Harry Kramer

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Serial "Collaborations" - Harry Kramer
Stephan Reusse , Kassel 1983
Photo paper, uric acid and silver halide
174 × 125 cm

Link to the picture
(please note copyrights )

Harry Kramer (born January 25, 1925 in Lingen (Ems) ; † February 20, 1997 in Kassel ) was a German dancer , artist and professor of sculpture at the Kassel Art Academy . He became internationally known as a representative of kinetic art and as a participant in documenta III in 1964. His works, which were created between 1952 and 1987, including, above all, the wire- based automobile sculptures , have been shown in exhibitions within and outside of Europe and are part of the holdings of private and public collections worldwide. He has written essays on art and autobiographical writings.

As a university lecturer, Harry Kramer organized numerous art events and exhibitions together with his students between 1971 and 1984 under the title “Atelier Kramer”. After his retirement in 1992, he devoted himself to the foundation he had initiated in the 1980s for the realization of an artist necropolis in Kassel.

Life

Origin and education

Lingen repair shop, 1986; closed in the following years and from 1990 onwards, parts of it were converted into an art gallery.

Harry Karl Kramer came in 1925 as the son of Johann Kramer, plumber in the Lingen repair shop , and the tailor Elisabeth, née. Keppler from Nijmegen , in Hinterstraße 2 in Lingen zur Welt. The mother named her son Harry after the actor Harry Piel ; she died young of tuberculosis in 1932 . The father married a second time and was transferred to the Neumünster repair shop , where the son began an apprenticeship as a hairdresser after attending primary school in 1939. When the Second World War broke out , the 14-year-old was traveling to America with an illegally obtained free ticket from the Deutsche Reichsbahn , but only got to the Osnabrück police prison, where his father released him. Harry Kramer then worked as a hairdresser in Lingen until 1942. During these years he also tried unsuccessfully as a drama student in Osnabrück and Münster .

World War I and Farm Hall

The English country estate Farm Hall

In 1943, Harry Kramer, who was meanwhile 18 years old, was drafted into military service, trained as a sniper and deployed in France as an armored infantryman. In 1945 he became an American prisoner of war and, following unsuccessful escape attempts, was taken to Farm Hall in England , where he ironed the pants and cut the hair of the ten German physicists interned there as part of Operation Epsilon . Carl Friedrich von Weizsäcker recalled it in 1988 as follows: “On New Year's Eve 1945, when we knew that we would soon be returning to Germany, a cheerful little celebration was held, with self-made limericks and a theatrical performance by the talented German prisoner of war Harry Cramer (today art professor in Kassel), who was assigned to us as a hairdresser [...]. ”Harry Kramer himself claimed in his autobiographical story Ein Frisör aus Lingen (1990) that he had pondered over the physicists in Farm Hall,“ whether he was a film actor or a that a professor should strive for ”.

Dancer and marionettist

After his release from Farm Hall, Harry Kramer first practiced tap dancing from a book in his parents' laundry room in Neumünster. From 1947 he attended Lola Rogge's dance school in Hamburg and after the currency reform , which made further training unaffordable for him, he took on engagements at the city theaters, first in Bielefeld and then in Münster. There he met his future wife Helga Brauckmeyer (1929-2017), a dancer. She was the daughter of a chemist at the Kaiser Wilhelm Institute and the metallographist and poet Anneliese Hager . After a stay in Starnberg in 1951/52, Harry Kramer and Helga Brauckmeyer moved to Berlin, where from 1952 he developed his first figurines for what was later to be called a mechanical theater . They were made of wire, paper, and wood and moved to music; According to Kramer in his autobiography, he “tinkered” the first figure, a puppet , “to cheer up his girlfriend a little”, who earned the money as a model for underwear “in triumph - crowns the figure ”.

The first program, 13 scenes with the music by Wilfried Schröpfer , was performed by Kramer in 1955 at the Springer Gallery in Berlin, for five weeks en suite . On the occasion of a performance in Baden-Baden , Joachim-Ernst Berendt suggested a broadcast on Südwestfunk .

Artists in Paris and Las Vegas

In 1956 Harry Kramer moved to Paris , where Helga Brauckmeyer had received an engagement as a dancer with the Bluebell Girls in the Lido .

