ARTISTHelnwein

Tony Cragg, Gottfried Helnwein, Maria Lassnig, Hermann Nitsch, Arnulf Rainer, Hubert Scheibl, Erwin Wurm, Eduard Angeli, Gunter Damisch, Xenia Hausner, Kiki Kogelnik

Modernism's newest publication explores several dozen works of surprising modern and contemporary art. Encompassing painting, sculpture, drawing, and photography, it features artists ranging from Francis Picabia and Hannah Hoch to Tony Oursler, Gottfried Helnwein and Peter Shire to R. Crumb and the Philadelphia Wireman and more.

Katalog zur Ausstellung »In aller Munde. Von Pieter Bruegel bis Cindy Sherman« Kunstmuseum Wolfsburg, 31.10.2020–5.4.2021

The Beginning bietet einen umfassenden Überblick über eine der innovativsten Epochen österreichischer Kunstgeschichte: vom Wiener Phantastischen Realismus über die frühe Abstraktion, den Wiener Aktionismus, die kinetische und konkrete Kunst sowie die österreichische Spielvariante der Pop Art bis zu dem für Wien so kennzeichnenden gesellschaftskritischen Realismus.

Georg Baselitz, Keith Haring, Gottfried Helnwein, David Hockney, Roy Lichtenstein, Edvard Munch, A. R. Penck, Pablo Picasso, Gerhard Richter, James Rosenquist, Egon Schiele, Karl Schmidt-Rottluff, Andy Warhol, a. o.

Gustave Dore, Dora Maar, Edouard Vuillard, Adolf von Menzel, Edward Burne Jones, George Bellows, R. Crumb, Hans Bellmer, Lucian Freud, Gottfried Helnwein a. o.

Modes of Behavior towards People When Affection Plays a Part.

Galeries nationales du Grand Palais Paris - 16 septembre 2006 - 15 janvier 2007 Museum of Modern Art Montreal - March 8, 2007 - June 24, 2007 It All Starts Again with a Mouse: Disney Recycled by Contemporary Art - Pop Art made Mickey and Donald into icons, and artists continue to be inspired by Disney’s legacy today. This section shows some thirty works based on Disney characters, created by a diverse group of modern and contemporary artists that includes Gary Baseman, Christian Boltanski, Gottfried Helnwein, Bertrand Lavier, Roy Lichtenstein, Claes Oldenburg, Peter Saul and Andy Warhol.

Gottfried Helnwein, Epiphany II (Adoration of the Shepherds) (1998), de Young Museum, Fine Arts Museum of San Francisco.

Über 50 zeitgenössische KünstlerInnen thematisieren das Menschenbild

In cooperation with Kunstmuseum Wolfsburg, this exhibition is exploring themes of human identity - the topic of "self" in the most varied of situations and visual expressions. This international project brings together works from Christian Boltanski, Gottfried Helnwein, Gerhard Richter, Cindy Sherman, Marlene Dumas, Bruce Nauman and others.

Catalogue

Here, Decadence is envisioned as a response to apocalypse, economic turmoil and the effects of late capitalism. Decadence Now!: Visions of Excess reaches back to the 1970s to examine pre-millennial rumblings of alienation, aestheticism, morbidity, pornography, intoxication and madness in the art of Robert Mapplethorpe, Cindy Sherman, Matthew Barney, Jake and Dinos Chapman, Gilbert and George, Keith Haring, Gottfried Helnwein, Damien Hirst, Jeff Koons, Yasumasa Morimura, Catherine Opie, Zhang Peng, Pierre et Gilles, Andres Serrano, Joel-Peter Witkin, David Wojnarowicz and many others.

Louis le Brocquy, Sean Scully, Tony O'Malley, Hughie O'Donoghue, Gottfried Helnwein, Basil Blackshaw, Dorothy Cross, William Crozier, Mary FitzGerald, Martin Gale, Elizabeth Magill, Janet Mullarney, Paul Nugent, Linda Quinlan.

Anlässlich der Ausstellung in der Albertina, Wien, 17.10.2008-11.01.2009 Mit Beitr. von Matthias Boeckl, Brigitte Borchhardt-Birbaumer, Regina Doppelbauer, Monika Faber, Antonia Hoerschelmann, Christina Natlacen, Brigitte Neider-Olufs, Elisabeth Olivares Díaz, Rolf Sachsse, Klaus Albrecht Schröder.

Gottfried Helnwein's classic yet unnerving images transform sentimental representations of childhood into portraits of individual subjects frozen at the moment of suffering. His photo-paintings pirouette on the fine line between chocolate box pictures/excessive sentimentality and the cost to children of being treated as commodities, of suffering emotional or physical pain at a grown-up's hands. High pictorial and technical values create compositions that recall contemporary cinema and seventeenth-century painting, expanding the treatment of time into epic. This apparent grandiosity plays against the immediacy of each suffering subject, underlining the different experience of time in childhood. Small hurts can devastate when you're a child. Big hurts stay with you for years, as survivors of Hitler's Anschluss testify. Now, in the age of virtual use and abuse of children, Helnwein's insistence on valuing the humanity and charm of the littlest, the least powerful, offers a counterpoint to claims that suffering counts most when you're grown-up. It opens his practice into a series of pictorial mise-en-scènes, as did Rembrandt's tableaux in The Blinding of Samson (1636) or The Night Watch (1642).

