Rolf Ricke

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Rolf Ricke (born June 9, 1934 in Kassel ) is a former German gallery owner and art collector , to whom many now recognized artists owe their discovery and establishment.

Life

As a teenager impressed Rolf Ricke new listening experiences through the US radio station AFN and especially the visit to an opera performance of Aida , so that he, a lover of classical music has become, after the intermediate certificate to a Kassel High School in his hometown for the music dealer was formed. Rolf Ricke went to Philips in Hamburg in 1956 with the desire to be involved in the production of classic records, especially the connection between German orchestras and American artists . There he started in the expedition and got to the production department via the internal and external service stations. Since the sales contract between the American record company and Philips was not extended in 1961, he switched to the new US record company CBS Records in Frankfurt am Main , which was founded especially for international sales, where he helped to expand the program and distribution channels. Rolf Ricke was not involved in artist negotiations, but took on representative tasks such as handing over flowers after concerts and city tours. His employment relationship lasted until December 1964.

Before he started his career in 1956, Rolf Ricke had another, even more impressive art experience: the first documenta in 1955. The innovative presentation concept aroused in him the desire to pursue comparable art mediation. He photographed documenta II in 1959 completely. Not least because of his affinity for the USA, Ricke immediately found access to Jackson Pollock as the initial spark for a general interest in American art. At first he began collecting prints for himself . For financing purposes he switched to commission trading . In 1961 he deepened his encounter with the work of Jackson Pollock in the art collection of North Rhine-Westphalia in Düsseldorf .

In the fall of 1963, Rolf Rickes “Small Gallery Kassel” was founded in the adjoining rooms of a bookshop opposite the Kassel Peace Church . The offer included illustrated books, important art magazines, portfolios , original posters, graphics, drawings and watercolors. In the spring of 1964 it expanded to the "Galerie Ursula Ricke" in the basement of the Hessian Fire Insurance Institute in Kassel . Ricke was well prepared for the increased number of visitors in the course of documenta III in June 1964, because he had also expanded his range of international prints.

In 1964, Ricke dared to change saddles and left the CBS. The gallery was named "Galerie Ricke" in 1965 and became his life. On behalf of the collector Hans-Joachim Etzold, Ricke made his first trip to New York in January 1965 . There an exclusive contract was concluded with the graphics publisher ULAE (Universal Limited Art Editions), which secured the distribution of their graphics in Europe. He has also made purchases of graphics from Jim Dine , Robert Rauschenberg , Robert Motherwell , James Rosenquist, and others. He also visited the exhibition "American Supermarket" (including Richard Artschwager , Roy Lichtenstein , Claes Oldenburg , Andy Warhol , Robert Watts , Tom Wesselmann ) in the Paul Bianchini Gallery. He met Bianchini personally a year later. Ricke describes both events as “tremendous key experiences”. The result was a good collaboration and a lively exchange of ideas and works. Bianchini soon gave up his gallery and moved to France. Impressed by the scene, Ricke subsequently developed the type of producer's gallery, which means that the works of art no longer arrived from the USA, but the artists themselves who created their works on it in Ricke's premises. Ricke virtually accompanied the creation process in a kind of studio situation. The first person he took this path with was Gary Kuehn , whom he arranged for a studio at the Kassel Werkkunstschule and who procured materials such as fiberglass , scrap and wire ropes for him . Friends and acquaintances said he was getting lost in something of inferior value and importance and tried to dissuade him from his commitment. A U-turn was out of the question for Ricke. On the contrary, in 1967 he co-founded Art Cologne (at that time still “Cologne Art Market”). And still he had to defend his understanding of art against taunts such as "strange structures", as in 1968 in the Spiegel .

In 1967 and 1968, due to his contacts with American artists, Ricke had developed a foresight that was ahead of documenta, which was published for the fourth time in 1968 and dominated by Minimal Art and Pop Art . In addition to the works of Gary Kuehn, he had already presented those by George Brecht , Peter Young and Barry Flanagan . Immersed in the Cologne art world, the Cologne art market and the gallery show of the Kölnischer Kunstverein , he was drawn to the cathedral city . He settled there in December 1967. In March 1968 the gallery was also relocated to Cologne, which further strengthened the city's reputation as the gallery center of Germany. Richard Artschwager, Jo Baer , Dan Christensen , Gary Kuehn, Lee Lozano , Richard Serra , Keith Sonnier and Peter Young were represented in the first program exhibition . Solo exhibitions - each for the first time in Europe - were by Bill Bollinger , Keith Sonnier, Richard Serra (all 1968), Jo Baer, ​​Lee Lozano (1969), Alan Cote , Peter Young, Harriet Korman , Lewis Stein (all 1970). In general, the Ricke gallery became the European premiere location for Minimal and Postminimal Art and Process Art . Rolf Ricke accompanied the work of Richard Artschwager, Donald Judd , Richard Serra, Bill Bollinger, Barry Le Va , Keith Sonnier. He sponsored David Reed , Matthew McCaslin , Steven Parrino , Laurie Parsons , Jessica Stockholder, and Fabián Marcaccio . In November 1969, he helped Harald Szeemann , the curator of the somewhat revolutionary, in any case often hostile, but ultimately “epoch-making” exhibition “Live in Your Head - When Attitudes Become Form” (Berner Kunsthalle) to hold documenta 5 .