Bluebell Girls with Miss Bluebell Margaret Kelly , 1948

In Paris, Kramer developed figures and objects to be set in motion by hand on a small stage, initially for a second program, Signals in the Shade . In 1957 the now so-called mechanical theater was performed at the second Festival d'art d'avantgarde in Nantes .

The characters in the program led to the first experimental film, Die Stadt (16mm, 17 minutes), which Harry Kramer made in 1956 together with Wolfgang Ramsbott , a lawyer. Four more experimental films followed by 1965 , of which Die Schleuse , shot in 1963, won international awards. In 1960, Kramer choreographed the ballet Nachtpuls in Paris for the Ranelagh , an “art cinema” in Paris, on behalf of Jacques Polieri .

From 1957/58 in Paris, Kramer produced figures for the mechanical theater and films, as well as wire sculptures that could be set in motion by means of a crank or were driven by small motors. Günter Grass , who was also based in Paris until the end of the 1950s, was inspired by the fragile machines and “the practical friendship with Harry Kramer” to create motifs in his own work, whereby the “mobile figures”, according to Grass, “mean scarecrows to mechanics helped ”. In 1962, Kramer's companion Helga Brauckmeyer accepted the offer of a permanent show with the Bluebell Girls at Stardust in Las Vegas .

Entry ticket to documenta III

In 1964 Harry Kramer took part in the documenta III in Kassel with his automobile sculptures . Arnold Bode , founder of documenta , had chosen him together with Jean Tinguely and Jesús Rafael Soto as well as Otto Piene , Heinz Mack and Günther Uecker of the ZERO group . In the Light and Movement exhibition department, Kramer's work attracted attention and recognition. His documenta works have been sold and he has received 25 invitations to solo exhibitions in Europe and the United States. Kramer settled on the Loire and restored a Renaissance property that he had acquired with the proceeds from his documenta sales.

In 1965, Kramer accepted a guest professorship at the Hamburg University of Fine Arts and carried out the ballet inventory there . He then followed Helga Brauckmeyer to Las Vegas, married her and began to design furniture made of wire and wood with small motors as well as colored sliding sculptures made of wood that were painted with lacquer paints. In 1967 components for industrial production were added. At the beginning of 1968 the Kramers returned to France and from then on lived on the Loire.

Professor in Kassel

Art Academy Kassel (partial view)

In 1970 Harry Kramer was offered a professorship for sculpture at the Art Academy in Kassel (today an autonomous department of the University of Kassel ), which he followed in 1971. Kramer initially lived in his studio in the academy until he was able to purchase and restore an old house on Brasselsberg in Kassel, while his wife Helga, who had ended her career as a dancer after Las Vegas, appeared in the haute couture fashion shows in Paris . The property on the Loire was sold and a new one in need of restoration was acquired in the Cevennes near Le Vigan in southern France.

Kramer saw his work focus in Kassel now in the teaching and training of students. In the 1970s and 1980s, he carried out joint projects with his students, for example exhibitions, performances and other activities, which he continued occasionally after his retirement as a professor in 1992. After his retirement, Kramer lived and worked with his wife in Kassel and in southern France.

Necropolis and estate

Artist necropolis Kassel: grave work by Timm Ulrichs (* 1940), 1992

Since the 1980s, Kramer had been running the idea of ​​the artist necropolis , an artist cemetery in Kassel, with the intention of creating a public place where the artist is his own, independent client. The City of Kassel Necropolis Foundation was established in 1993 , to which Kramer brought in the capital he had obtained from the sale of his mechanical theater to the Munich City Museum and works of art from his private collection, such as the first kinetic one acquired from his studio in Paris Sculpture Tinguelys, earned. Harry Kramer died in 1997 in his house on Brasselsberg in Kassel. At the request of his widow, his urn was buried on the grounds of the artists' necropolis in Habichtswald in a place marked by the initials of his name carved into a tree.

His artistic estate, owned by the Nekropole Foundation , is managed by the Kunstverein der Kunsthalle Lingen in Kramer's birthplace, Lingen, where it is shown in a permanent exhibition in the water tower on the site of the former repair shop . His widow Helga Kramer handed over documents and works that remained in Kramer's private possession to the documenta archive in Kassel in 2006 .

plant

With his moving objects, Harry Kramer, along with Jean Tinguely and Pol Bury, is one of the protagonists of a kinetic art that, in addition to the constructivist traditions of this art movement, represented “machine kinetics with a Dadaist character”. Art history also classifies Kramer's work of “fragile vibratory structures” alongside Alexander Calder's mobiles and, with regard to the “mythologies of everyday life”, relates to the works of Niki de Saint-Phalle, among other things .

