Charlotte Posenenske

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Charlotte Posenenske , née Mayer (born October 28, 1930 in Wiesbaden , † October 3, 1985 in Frankfurt am Main ) was a German painter and sculptor of minimalism .

Career

As the daughter of a Jewish father, Charlotte Posenenske survived the Third Reich in a hiding place in Wiesbaden. After 1945 she worked in the painter's hall of the Hessian State Theater in Wiesbaden and, after graduating from high school, became a student of Willi Baumeister at the Stuttgart Art Academy in 1951 . In addition, she worked with Baumeister on stage sets in the Landestheater Darmstadt (now the Staatstheater Darmstadt ). 1952-1954 she was on stage and costume designer at the Municipal Theater in Lübeck and then returned to the State Theater in Darmstadt. The work at the theater and the preoccupation with the stage architecture had a great influence on her future artistic work. In 1959 she showed pictures made of adhesive strips in a group exhibition, followed in 1961 by her first solo exhibition at Dorothea Loehr in Frankfurt. In 1965 she came to New York with her husband and saw exhibitions of minimalism there. From this she gained the inspiration for her sculptural work. Charlotte Posenenske gave up her artistic work in 1968, similar to her colleague and later gallery owner Konrad Fischer (see quote). She began studying sociology at the age of 38 and, after graduating, worked in social projects until her death in 1985. She was married to the architect Paul Friedrich Posenenske . From 1968 she lived and worked with the publicist Burkhard Brunn, who also manages her estate.

plant

Charlotte Posenenske was an important artist of the 1960s who influenced German art in the 1970s with her minimalist works, objects and sculptures. Her artistic development began at the end of the 1950s with paintings that had a relief character. They were pictures on paper or hardboard, filled with oil or acrylic paint. From 1965 her plastic pictures , made with gray sprayed aluminum sheet, already reached into the room, from 1966 they were followed by plastic works. Her main sculptural work was created in the only two years until 1968.

Posenenske made her spatial sculptures with apparently industrially manufactured elements, such as angular metal sheets, corrugated cardboard , square tubes and chipboard , which can usually be designed in a variety of ways and suppress any artistic subjectivity. Her object “Square Tube Series DM, 1967” ( Museum für Moderne Kunst , Frankfurt am Main), consisting of three identical sets of four elements each, resembles the ventilation system of a production hall , which can be varied as desired by screwing to rebates . Their concern was to replace the traditional, autonomous work of art with an industrial artifact that could be produced cheaply in large quantities. It should be recognizable as an aesthetic object solely through its detachment from its immediate, everyday function.

Her object “Drehflügel”, 1967/68, (Brunn Collection) - her last work as an artist - is made with simple means such as sheet metal , pipes and chipboard. Six large, completely flat door leaves are movably mounted in axes on a square 2 × 2 m base plate and can be changed as required by the viewer, the “consumer”, in their position in relation to a closed room or a leaf object. "Posenenske's objects symbolically formulate a democratic claim to art and in some cases regain social functions in the field of fine arts that had largely been lost before the emergence of modern art."

Drawings play a special role in Posenenske's work , mostly as draft drawings for sculptures and room installations that have yet to be carried out , but also as autonomous works on paper. In the small-format striped pictures executed in the 1965s, she tested the aesthetic effect of simple, cheap materials, such as colored adhesive tape , thick felt or crayon pens on white, square surfaces. In contrast to her sculptures, these works bear the artist's individual signature due to the clear traces of their production . The stripe images are formally linked to her film in Super 8 format, produced in 1968 with the participation of Peter Roehr and Paul Maenz , which shows impressions of a journey through Holland in short shots. "When looking out of the moving car at the passing landscape, the objects distort into colored stripes." (Eva Schmidt)

Posenenske was friends with the artists Peter Roehr and Thomas Bayrle, who also lived in Frankfurt am Main, and the later art dealer Paul Maenz . In 2011, Burkhard Brunn donated 50 pieces by the artist from 1967 to the Museum of Modern Art (MMK) in Frankfurt am Main, making it one of the largest groups of works by Posenenske.

Her works from the plastic period 1966 to 1968 were consciously created from cheap, industrial materials. Posenenske had them manufactured in series up to mass production and sold them at cost price in order to emphasize the commodity character of art. Thanks to the legacy of a rented house, she was not dependent on income from art. Your administrator Burkhard Brunn continues this conviction. He produces further copies of her works as required and sells them at the gallery price from production costs plus communication etc. but without a profit margin. Therefore, no collector can expect an increase in value, as new copies can be made at any time according to demand. The largest retrospective for the time being with Posenenske's objects took place in 2019 at the Museum dia beacon USA.

