Word: anselm
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Dates: during 1980-1989
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...contemporary market is going to be the discreet dispersal of the huge collection formed, mostly after 1980, by the advertising mogul Charles Saatchi, whose London firm is now in difficulties. Saatchi bought in bulk, sometimes whole exhibitions at a time. He acquired, for instance, more than 20 Anselm Kiefers, whose prices are now past the $1 million mark, and at least 15 Eric Fischls, which are on or around it. Artists let him have the cream of their work because it was understood -- though never explicitly said -- that Saatchi would never sell; his collection would become a museum...
...turn. The new building (paid for mainly by O.S.U. alumnus and Columbus-based retailer Leslie Wexner) may have been the perfect project for this hyperintellectualizing bad boy to prove himself on: it was conceived by the university as both a museum and a seedbed for avant-garde art, from Anselm Kiefer paintings to Pina Bausch performances to a new video installation that displays images from the building's surveillance cameras. Did the university want a fin-de-siecle monument to erudite monomania, inspired nervousness, the intriguing lunatic gesture? Eisenman was the man for the job. "I get weepy that O.S.U...
...carcasses of a lion and a huge eagle, predicts many of the elements of Nazi classicism if not its overweening vulgarity. The taste for earnest, portentous and sentimental allegory, which now and then muddies the work of even the best German artists in the postwar years -- Joseph Beuys, Anselm Kiefer -- is well and truly installed by the early 1800s in the elaborate metaphorical drawings and prints of Runge. His paeans to innocence, with their flying babies and virgins and lilies, waver close to visionary kitsch. And of course the attitudes to nature and society that permeate German expressionism were...
...slimy paint and broken crockery behind them in their progress toward the art centers of the world. The dull percussion of beaten chests went on for around five years. Then a dying fall. And who lasted? Not many, and not always the ones who were expected to. In Germany, Anselm Kiefer; in America, Susan Rothenberg; and in England, Auerbach and Kossoff...
...rambling installation, Unlessness, 1985-88, by Felix Droese, 38. To judge from his materials, which include wooden beams salvaged from warehouses and bridges, oxidized metal, tar paper, dusty broken glass and spindly watercolor drawings, Droese is under the spell of Joseph Beuys and, to some degree, Beuys' former student Anselm Kiefer. He draws with scissors, creating silhouette cutouts (a favorite form of German folk art) on an enormous scale. They make all manner of references to pacifism, to imprisonment and the gallows, to shadow puppetry and children's drawings, and aspire toward a vividly German kind of paranoid sublimity...