Mechanical theater

The mechanical theater consists of bizarre abstract sculptures made of paper mache, wood and wire, which are set in motion by two players in collage-like scenes to the music on a small black stage. Puppet theater does not show a sequence of actions, like the classic marionette play , but rather sequences of movements designed for pieces of music, jazz and musique concrète . “Mechanical” , said Harry Kramer in 1960, “does not refer to the machines used, but rather describes the motor skills of the course of action, ie a dramaturgical device”.

Two programs were created between 1952 and 1958: 13 scenes (first performed in 1955 at Galerie Springer, Berlin) and Signals in the Shade (first performed in 1957). In contrast to the figures in the first program, which were only moved by hand, those in the second program also showed automobile sculptures that could move independently across the stage by means of spring motors from clockworks.

The title Mechanical Theater meanwhile forms the title for the entire group of works. The first program, 13 scenes , is considered lost according to the catalog raisonné ; The Theaterfigurenmuseum Lübeck holds some figures from this program in the collection of Fritz Fey junior. The figures in the second program had been on deposit in the Munich City Museum since 1958 ; they were restored by Kramer in the 1980s and acquired by the city museum in 1985. Kramer then performed the reconstructed Mechanical Theater again in Berlin, Stuttgart, Porto and Munich, among others .

Automobile sculptures

Sledge
1963
Metal sculpture,
76.2 cm × 104.1 cm × 54.6 cm
Tate Gallery ; London

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(please note copyrights )

The automobile sculptures are fragile objects that were initially made from wire covered with toilet paper and later knotted solely from wire and which can be put into operation with the help of a small hand crank or moved by a small electric motor. The art critic Alfred Nemeczek described the sculptures in 2003 as “skeletons made of braided wire - some in the form of filigree spheres, others as cylinders, cages, hands or feet - [...] the inside [equipped] with delicate wheels, hammers and levers, which with the help of tiny coils, rubber cords and little motors got into idiosyncratic movement. ”Between 1959 and 1965, a total of around 270 of these wire sculptures were made, which are in private and public collections in Germany, France, the Netherlands, Switzerland and Great Britain (there for example at the Tate Gallery in London ) and in the USA.

Construction elements and buoys

Sliding sculptures
1967-1969
Paper, wood, acrylic; canvas
Art gallery (water tower); Lingen

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The furniture and the sliding sculptures continue the series of automotive sculptures to closed forms in other materials. Equipped with small motors, the furniture could blink and pump. The colored sliding sculptures painted with varnish , made entirely of paper, cardboard and balsa wood , along with their silk screen prints on linen , were modeled on construction elements that Kramer had designed and realized between 1966 and 1968 and which he in 1970 with an endless rail with a planetary motor made of wood and iron ( WKV 338).

In 1968 abstract sculptures about one meter high in spherical shapes made of polyester and lead were created, which, called buoys , functioned as little men ; In 1970, the resting, only imperceptibly swaying coffin was added in a similar shape , also made of polyester and lead.

Movies

Together with Wolfgang Ramsbott, Harry Kramer made five experimental 16 mm animation films in black and white between 1956 and 1965 , including wooden and wire figures: Die Stadt (1956, with the figures of the mechanical theater , at the instigation of Joachim- Ernst Berendt shown on SWF Baden-Baden ), Defense 58-24 (1957), The Lock (1961), Dead End (1963) and Records (1965). The films were made with jazz music , for example Die Schleuse mit Orgy in Rhythm (1954) by Art Blakey ; In Die Sackgasse from 1963 (9 min., 19 sec.) Kramer danced his own choreography on Benny Goodman's Sing, Sing, Sing .