Damien Hirst, Gottfried Helnwein, Jörg Immendorff, Anselm Kiefer, Per Kirkeby, Gerhard Richter, Paul McCarthy, Georg Baselitz, Hermann Nitsch, Jake & Dinos Chapman, Gabriel Orozco, Emily Kame Kngwarreye, Katrin Plavçak, Philip Taaffe, Elke Krystufek, Alfred Kubin, Siegfried Anzinger, David Bailey, Sam Francis.

Gottfried Helnwein's Epiphany (Adoration of the Magi) is a strange takeoff on a traditional New Testament theme in art. The work depicts a Madonnalike mother displaying her baby to attentive Nazi officers, Painted in hyperrealist grisaille with chiaroscuro effects, the work resembles an old documentary photograph made huge. The eerie, sinister overtones are unmistakable. Who is this mother? What do these officers want with her and her child? What kind of official paper might the officer on the left hold in his hand and what might be its result? Helnwein, characteristically, presents us with an ambiguous, haunting image and leaves us to wonder about its meaning... With its huge size, hyperrealist style, and disturbing content, this unsettling work bestows a psychological anxiety accompanied by a strong magnetic pull. Confronting it, we tend to stare-entranced by both its beauty and its seductive, malevolent overtones...

Helnwein Installation and one man show Mackey Gallery Houston, Texas

Exhibition at the Logan Collection Vail

(Katalog) 36 Seiten, Heft, farbig. BxH: 24,5x30,5cm. Cobra museum voor moderne kunst 2004. Sprache: Niederländisch, Englisch Katalog der Ausstellung 'Donald Duck 70 jaar jong!' in Amstelveen, 2004. Texte und Bilder zu Donald Duck, Kaj Stenvall, Gottfried Helnwein und Carl Barks. Beilage: faksimilierte Reprint-Ausgaben der Nummern 1 (1952) und 2500 des holländischen Magazins Donald Duck, een vrolijk Weekblad.

Katalog zur Ausstellung: Superstars: Von Warhol bis Madonna (4.11.2005 - 19.2.2006) - eine Kooperation zwischen Kunsthalle Wien und Kunstforum Wien.

Catalogue cover: Gottfried Helnwein, Head of a Child 5, 1998

Fall of the Angels. It's a slow fall. Its actually a fall in extreme slow motion. Its so slow that the motion seems frozen, like a glacier that's constantly flowing and moving, though not perceptible to our eyes, because for us, who live short and fast, glaciers appear to be static and eternal. That former angel seems to be suspended between hell and heaven, It has not hit the bottom yet - and it probably never will - but it's getting closer ....constantly. Gottfried Helnwein

exhibition-catalogue Albertina, Wien - 10. 10. 2000 - 18. 10. 2000 Galerie Suppan, Wien - 23.10. - 25.11. 2000

Gottfried Helnwein, "Mickey", oil and acrylic on canvas,210cm x 310cm

Historian Peter Selz has compared Gottfried Helnwein's tortured, screaming, and bandaged self-portraits to Messerschmidt's sculptural self-portraits, but the artist has said, " The reason why I took up the subject of self-portraits and why I have put myself on stage was to function as a kind of representative for the suffering, abused and oppressed human being. I needed a living body to demonstrate and exemplify the effect of violence inflicted upon a defenseless victim. There is nothing autobiographical or therapeutical about it, and I don’t think it says anything about me personally.

Die Ausstellung präsentiert vierzig ausgewählte Statements großer Photographen des 20.Jahrhunderts: von Cartier-Bresson, Lebeck, Chargesheimer bis zu Klauke und Helnwein wird jeweils eine bedeutende künstlerische Position gezeigt. Die Ausstellung konzentriert sich nicht auf das Einzelbild, sondern komponiert ganze Werkgruppen zu großformatigen Tableaus und unterstreicht so den "journalistischen Aspekt" in der Photographie dieses Jahrhunderts. Einen Abschluß findet dieser Jahrhundertrückblick in drei künstlerischen Positionen, die in sehr persönlicher Weise Stellung zur gesellschaftlichen Situation beziehen: Jürgen Klaukes "Self Performance" (1972/73), Philip Pococks Berliner Szenen (1982) sowie Gottfried Helnweins "Poems" (1998).