In between he organized film series and concerts. Starting with the screening of the Hundertwasser film Am Rande der Sonne Halt in September 1967 in the Hermann-Schektiven-Haus in Kassel, to the Philip Glass Concerts in spring 1969 (in our own rooms) and three years later on the occasion of the Cologne Art Days (in the Cinemathek of the Wallraf-Richartz-Museum ) in addition to the performance of Sonnier's proscenium in the Kammerspiele in Cologne to a small series of concerts at the turn of the year 1989/1990 in the Belgian House in Cologne ( Hermann Kretzschmar on the one hand and Wolfgang Güttler's Trio Basso on the other). From the end of the 1980s he sat on the jury of the Bonn Art Fund for about a decade . In the 1990s, when he was in New York (which was the case several times a year), it was important to him to gather all the local artists he represented at one table for a meal.

In 2004 he gave up his gallery and in 2006 he sold his collection. He moved "as if freed from the gallery business and collection" and became independent from working life through the sales proceeds, to Berlin to surround himself with newly acquired art and to work from time to time as a curator, speaker or advisor.

gallery

After the preliminary stages in Kassel, the actual history of the gallery's impact began in Cologne, because it was there that the worldwide reputation as the epitome of the avant-garde gallery was established. From March 1968 to January 1975 it was on Lindenstrasse. In the beginning there were just five regular customers and around 30 occasional buyers. Then, from January 15, 1975, she was in the old town south , street "Am Rinkenpfuhl", in a former distribution warehouse of a publishing house. Ricke reacted to the changed interest in art due to the audiovisual trend media by teaming up with a gallery owner, thus adapting the offer and integrating the word “projection” into the gallery name. Some of the artists he represented had become active in this field and on the one hand he had films by Sonnier and Serra with him that he could not show, and on the other hand there was another gallery that had taken on the films of his artists and was also showing them . A fusion, more precisely a symbiotic, synergetic coexistence, had offered itself. Films by Joseph Beuys , Joan Jonas , Edward Ruscha , Yvonne Rainer , Paul Sharits and video tapes by Bruce Nauman , Peter Campus and Friederike Pezold were shown in the double gallery . With photographs (e.g. by Barry Le Va, Edward Ruscha, Keith Sonnier), artist films and video art, however, no business could be done. Then, in November 1976, the gallery changed its location again; now she resided on Friesenplatz. The opening to German art took place in 1979. At the end of 1981 the gallery had one last address in Volksgartenstrasse. Here, for example, Jürgen Meyer , Volker Tannert , Ulrike Nattermüller and Horst Münch were shown exhibitions, with comparisons with Artschwager, Rosenquist or Rückriem .

In conclusion, one can say that the gallery in Cologne was primarily dedicated to American minimal art, post-minimal art and process art, directions that were largely unknown in our part of the world at that time. Richard Serra and Keith Sonnier had their first exhibitions ever in Ricke's rooms. The popularity of American artists such as Donald Judd, Richard Artschwager, Barry Le Va, Lee Lozano and Gary Kuehn was carried over to Europe, initiated by young artists such as Jessica Stockholder, Steven Parrino, Cady Noland and David Reed. James Rosenquist's successes continued. German and European positions by Birgit Werres , Holger Bunk and Günter Umberg were also presented. He served as a role model in terms of approachability and collaboration with the artists. Ricke was the liaison to Europe for painters and sculptors from the USA in particular.