The film Die Schleuse , produced in 1961, shows a kinetic wire sculpture by Kramer set in motion against the backdrop of an industrial landscape. The black-and-white film without comment makes use of numerous cinematic techniques and collages, such as time-lapse, switching between sharpness and blurring, negative images, black fade-ins and rapid movement of the camera, up to and including a tear. “This film experiment does not aim at documentary reproduction of the individual work, but offers new perspectives on kinetic art.” The film won the Grand Premio Leone di San Marco at the Venice Biennale in 1962 and the Federal Culture Film Prize in the same year.

Copies of the films can be found in the Kramer estate in the documenta archive in Kassel and in the Deutsche Kinemathek . The films have been shown retrospectively on various occasions, for example in 1997 in the Theater in der Kunsthalle (TiK), a second venue of the Thalia Theater in Hamburg, in January 2010 in Kassel and most recently in 2012 in Lübeck, where they were also presented under the aspects of camera work and editing and of the film music used have been viewed scientifically.

Atelier Kramer

In 1971, when he took up his professorship in Kassel, Harry Kramer had himself walled up in the Fridericianum . He had a cell of 3 × 3.5 × 1.8 meters with a barred window and an access hatch from above built in an exhibition room, in which he presented himself with freshly given food every day for a fortnight. “The member of an elite caste”, so the description of the catalog raisonné, “gets rid of his insignia and reveals himself to the reactions of the audience”, whereby the “creativity of the audience” - from insulting, feeding on bananas, spitting, “up to the threat to tear down the building ”- should have been remarkable.

Nursery rhymes
1975
Wire, paper, binder paint
documenta archive ; kassel

[ Children's songs ( Memento from December 20, 2015 in the Internet Archive ) linked image]
(Please note copyrights )

A series of campaigns and exhibitions, some of which were presented internationally, was named Atelier Kramer , which Kramer designed for his students between 1971 and 1984 and which was regularly published in a postcard campaign. This included the production of art as baked goods (started in 1971). Portraits and bodies in bread were shown, most of which have not been preserved; In 1979, Udo Lindenberg had his Brot-Leib distributed piece by piece to the audience as a devotional item in a stage show . Survival (1972) taught the art students in collaboration with the Ministry of Defense , the parachuting and survival in difficult terrain. In the death arena (1972) the Atelier Kramer went to climb steep walls . The Panoptikum (1972) consisted of life-size figures made of paper mache . From 1973 onwards, further figures with internal mechanics and washing machine motors were set in motion and, as artificial people , evoked sometimes violent public reactions in 14 exhibitions up to 1976, for example a group of hanged men and women (1974) who, provided with special targets made of selenium cells , could be made to fidget when hit with a light rifle.

The children's songs (1974–1977), infantilized passions and tragedies made of paper mache, were only partially preserved. On the occasion of documenta 6 1977, the archive of the 100 days , with Gunter Demnig , stacked the entire press into a mountain of newspaper bundles. In 1977, an artistic workshop with the participation of ensemble members from the Staatstheater Kassel taught the students how to do fencing, rope walking and show dancing. Scarecrows (1977) and Termite State (1984) reviewed the techniques appropriate to the symbols. As a piece of art to imitate , the Atelier Kramer produced a feature together with the WDR with the task of conveying "work steps from planning to the end product" in such a way "that interested laypeople are able to recreate similar products [...]". After the first broadcast in September 1977 on WDR, the film was then shown in various third programs.

Apocalypse

Apocalypse (with the artist in front of it, 1989)
1979-1987
Acrylic on canvas,
201 cm × 261 cm
Private property;

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Apocalypse is the title of 24 large-format tablets by Harry Kramer, which were created between 1979 and 1987. They show the 21 chapters of the Revelation of John as well as the first book of Moses and Daniel 5 in the translation by Martin Luther (WKV 348 and 349, 1979) and Heinrich Heines Belshazzar from his book of songs (WKV 374, 1987) in different point grids in acrylic on canvas. The grids result from the four-color combinations defined for the individual panels for each letter of the alphabet.

Fonts

Harry Kramer published a number of articles and essays on art and the academy, including Artistic Methods for the Untalented and Simple-Minded (1981), Dying is little new in life, but life, too, of course, is not new. (1981) and world champion (1986). An autobiography appeared in 1990 under the title A hairdresser from Lingen . In his farewell lecture with the title Play it again (1992), in Nekrolog (1994) and in Post Scriptum (1995) he sums up his ideas of art and its teaching in literary form. Z. The story of a perfectly normal idiot , a literary reminiscence of the academy professor in the province, was published in 1996 in a limited edition.

