric: Niemand ist mehr da
Herrera, Arturo: Boy and Dwarf
Hilliard, John: Accident and Design
Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations
Horn, Rebecca: 10 Werke / 20 Postkarten – 10 Works / 20 Postcards
Huang Rui: Actual Space, Virtual Space
Kowski, Uwe: Paintings and Watercolors
Mikhailov, Boris: Temptation of Life
Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)
Neto, Ernesto: From Sebastian to Olivia
Oehlen, Albert: Mirror Paintings
Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990
Oehlen, Albert: unverständliche braune Bilder
Oehlen, Pendleton, Pope.L, Sillman
Oehlen, Albert | Schnabel, Julian
Phillips, Richard: Early Works on Paper
Riley, Bridget: Circles and Discs
Riley, Bridget: Paintings and Related Works 1983–2010
Riley, Bridget: The Stripe Paintings
Riley, Bridget: Paintings 1984–2020
Roth, Dieter & Iannone, Dorothy
True Stories: A Show Related to an Era – The Eighties
Wang, Jiajia: Elegant, Circular, Timeless
Wool, Christopher: Westtexaspsychosculpture
Zeng Fanzhi: Old and New. Paintings 1988–2023
Zhang Wei / Wang Luyan: A Conversation with Jia Wei
Glenn Brown English / German / French |
“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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