February 1999 - on tour till 2001 started at the Ansel Adams Center for Photography, San Francisco catalogue: Harry N. Abrams, Inc. New York, ISBN 0-8109-4358-1

"Child's Head", 1991, Oil and acrylic on canvas, 650x403.5 Pg. 278 The early stages of this monumental head can be seen in Helnwein's widely varied portrayals from the seventies of suffering children, but above all in the Cologne installation of anonymous children's portraits "9th November Night" from 1988. The human face, in particular the child's face, is of great fascination for Helnwein and consequently accounts for one of his central pictorial subjects. The monumental face of a little girl which is introduced here is, as it were, representative of all children. In our adult society oriented towards profit and success, children can almost be described as a fringe group, their interests indeed being observed in a comparatively modest fashion. Against this background, this monumentalizing of the face in connection with the hyperrealistic style of painting is to be understood as an oppressive irritation of our customary experience of perception. Originally the child's head was shown in a Minorite church in Krems, Stein; in fact it was placed at the focal point of a huge early Gothic room which lent the picture a positively sacral tone.

In diesem Bildband sind die Spitzenfotografen dieser Welt vereint - hervorragende Wiedergabe von den bekanntestens Fotografien. 173 Seiten aufwendig gestaltet, Fadenheftung, fester Leineneinband mit Schutzumschlag Format 300 x 250 mm

(Auszug) In seinen Gemälden und Grafiken arbeitet Helnwein besonders in der Mitte der 80er Jahre gleichzeitig mit unterschiedlichen Techniken: Abstrakte, gestische und monochrome Malerei stehen neben Fotorealistischen Porträts, Aquarell und Zeichnung neben Fotografie, die er zum Teil stark überarbeitet. Dabei integriert er Bildzitate aus Politik, Massenmedien und Trivialkultur. Bevorzugter Gegenstand seiner Arbeiten sind Kinderbilder, Porträts und Menschen in einem oft trostlosen Stadtraum.

group show catalogue Dieser Katalog erschien anlässlich der Ausstellung Der Fixierte Blick Die Fotografische Sammlung im Rheinischen Landesmuseum, Bonn

an exhibition curated by John Yau catalogue published by Smart Art Press to coincide with the premiere exhibition at Bergamot Station Arts Center, Santa Monica, CA February 3 - April 1, 1995 - Bergamot Station Arts Center Santa Monica, California February 3 - April 1, 1995 - Thread Waxing Space New York, New York May 2 - June 10, 1995 - Centre Gallery Miami-Dade Community College/Wolfson Campus Miami Florida September 7 - October 17, 1995

catalogue Cover and page 2 and 3 : Helnwein, detail from: "Selection, Ninth November Night" Masterpieces of the Ludwig Collection from antiquity to present day.

An exhibition by the Musee de L' Elysee, a Museum of Photography, Lausanne conceived by Charles-Henri Favrod and Andre' Rouvinez Edition Braus, Heidelberg

Dieser Katalog begleitet eine Ausstellung im Rahmen der Fototage 1993 in der Schirn in Frankfurt am Main Konzept und Redaktion: Michael Baumgarten

group show catalogue Dieser Katalog begleitet eine Ausstellung im Rahmen der Fototage 1993 im Deutschen Architekturmuseum in Frankfurt am Main. Die folgende Ausstellungstournee wurde im Rheinischen Landesmuseum in Bonn eröffnet. Herausgegeben von Ulrike Gauss, Barbara Hofmann, Klaus Honnef und Reinhold Mißelbeck

group show Pfalzgalerie Kaiserslautern, 15.November 1992 bis 10. Januar 1933 Städtische Museen Heilbronn, 29. Januar bis 21.März Catalogue - Essay: Erich Thies, Der Kopf: Weltbeginn und Ende

Biennale-catalogue This edition, at the Promotrice delle Belle Arti, coincided with the 150 anniversary of the birth of photography. The curator, Daniela Palazzoli, underlined the importance of the artistic value of photograpy putting aside the historical and modern section a contemporary section that hosts authors like David Hockney, Gottfried Helnwein,Clegg & Guttmann, renowned names in the artistic world.

This book accompanies an exhibition tour of the Staedtische Galerie Erlangen Kommunale Galerie Berlin Badischer Kunstverein e.V. Karlsruhe Kunstverein Ingolstadt Staedtische Museum Schleswig which was first presented in October 1989. All instant pictures originate from the International Polaroid Collection. - Helnwein staged, without inhibition, the spectacle of his own mind, counterpoised between his emotions as an accelerating element of experience and his rationality in reflection upon the human condition.

group show catalogue

Kunstforum Länderbank, Wien, 14. Mai bis 26. Juli 1987 Musée d'Ixelles, Brüssel, 18. September bis 13. Dezember 1987

group show Katalog: Hildegund Amanshauser, Dieter Schrage

group show exhibition catalogue: texts by Werner Hoffmann and Hans Dichand

Catalogue Gottfried Helnwein Franz Zadrazil Ulrich Gansert Franz Mölk Jochen Wahl Thomas Moog