Kramer's exploration of the positions of 20th century art becomes clear in the writings, for example with Arnold Schönberg , whom he quotes in a letter in which the composer regards the audience as “necessary for acoustic reasons”, “because the halls are empty sound so bad ”, or to Jürgen Syberberg , the“ lonely myth-making man ”and“ hermit of industrial society ”. He assumes the “ extended concept of art ” of Joseph Beuys “the very best of intentions” along with a “bundle of contradictions” and confronts him with Adorno's concept of an art which - according to Adorno - has to be formulated “as a social antithesis to society”. He counters the desire for immortality, which is “embarrassingly” attached to the artist's existence, with the misunderstanding of fame and the question of usefulness, “when the prosthesis smiles in the water glass at night”.

reception

Harry Kramer's work was reflected internationally in reviews, catalogs and in the art historiography of art after 1945 until the 1970s. The art historical research of the work and its appreciation in independent investigations began ten years after Kramer's death, supported among other things also through the artist's estate, which has been accessible in the documenta archive in Kassel since 2006 .

Contemporary perception

The philosopher Max Bense saw in the automobile sculptures of Harry Kramer 1964 in their “idling a counter-move to industry”; this - according to Bense - "drives the category of utility back into the shadows" and creates "a relationship with the creative" with the tender trait towards anarchy. The writer and essayist Helmut Heißenbüttel found in the same year that the “coherence of the movement elements” is not something “that brings them into mechanical harmony with one another, but something that keeps them in disagreement, that the movements hold back unevenly against themselves leaves". In 1990 the art historian and essayist Günter Metken in Paris, looking back on kinetic art, emphasized the “absence” of “natural movements” and the avoidance of the “interplay of figures” in Harry Kramer's mechanical theater ; for the automobile sculptures , he found their “metaphorical nature” to be similar to drawings by Paul Klee , “namely, to present parables parallel to the world of engines in an airy, as it were dashed medium.

Frank Popper , art professor at the University of Paris in Vincennes and at the Sorbonne , saw in 1975 in Kramer's “play automatons” and “kinetic sculptures” the “vision of mechanical drama” and therein “urban forms of art that demand publicity instead of museum frustration”: “ Set up between the refrigerator and the television set, they gain their tremendous power of irritation by reducing everyday use mechanisms to absurdity through their mechanically pointless movement. "

The curator and two-time documenta -directors Manfred Schneckenburger recognized the work character of the training activity Kramer in a comparison with the circus by stated the university teachers Kramer as "self-promoter" with a "team at Keystone" and constituted the goal of teaching in a conception of art, which put the "shock against the connoisseur's mind". Wolfgang Hahn , artist, Friedrich Ebert scholarship holder and DAAD scholarship holder at MIT with Otto Piene , summed up the circus interior of Atelier Kramer ten years later in 1990 as follows: “Prole-Harry hits the drum and shows the dungarees intellectuals what's going on . Now there is no fumbling around here, now attention is paid to the drum roll. "

Recent research and publicity

Artist necropolis Kassel: grave work by Heinrich Brummack (1936–2018), 1997

In 2007, ten years after Kramer's death, the art historian Stefan Lüddemann stated that the reception was “still difficult to this day”, the reason for which he sees the fact that Kramer was “never an artist with a trademark, but with an attitude”. The automobile sculptures , the Atelier Kramer and the necropolis are differentiated as disparate “work blocks” . The artist's way of working is described as “sculptural”, “as she always understands art as a social process that involves other people as partners in their own work”. The proximity to " Joseph Beuys ' understanding of art " is given because Kramer's art repeatedly makes "questions about the effect of art in public as well as questions about the performance and contradictions of the art operating system" its subject.

On the occasion of Harry Kramer's 85th birthday in January 2010, the documenta archive again brought the films by Kramer and Ramsbott as well as the necropolis to the fore. In 2015 an exhibition in the Kunsthalle Lingen honored the artist's work. From January 25 to April 17, the Sepulkralmuseum Kassel organized a retrospective on the occasion of Harry Kramer's 20th anniversary of death in cooperation with the documenta archiv and the city of Kassel.