Quotes

“The objects should have the objective character of industrial products. / They should not present anything different than they are. The previous division of the arts no longer exists: the artist of the future would have to work with a team of specialists in a development laboratory. "

“Although the formal development of art has continued at an ever faster pace, its social function has withered. / Art is a commodity that is temporarily topical, but the market is tiny and reputation and prices rise the less topical the offer is. / It falls I find it difficult to come to terms with the fact that art cannot contribute anything to the solution of pressing social problems. ”Charlotte Posenenske, Statements, in: Art international, Vol. XII / 5, May 1968

Exhibitions (selection)

Literature (selection)

  • Burkhard Brunn and Charlotte Posenenske: Standard time and work value - criticism of interest in the method construction: performance level estimation, systems of predetermined times, analytical job evaluation , Campus Verlag, Frankfurt am Main / New York, 1979 ISBN 3-593-32409-1 .
  • Rolf Lauter, On the variable objects of Charlotte Posenenske , in: Design Report, 8, August 1988, pp. 46–50.
  • Burkhard Brunn, Friedrich Meschede, Hans Ulrich Reck: Charlotte Posenenske , Galerie Jahrhunderthalle Hoechst, Frankfurt am Main 1990. Catalog: Museum of Modern Art, Frankfurt am Main 1990. ISBN 3-88270-450-0 .  
  • Burkhard Brunn: Arts go society , in: Rolf Lauter (Hrsg.): Art in Frankfurt 1945 to today , Societäts Verlag, Frankfurt am Main 1995, pp. 100-107. ISBN 3-7973-0581-8 .
  • Rolf Lauter, "I find it difficult to come to terms with the fact that art cannot contribute anything to solving pressing social problems". On the variable objects of Charlotte Posenenske , in: Rolf Lauter (ed.), Art in Frankfurt 1945 to today, Societätsverlag, Frankfurt am Main 1995, pp. 108–111. ISBN 3-7973-0581-8 .
  • Burkhard Brunn: Charlotte Posenenske (1930–1985). Memories of the Artist , Revolver - Archive for Contemporary Art, Frankfurt am Main 2005, ISBN 3-86588-078-9 .
  • Silvia Eiblmayr u. a. (Ed.) Charlotte Posenenske , catalog for the exhibition in Siegen and Innsbruck, 2005 ISBN 978-3-86588-077-2
  • documenta 12 Catalog , 2007, 416 pages, ISBN 978-3-8228-1677-6 .
  • Renate Wiehager (Ed.): Charlotte Posenenske, Daimler Art Collection, Hatje-Cantz, Ostfildern 2009, ISBN 978-3-7757-2362-6 .
  • Dorothea Strauss (Ed.): Monotony is beautiful. Charlotte Posenenske and Peter Roehr , with essays by Hubertus Butin, Monique Behr, Burkhard Brunn, Christine Mehring, Christina von Rotenhan, catalog Museum Haus Konstruktiv Zurich, 25.03. - 23.05.2010, Kehrer Verlag Heidelberg 2010. ISBN 978-3-86828-135-4

Individual evidence

  1. See: Willi Baumeister's students at the State Academy of Fine Arts Stuttgart 1946–1955 . In: Wolfgang Kermer : The creative angle: Willi Baumeister's educational activity . Ostfildern-Ruit: Edition Cantz, 1992 (= contributions to the history of the State Academy of Fine Arts Stuttgart , edited by Wolfgang Kermer; 7), ISBN 3-89322-420-3 , p. 200, there under the name Charlotte Mayer.
  2. ^ Frankfurter Kreuz, Hatje Cantz, Ostfildern, 2001 p. 276 ISBN 3-7757-1062-0 .
  3. Wiehagen 2009, p. 17 f.
  4. Wiehagen 2009, p. 11.
  5. ↑ Rotary wing, 6-wing object, 1968/68, aluminum sheet, coated hard foam panels, sprayed gray.
  6. Rolf Lauter , «I find it difficult to come to terms with the fact that art cannot contribute anything to the solution of pressing social problems». On the variable objects of Charlotte Posenenske , in: Rolf Lauter (Ed.), Kunst in Frankfurt 1945 bis today, Societätsverlag, Frankfurt am Main 1995, p. 110. ISBN 3-7973-0581-8 .
  7. Charlotte Posenenske, Untitled , 1968, Super-8, color, without sound, two film strips of 3 min each.
  8. ^ Eva Schmidt in: Catalog Documenta 12, Kassel, 2007, p. 68.
  9. Satisfied wishes in: FAZ of August 18, 2011, page 39.
  10. a b Wiehagen 2009, p. 103.
  11. Charlotte Posenenske: Work In Progress | Exhibitions & Projects | Exhibitions | Slide. Retrieved March 11, 2020 .
  12. ^ Minimalist Sculptor Charlotte Posenenske Was on the Edge of Art-World Acclaim. She Walked Away in 1968. Now, Dia Is Bringing Her Back. March 11, 2019, accessed March 11, 2020 (American English).

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