Dorothee Joachim
Dorothee Joachim (born September 14, 1949 in Hamburg ) is a German painter of abstract color painting who lives in Cologne .
Life
Dorothee Joachim moved to Cologne in 1956 and graduated from high school in 1968. She then studied German, linguistics, philosophy and psychology.
Together with her partner Jens Hagen and others, she was the founder of the Socio-Pedagogical Special Measures Cologne (later Socialist Self-Help Cologne, SSK ) and the independent Cologne city magazine ANA & BELA. In 1971 she began studying fine art at the Cologne Werkschulen (later Cologne University of Applied Sciences ) with Otto H. Gerster , from which she graduated in 1975. This was followed by postgraduate studies with Dieter Kraemer , and Dorothee Joachim became a master student in 1982 .
After Jens Hagen's death, Dorothee Joachim took part in the processing and administration of his estate, both for storage in the Cologne city archive , as well as with exhibitions and as a curator .
In 2012 Dorothee Joachim received the Leo Breuer Award from the Rhineland Regional Council .
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Painting technique
The monochrome , "knows" the particularly -acting color images of Dorothee Joachim arise in a long process. After repeated priming, thin colored layers are repeatedly applied. An image often consists of over a hundred individual layers applied one on top of the other. Since they contain little pigment , they are more glaze-like and very transparent. Dorothee Joachim lets the color run over the picture while painting; by rotating the pictures between the individual orders, she achieves a distribution of the pigments over the entire surface. Pigments that do not adhere to the surface are deposited on the edges.
effect
This technique often makes the images appear monochrome from a distance. If the viewer moves in the room, towards the pictures, diagonally or sideways to them, the color tone and strength change, brightness and degree of mattness decrease or increase, depending on the viewing angle and incidence of light. When you get closer to the pictures, you notice the side edges, which, in contrast to the surface, often appeared stronger due to the larger accumulation of pigments. Standing directly in front of the picture, a delicate net-like structure can be seen on the surface, in which the pigments have been deposited. Through its depth, it gives the picture the changing impressions and opens up further dimensions when viewed from a short distance. The image also changes from close up, depending on the angle from which it is viewed. Because of the resulting depth, the pictures have already been described as sculptures .
Artistic development
Even before she began studying fine art, Dorothee Joachim's visual work created abstract color paintings and transparent colored surfaces. After admission to the Cologne Werkschulen, she dealt with figurative painting and parallel to this in a postgraduate course with photography, architecture and urban development. After graduating, she deepened her analysis of naturalism, realism and political art.
The first large-format, non-representational paintings were created from 1983 onwards, followed by a progressive process of abstraction. Over the next few years, the focus on the intrinsic value of color increased with "life-size" extremely wide, sometimes multi-part, horizontal formats. The pictures contain vertical color forms that are reminiscent of architectural elements, but can also be pure color and pure light.
Next, Dorothee Joachim succeeds in saying goodbye to any "depiction" by renouncing the horizontal and vertical. The more or less transparent colored surfaces in the primary colors cross the picture surface at different angles and superimpose one another, creating a multitude of color shades.
From about 1988 onwards, oblique overlapping surfaces became not only triangular shapes but also central quadrangular color shapes that could spread to the edges of the picture. The individual layers of color become more and more transparent. The central color form develops into an oval, which is in a tense relationship to the rectangular picture format. By doubling the oval with two related images, this tension increases. At the same time, images develop with narrow side stripes, the “center” of which becomes “non-color”.
From 1995 the only “form” of the pictures becomes their format. The double images and groups arise parallel and in context with one another. After a phase of blue pictures, the color decreases more and more, the individual layers of paint contain only minimal traces of pigment, the result is a color on the edge of perceptibility. The network of relationships between the images and their effect in space is now becoming more important. Due to their restraint in shape and color, they do not dominate in it, but change it and make it perceptible differently. The exhibition room or rooms become part of a comprehensive overall installation. This does not change because Dorothee Joachim brought more color into her pictures again in the following time.
Since 2000, Dorothee Joachim has been working, in addition to canvas on a stretcher frame, increasingly with wood in the form of MDF and multiplex panels . Later she also used different types of paper and cardboard, which are often not stretched.
Exhibitions (selection)
Solo exhibitions
- 1994, Dorit Jacobs Gallery, Cologne
- 1995, painting , Artothek, Cologne
- 1996, Association for Current Art, Oberhausen
- 1999, In Sight , Gothaer Kunstforum, Cologne
- 2001, Galerie Schütte, Essen
- 2001, Green Light , Alte Post Art Museum, Mülheim an der Ruhr
- 2002/2003, gallery january, Bochum
- 2008, Nordlicht , pp projects, Hamburg
- 2009, Letting Color , Devening Projects + Editions, Chicago, USA
- 2009/2010, TRUE VALUE , Brühler Kunstverein
- 2012, exhibition for the Leo Breuer Prize, LVR-Landesmuseum Bonn
- 2012, exhibition for the Leo Breuer Prize, Society for Art and Design, Bonn
Group exhibitions
- 2003, 7 x pure color , Städtische Villa Zanders, Bergisch Gladbach
- 2007, art from North Rhine-Westphalia, former imperial abbey Aachen-Kornelimünster
- 2010, Up to the Edge , Judith Racht Gallery, Harbert, MI, USA
- 2011, Art Mile Wangen # 4 , Wangen / Allgäu
- 2012, Recent Work , Dorothee Joachim and Richard Roth at Devening Projects, Chicago, IL, USA
- 2017, color contrast , Dorothee Joachim and András Gál in the House of the Arts, Veszprém, Hungary
Awards
- 2012 Leo Breuer Prize
Bibliography (selection)
- Jürgen Kisters: Abstraction, The Simultanhalle shows Dorothee Joachim , Kölner Stadt-Anzeiger , May 27, 1988
- Thomas von Taschitzki: The color breathes, new works by Dorothee Joachim , Kölner Stadt-Anzeiger, November 15, 1994
- Christel Wester: Subtile Subversion , StadtRevue April 1999, Cologne, pp. 142-143
- Sabine Müller: 7 x color pur , Kunstforum International , Vol. 164, pp. 323-325, 2003
- Brühler Kunstverein (editor): Dorothee Joachim - True Value , 2010, ISBN 978-3-86206-032-0
- Felix Klopotek: It was of course also an attitude of refusal , The painter Dorothee Joachim on the school of renunciation and the sharpening of perception, StadtRevue October 2012, Cologne, pp. 22-24
Web links
Individual evidence
- ↑ Dorothee Joachim at kunstmarkt.com , accessed on December 31, 2017
- ↑ Anneliese Fikentscher: In love with Jens Hagen - about the current exhibition in the photo boarding house in Cologne "Total real" , NRhZ-online, online flyer no. 143 from April 23, 2008, accessed on December 31, 2017
- ↑ Jens Hagen - Never Arriving Events for the 70th birthday and 10th anniversary of the death of the Cologne writer and artist Jens Hagen
- ↑ Website pp projects
- ↑ info website Art Mile Wangen
- ↑ Website Gallery Devening Projects
- ^ Winner of the Leo Breuer Prize
| personal data | |
|---|---|
| SURNAME | Joachim, Dorothee |
| BRIEF DESCRIPTION | German painter |
| DATE OF BIRTH | September 14, 1949 |
| PLACE OF BIRTH | Hamburg |