Exhibitions (selection)

Solo exhibitions

Participation in exhibitions

literature

  • Meike Behm: Dealing ironically with the topics without making the content ridiculous. Harry Kramer (born in Lingen in 1925, died in Kassel in 1997) . In: Yearbook of the Emsländischen Heimatbund 56, 2010, ISSN  0448-1410 , pp. 275–286.
  • Jürgen Claus : The sketched spatial figure: Harry Kramer. In: Jürgen Claus: Art today. Person analysis documents . Rowohlt, Reinbek near Hamburg 1965. pp. 124–126.
  • Dirk Eckart: The Kassel artists' necropolis. A book for walkers interested in art . Libri Books on Demand, Kassel 2000, ISBN 3-89811-600-X , online (incomplete) .
  • Dieter Honisch (Vorw.): Art in the Federal Republic of Germany. 1945–1985 . National Gallery. Nicolai, Berlin 1985, ISBN 3-87584-158-1 .
  • Jens Christian Jensen (Ed.): Atelier Kramer. 1970-1985. Harry for the 60th . Kunsthalle u. a., Kiel 1985.
  • Stefan Lüddemann: Harry Kramer . Lower Saxony Lotto Foundation , Hanover 2007, ISBN 978-3-00-022396-9 , ( Contemporary Art from Lower Saxony Volume 64).
  • Alfred Nemeczek : The fatal tendency to immortality. Harry Kramer . In: art - Das Kunstmagazin 5, 2003, pp. 44–50.
  • Frank Popper : The Kinetic Art. Light and movement, environmental art and action . DuMont Schauberg, Cologne 1975, ISBN 3-7701-0768-3 , pp. 36-39.
  • Heiner Schepers (Ed.): One hour for Harry Kramer . Buxus-Verlag, Lingen 1997, ISBN 3-933038-00-6 .
  • TheaterFigurenMuseum Lübeck , Figurentheater Lübeck, UNIMA Germany (ed.) : Lost property: KRAMER - discovered, explored, developed . Theater figures in Kolk Volume 1. Frankfurt 2012 ISBN 978-3-935011-85-3 .
  • Association for the Promotion of the Artists Necropolis, Kassel (Ed.): Harry Kramer. Artist necropolis . Weber & Weidemeyer, Kassel 1999, ISBN 3-925272-42-9 .
  • Michael Willhardt (Ed.): The solo entertainer. Harry Kramer . Hatje, Ostfildern 1995, ISBN 3-7757-0540-6 .
  • Michael Willhardt (Ed.): A hairdresser from Lingen. Harry Kramer . Luca-Verlag, Freren 1990, ISBN 3-923641-30-3 .