The last exhibition took place in 2004. There should be no retrospective or anything sentimental, but rather it should underline the sincerity with which Ricke promoted young artists. So the choice fell on the young Japanese Gajin Fujita, who had already made his European debut in Rickes Galerie. The end of the exhibition was on December 14th and until Christmas there was a quick evacuation during which a lot of files were thrown away without thinking. “What has been handed down” is in the form of the “Rolf Ricke Archive” in the Academy of the Arts, Berlin .

collection

Rolf Ricke usually acquired a work from him when he first visited the studio or at the first exhibition of an artist as a gesture in the course of getting to know each other and as a commitment to his work. In this way, he put together a collection that included early works that only later turned out to be key works, as well as documents that had been tried out by artists whose development went in different directions, as well as rarities from artists who had left the art world. Ricke was not yet able to assess the art-historical significance of the individual objects; it was therefore not his intention, rather he made the decision out of spontaneity, from experiencing, preserving the moment of enjoyment. It was only in retrospect that what was not put together as planned as a prestige object or as an investment, but authentically reproduced the life of a gallery owner in excerpts, could be given the status of a "collection".

This collection was shown to the public for the first time in 2005 in the New Museum in Nuremberg , although the museum director had a purchase option in mind. The 5.8 million euros that should have been raised for the 152 works at the time, however, made him refrain from doing so. The Museum of Modern Art in Frankfurt / Main (MMK), the St. Gallen Art Museum and the Liechtenstein Art Museum jointly acquired the collection in autumn 2006 for a purchase price that has now been reduced by almost one million. In spite of the tripartite ownership, each of the facilities should have full access for exhibition purposes and be allowed to use individual items as counter-loan items.

meaning

Ricke "is one of the most important mediators of contemporary art in Germany". The discoverer and promoter of Minimal Art, Post-Minimal Art and Process Art “did not get stuck in his own generation [...]. From the position he had gained in his own generation, in the eighties and nineties he drew a link to young artists, in whose stylistically completely different works he found the same elementary creative power again. In addition, he has transferred the standards he had learned from New York artists to some German artists. ”He embodies the ideal type of a gallery owner, in that he has not made himself comfortable with the art direction that was once found to be new, possibly enforced against resistance and then considered to be established , but always relativized the new, followed the changes in society and its artist-commentators and thus constantly regenerated his presentation program. In addition, the on-site production method, sometimes in the gallery itself, set new standards in the art world. Thanks to Ricke, Cologne, which was already art-loving, finally became an art mecca for many contemporary artists.

Artists and art collectors about doe

"The relationship with Ricke began as a dealer, then friend and art assistant who really enjoyed getting involved in the process of art making. I have enjoyed the dialogue we have maintained about German art and music, and of course the introduction to Germany and its people. "

- Keith Sonnier : catalog text, 1979

“[Ricke] demonstrated [...] in an exemplary way the gallery as a primarily cultural rather than commercial establishment. […] His enthusiasm for art and his inclination to follow the paths of art unconditionally often lead to the fact that he shows works that cannot be sold at any price because they are either too big or not durable. For him, art comes first, and the need to show it is stronger than any objection. "

- Gary Kuehn : Text for the gallery anniversary 1990

“Hans Joachim Etzold knew what he wanted and that he could no longer do it himself. Rolf Ricke had it all, this desire, this strength, the hard work, the curiosity, the sensitivity, the serious concern for quality and, last but not least, the personal modesty to be satisfied with small profit margins. And so a highly qualified graphic documentation of the fifties and sixties was created. "

- Berni Etzold, widow of the well-known art collector Hans Joachim Etzold : Text on the gallery anniversary 1990

“[He] r is an enthusiast who loves art, the artist, the work of art - and what it triggers in him and other art lovers. That's why he kept choosing things that disturbed, excited and stimulated other colleagues! "

- Wulf Herzogenrath : Text for the gallery anniversary 1990

“For a long time I had the feeling that there were few places where I was received as kindly as when I visited his gallery, although there was often a lot of hectic there and lots of visitors and phone calls got in the way when we wanted to talk . "

- Holger Bunk : Email interview with Christiane Meyer-Stoll, 2007

“Rolf is somewhat older than me, so he had a very different perspective on this growth [of art market]. It was always great to hear him talk about what he had seen of that explosion and how he felt about it, his longer view helped me to make sense of the moment. Rolf has an unusual enthusiasm for art and it was as a result a real pleasure to work with him! "

- Jessica Stockholder : Email interview with Christiane Meyer-Stoll, 2007

Exhibitions

Around 330 exhibitions were shown in the galleries run by Rolf Ricke. The most important were:

  • 1965: Jasper Johns
  • 1967: Gary Kuehn
  • 1968: Bill Bollinger
  • 1968: Primary Structure, Minimalart, Popart, Antiform (with Andy Warhol, Keith Sonnier, Bruce Nauman, among others)
  • 1968: Keith Sonnier
  • 1968: Richard Serra
  • 1969: Lee Lozano
  • 1969: Jo Baer
  • 1969: Richard Artschwager
  • 1970: Barry Le Va
  • 1970: Peter Young
  • 1972: Donald Judd
  • 1975: Edward Ruscha
  • 1985: Horst Münch
  • 1987: Günter Umberg
  • 1989: Adrian Schiess
  • 1989: From my point of view (at the Kölnischer Kunstverein)
  • 1990: Steven Parrino
  • 1991: David Reed
  • 1992: children! Do something new! (with Steven Parrino, David Reed, Günter Umberg, among others)
  • 1994: Fabian Marcaccio
  • 1995: Carl Ostendarp
  • 1999: Jessica Stockholder
  • 1999: Special Offer (in the Kasseler Kunstverein)
  • 2000: Pia Fries
  • 2001: Gabin Fujita

Publications of the Rolf Ricke Gallery

  • 1967: Object series 13/1967
  • 1970: drawings by American artists
  • 1971: Keith Sonnier. Object, Situation, Object 1969-70
  • 1980: Robert Smithson 1938-1973. drawings
  • 1981: Keith Sonnier. Runic series 1980
  • 1985: Ulrike Nattenmüller
  • 1992: children! does something new!