Web links

Individual evidence

  1. ↑ Harry Kramer: A hairdresser from Lingen . In: Michael Willhardt (ed.): A hairdresser from Lingen, Harry Kramer (1990), pp. 1–38; Pp. 1-10.
  2. ↑ Dietrich Hahn (ed.): Otto Hahn. Life and work in texts and pictures. With a foreword by Carl Friedrich von Weizsäcker . Frankfurt am Main 1988, p. 15
  3. ↑ Harry Kramer: A hairdresser from Lingen (1990), p. 18
  4. ↑ Anneliese Hager , see Harry Kramer: Ein Frisör from Lingen (1990), p. 27
  5. ↑ Harry Kramer: A hairdresser from Lingen (1990), p. 34
  6. ↑ Mechanical theater . In: Die Zeit , No. 22/1955
  7. ↑ Michael Willhardt (Ed.): A hairdresser from Lingen. Harry Kramer (1990), pp. 1-38, pp. 19, 25 ff., 35
  8. ↑ Georg Jappe : Harry Kramer. Don't fill the vacuum - realize the void . (1961) In: Michael Willhardt (Ed.): A hairdresser from Lingen, Harry Kramer (1990), pp. 82-92
  9. ↑ Wolfgang Ramsbott, Harry Kramer: Grenzwerte ( Memento from March 6, 2011 in the Internet Archive ) , 1961 (documentation)
  10. ↑ Michael Willhardt (Ed.): A hairdresser from Lingen. Harry Kramer (1990), pp. 70, 178
  11. ^ Günter Grass: Four decades . Steidl, Göttingen 1991 (without pagination)
  12. ↑ Alfred Nemeczek: The fatal tendency to immortality. Harry Kramer . In: art - the art magazine . No. 5 (2003), p. 48
  13. ↑ A hairdresser from Lingen (1990)
  14. ↑ Harry Kramer: Play it again . In: Michael Willhardt (Ed.): The solo entertainer. Harry Kramer (1995), pp. 30, 32 f .; see also Christian Dior (Historical Archive) , 1969: the third from the left
  15. ↑ Wolfgang Hahn: Arrigas . In: Michael Willhardt (Ed.): The solo entertainer. Harry Kramer (1995), pp. 62-67
  16. ↑ Cornelius Tauber: A necropolis for artists . In: Michael Willhardt (Ed.): The solo entertainer. Harry Kramer (1995), pp. 158-161
  17. ↑ Water tower in Lingen: Harry Kramer permanent exhibition
  18. ^ Opening of the Harry Kramer collection in the documenta archive, 2006 ( Memento from July 27, 2007 in the Internet Archive )
  19. ↑ Frank Popper: Die kinetik Kunst (1975), p. 36
  20. ↑ Karin Thomas: Until today. Style history of the fine arts in the 20th century . 3rd edition, Cologne 1974, p. 294
  21. ↑ Since 45. The Art of Our Time II . Brussels 1970, p. 272
  22. ↑ Dieter Honisch (Vorw.): 1945–1985 Art in the Federal Republic of Germany , National Gallery. Staatliche Museen Preußischer Kulturbesitz, Berlin 1985, p. 397
  23. ^ Karry Kramer: Machines, Mobile, Spectacle . In: Franz Mon (Ed.): Movens . Wiesbaden 1960, pp. 122-124; P. 123
  24. ^ Catalog of works (WKV), in: Michael Willhardt (Ed.): A hairdresser from Lingen. Harry Kramer (1990), p. 182
  25. ↑ Astrid Fülbier: TheaterFiguenMuseum Lübeck, catalog, Lübeck 2009, p. 100 ff. (Section: Puppet theater and the art of the 20th century with images of the clothes hanger (1956) and a figure of the mechanical theater (1958), both p. 103) .
  26. ↑ Alfred Nemeczek: The fatal tendency to immortality. Harry Kramer . In: art - Das Kunstmagazin , No. 5 (2003), p. 47
  27. ↑ Catalog of works (WKV), in: Michael Willhardt (Ed.): Ein Frisör from Lingen, Harry Kramer (1990), p. 182
  28. ^ Catalog of works (WKV), in: Michael Willhardt (Ed.): A hairdresser from Lingen. Harry Kramer (1990), pp. 186-188
  29. ↑ Günter Minas, Hannelore Jabelmann, Ulrich Staiger: Art - Film - Art , in: Dieter Honisch (Ed.): 1945–1985 Art in the Federal Republic of Germany , National Gallery Berlin, 1985, p. 690
  30. ↑ documenta archive January 22, 2010 ( Memento from December 15, 2012 in the Internet Archive )
  31. ↑ TheaterFigurenMuseum Lübeck / Figurentheater Lübeck / UNIMA Germany (ed.), Lost property: KRAMER - discovered, explored, developed, theater characters in the Kolk - Volume 1: Special exhibition - Film Night - Symposium, Puppen & Masken, Frankfurt 2012; here in particular the contributions by the experimental and animation film expert Martina Bramkamp and the professor for popolar music at the Lübeck University of Music, Bernd Ruf .
  32. ^ Catalog of works (WKV), in: Michael Willhardt (Ed.): A hairdresser from Lingen. Harry Kramer (1990), p. 191
  33. ↑ Loafers . In: Der Spiegel . No. 52 , 1976 ( online ).
  34. ↑ Reinhard Müller-Mehlis: The plaster heads of Ingolstadt . In: stern No. 27, June 18, 1973, p. 32; Patricia Nicolai: Professor Kramer's Cabinet of Horrors . In: BUNTE No. 18, 1974; Scandal in the town hall of Kassel: children were allowed to shoot at "hanged" people . In: BILD , April 9, 1974
  35. ↑ Complete project list with individual descriptions in: Michael Willhardt (Ed.): A hairdresser from Lingen. Harry Kramer (1990), pp. 190-195
  36. ↑ Catalog of works (WKV), in: Michael Willhardt (Ed.): Ein Frisör from Lingen, Harry Kramer (1990), p. 192
  37. ^ Catalog of works (WKV) in: Michael Willhardt (Ed.): A hairdresser from Lingen. Harry Kramer (1990), p. 188
  38. ↑ Published in: Michael Willhardt (Ed.): The solo entertainer. Harry Kramer (1995)
  39. ↑ Harry Kramer: Z. The story of a completely normal idiot . Kassel 1996
  40. ^ Harry Kramer: Artistic methods for the untalented and simple-minded . (1981) In: Michael Willhardt (Ed.): The solo entertainer. Harry Kramer (1995), pp. 75-85; P. 75 f.
  41. ↑ Harry Kramer: Nekrolog (1994). In: Michael Willhardt (Ed.): The solo entertainer. Harry Kramer (1995), pp. 48-58, p. 54
  42. ^ Archives in Hessen (Arcinsys) : documenta archive for the art of the 20th and 21st centuries , docA papers 2.2. : Harry Kramer (1925-1997) ; Developed stocks via Navigator
  43. ↑ Bense and Heißenbüttel in: red. text 12 . edition rot, Stuttgart 1/1964
  44. ^ Günter Metken: dance game. Machine game. Electric dance . In: Michael Willhardt (Ed.): A hairdresser from Lingen, Harry Kramer (1990), pp. 60, 63
  45. ↑ Frank Popper: The Kinetic Art (1975), p. 39
  46. ↑ Manfred Schneckenburger : The self-promoter and his team on the trapeze . In: Michael Willhardt (Ed.): The solo entertainer. Harry Kramer (1995), pp. 113-124
  47. ↑ Wolfgang Hahn: The "Atelier Kramer" - attempt of an interior . In: Michael Willhardt (Ed.): The solo entertainer. Harry Kramer (1995), pp. 125-137, p. 131; on the author see p. 196
  48. ↑ Stefan Lüddemann: Harry Kramer (2007), pp. 11 and 13
  49. ↑ documenta archive January 22, 2010
  50. ^ Stefan Lüddemann: Works of the Documenta artist: Kunsthalle Lingen shows Harry Kramer at a glance . In: Neue Osnabrücker Zeitung , March 6, 2015 (accessed April 6, 2018)
  51. ^ Kassel: Sepulchral Museum - homage to Harry Kramer - until April 17th . At: Künstlich.com , February 22, 2017 (accessed April 6, 2018)

Illustrations

  1. ↑ Harry Kramer: Feuerwehrturm , 1958 (cf. WKV No. 89: Rotating Tower , Mechanical Theater 1956–1958, owned by the Munich City Museum )
  2. ^ Harry Kramer: Wecker , 1960 WKV 107; Art collections of the Ruhr University Bochum
  3. ↑ Harry Kramer: Mechanisches Theater ( Memento from December 8, 2015 in the Internet Archive ), exhibition Museum Bellerive Zurich 1980/81 (Figures 1 to 4 from left)
  4. ↑ Harry Kramer with the characters in the 13 scenes , 1955
  5. ↑ Automobile figures from Signals in the Shade : Pink Baby Carriages (WKV 78, 1956–58), Pink Candle Carriage (WKV 62, 1956–58) ( Memento from March 4, 2016 in the Internet Archive ); owned by the Munich City Museum
  6. ^ Harry Kramer: Untitled , 1960 WKV No. 103a
  7. ^ Harry Kramer: KM 123 , 1963 WKV No. 155
  8. ^ Harry Kramer: Torso , 1962 WKV No. 135 ( Tate Gallery , London )
  9. ↑ Harry Kramer: Drum , 1967 ( Berkeley , USA)
  10. ^ Harry Kramer with buoy , 1968 ( Memento from March 4, 2016 in the Internet Archive )
  11. ↑ Harry Kramer / Wolfgang Ramsbott: Defense-5825 ( memento from March 5, 2016 in the Internet Archive ), 1957 (still image, performance Bochum 2009)
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personal data
SURNAME Kramer, Harry
BRIEF DESCRIPTION German artist
DATE OF BIRTH January 25, 1925
PLACE OF BIRTH Lingen (Ems) , Germany
DATE OF DEATH February 20, 1997
Place of death kassel