Individual evidence

  1. ↑ a b c Rolf Ricke Archive. Short biography / history of the institution. In: adk.de. Retrieved October 18, 2016 .
  2. ↑ Dave Hickey: Rolf Ricke - An appreciation . In: New Museum. State Museum for Art and Design in Nuremberg (Ed.): Simply art. Rolf Ricke Collection . Verlag für modern art, Nuremberg 2002, ISBN 3-933096-86-3 , p. 155–156 (exemplary example).
  3. ↑ James Rosenquist: Look Back, Look Ahead . In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 40-41 .
  4. ^ A b c d Christiane Meyer-Stoll: Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , biographies. Rolf Ricke, S. 402 .
  5. ↑ a b c d e f g h i j k l m n o Alfred Nemeczek: “I want to show that art is actually very simple” . Rolf Ricke in conversation with Alfred Nemeczek. In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 11-36 .
  6. ↑ a b c d e Nicola Kuhn: tons of color. When gallery owners become collectors: a visit to Rolf Ricke in Mitte. In: tagesspiegel.de. July 12, 2008, accessed October 18, 2016 .
  7. ↑ a b c d e f g h Lucius Grisebach: "It really grabbed me at that time" . In: Neues Museum, State Museum for Art and Design in Nuremberg (ed.): Simply art. Rolf Ricke Collection . Verlag für modern art, Nuremberg 2002, ISBN 3-933096-86-3 , p. 8-15 .
  8. ↑ a b c d e f Udo Kittelmann, Friedemann Malsch, Roland Wäspe: Foreword . In: Christiane Meyer-Stoll (Ed.): Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , p. 6-7 .
  9. ^ Andreas Vowinckel: Art and forms of communication using the example of the art market, gallery, art trade and the Rolf Ricke gallery, Cologne . In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 89-110 .
  10. ^ Gilla Strobel: Chronicle of the Rolf Ricke Gallery 1963–2004 . In: Christiane Meyer-Stoll (Ed.): Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , p. 19–201 (interlaced with Christiane Meyer-Stoll's recordings ).
  11. ↑ Christiane Meyer-Stoll: Very close . Conversations with Rolf Ricke recorded by Christiane Meyer-Stoll. In: Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , Paul Bianchini, p. 22 (within the chronicle of Gilla Strobel).
  12. ↑ a b "Art behind the bed, art under the bed". Spiegel interview with the Cologne gallery owner Rolf Ricke . In: Der Spiegel . No. 43/1968 , October 21, 1968, Art Market, p. 218 ( spiegel.de [accessed October 18, 2016]).
  13. ↑ Georg Imdahl : Like a blow in the neck. A provocation made Harald Szeemann famous in 1969: In an exhibition the curator showed how the concept of art has radically changed. Now the show is being recreated in a Venetian palazzo - and celebrating a wild design language. In: spiegel.de. June 11, 2013, accessed October 18, 2016 .
  14. ^ Post / Postminimal on the rediscovery of sculpture in contemporary art. A broad-based discourse over generations on the rediscovery of sculpture in contemporary art. In: bodensee4you.ch. Retrieved October 18, 2016 .
  15. ↑ Harald Szeemann: The early years of Rolf Ricke . In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 49-55 .
  16. ↑ a b Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , film series, concerts and exhibitions organized by Rolf Ricke, p. 214-216 .
  17. ↑ a b c d e Rudolf Zwirner: Another way of working . In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 110-114 .
  18. ^ Christiane Meyer-Stoll: Pia Fries . In: Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , In Their Own Words. Artist contributions in original language, p. 248-249 .
  19. ↑ Christiane Meyer-Stoll: Very close . Conversations with Rolf Ricke recorded by Christiane Meyer-Stoll. In: Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , New York, artist, Essen, p. 158 (within Gilla Strobel's chronicle).
  20. ↑ Georg Imdahl: Gallery owner Rolf Ricke withdraws. After 40 years one of the most passionate dealers in Cologne is closing. In: ksta.de. November 1, 2004, accessed October 17, 2016 .
  21. ↑ a b Uwe Wittstock: Three museums buy the Ricke collection. The Museum of Modern Art in Frankfurt am Main (MMK), the St. Gallen Art Museum and the Liechtenstein Art Museum are jointly acquiring the property of the former Cologne gallery owner Rolf Ricke for a total of 4.81 million euros. In: welt.de. November 30, 2006, accessed October 18, 2016 .
  22. ↑ a b c d Jan Leven, Ursula Wevers: The collaboration between the Ricke and projection [sic] galleries in the 1970s . In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 67-71 .
  23. ↑ a b Old hands - Rolf Ricke in conversation with Günter Umberg. Tuesday, May 19, 2009 (No longer available online.) In: kw-berlin.de. KW Institute for Contemporary Art - Kunst-Werke Berlin eV, archived from the original on October 18, 2016 ; Retrieved October 18, 2016 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.kw-berlin.de
  24. ↑ Christiane Meyer-Stoll: Very close . Conversations with Rolf Ricke recorded by Christiane Meyer-Stoll. In: Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , The end of the gallery: 2004, p. 200 (within the chronicle of Gilla Strobel).
  25. ↑ Rolf Ricke, Lucius Grisebach, Reinhard Ermen: “Always just the one” . In: Neues Museum, State Museum for Art and Design in Nuremberg (ed.): Simply art. Rolf Ricke Collection . Verlag für modern art, Nuremberg 2002, ISBN 3-933096-86-3 , p. 16-29 .
  26. ↑ Ingo Fessmann: Not an art dealer, but a gallery owner . In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 115-125 .
  27. ↑ Keith Sonnier: Keith Sonnier. On working in Germany . In: Christiane Meyer-Stoll (Ed.): Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , In Their Own Words. Artist contributions in original language, p. 292-293 .
  28. ^ Gary Kuehn: Invitations to work in Kassel and Cologne . In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 42-48 .
  29. ↑ Berni Etzold: From my point of view . In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 72-74 .
  30. ^ Wulf Herzogenrath: Rolf Ricke - art dealer, art lover, artist patron . In: Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) , p. 163 .
  31. ↑ Holger Bunk: Holger Bunk . In: Christiane Meyer-Stoll (Ed.): Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , In Their Own Words. Artist contributions in original language, p. 237-238 .
  32. ↑ Jessica Stockholder: Jessica Stockholder . In: Christiane Meyer-Stoll (Ed.): Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 , In Their Own Words. Artist contributions in original language, p. 302-303 .

literature

  • Marianne Stockebrand (Ed.): Rolf Ricke . Texts by artists, critics, collectors, friends and colleagues written for Rolf Ricke on the occasion of his 25th anniversary in the gallery. Verlag der Buchhandlung Walther König, Cologne 1990, ISBN 3-88375-133-4  ( formally incorrect ) .
  • Silke Hartenstein: Gallery work with contemporary art in the Federal Republic of Germany. The example of the Cologne gallery Rolf Ricke in the context of the history of the development of the gallery industry . University of Kassel, Kassel 1997 (Master's thesis).
  • Neues Museum, State Museum for Art and Design in Nuremberg (ed.): Simply art. Rolf Ricke Collection . Verlag für modern art, Nuremberg 2002, ISBN 3-933096-86-3 .
  • Christiane Meyer-Stoll: Rolf Ricke Collection, Rolf Ricke Collection. A document of the times . Hatje Cantz Verlag, Ostfildern 2008, ISBN 978-3-7757-2035-9 .

Web links

personal data
SURNAME Ricke, Rolf
BRIEF DESCRIPTION German gallery owner and art collector
DATE OF BIRTH June 9, 1934
PLACE OF BIRTH Kassel , Germany