#Martin Kippenberger 1993

[savage-kult-of-gorthaur]

THIS ONE'S FOR ALL THE MONSTER KIDS -- CUE "DEVILOCK" (1983) RIGHT ABOUT NOW.

PIC INFO: Spotlight on a Martin Kippenberger piece titled "Candidature à une rétrospective," ("Candidacy for a Retrospective"), c. 1993.

"The pre-digital, appropriated, rephotographed, and often degraded image is also ubiquitous to the art of punk flyers and fanzines of the late seventies and early eighties. The radical degradation and mutilation of mainstream imagery in early punk graphic design has been so influential on contemporary visual culture that it’s easy to forget that we haven’t always been looking at things this way. Heinecken’s work shares an aesthetic connection to this genre — especially with the imagery of V. Vale’s San Francisco–based "Search & Destroy" magazine. Since SFMOMA has no copies of "Search and Destroy," nor any punk flyers from this period, I have included Martin Kippenberger’s poster "Candidacy for a Retrospective" (1993) with the artist pictured sporting an iconic MISFITS devilock."

-- MATT BORRUSO (American/Bay Area-based graphic artist/illustrator/former hardcore punk musician)

Source: www.mattborruso.org/collection-rotation.

[realismoutopico]

Martin Kippenberger / Metro-Net, Transportable Subway Entrance / 1993–1997 / via Public Delivery / Archive of Destruction / e-flux / BLDGBLOG / Image © Museo Reina Sofia

[container-of-claps]

Martin Kippenberger

Paris Bar, 1991

oil on canvas

81½ x 149 7/8in. (207 x 380.8cm.)

PARIS BAR 1993

MARTIN KIPPENBERGER

[partydressfancy]

Martin Kippenberger

[casualist-tendency]

Martin Kippenberger (German, 1953–1997), Untitled (from the series “Die Erfindung eines Witzes” [“The Invention of a Joke”]), 1993, 240 x 200 cm

[j--c--r]

Martin Kippenberger, "Greek Style" 2, 1993, Drawing on poster, 37,5 x 57,5 cm

[schibborasso]

Martin Kippenberger: Ausstellungsplakate, 1983, 1993

[moma-prints]

Afb. [Abb.] [fig.] The Happy End of Franz Kafka's 'Amerika',, Martin Kippenberger, 1993, MoMA: Drawings and Prints

Committee on Drawings and Prints Fund and through the generosity of Philip E. Aarons and Shelley Fox Aarons Size: page (each): 10 9/16 × 8 1/2" (26.8 × 21.6 cm); overall (closed): 10 9/16 × 8 11/16 × 5/16" (26.8 × 22 × 0.8 cm) Medium: Catalogue, lithograph printed

http://www.moma.org/collection/works/195232

[banffcentrelibraryandarchives]

Artists’ Book Display for the week of October 31st, 2019

Orderly by Doug Ischar- Cambridge, MA: MIT List Visual Art Center, 1993

Prima come lettere poi come suono poi come senazione sottilissima  by Luciano Bartolini- Torino: Alberto Weber, 1982

Hotel-Hotel by Martin Kippenberger: Walther Konig, 1992

[dead-molchun]

Martin Kippenberger (1953 –1997) Paris Bar 1993 (258,7 x 360 cm)

[kunstkioskzh]

Kippenberger, Martin. The Happy End of Franz Kafka’s Amerika. Tisch 3. Zwecks Einstellungsgespräch. Vorschläge zur Diskussion. Sammlung Grässlin, St. Georgen. 1993 CHF 900 #martinkippenberger #kunstkioskimhelmhaus #kunstkiosk https://www.instagram.com/p/BxDAykcFrsL/?utm_source=ig_tumblr_share&igshid=vrx23u387v4f

[suzylwade]

Interiors Now! 'Berlin is more judgmental than Cologne. Cologne has an art-loving liberal past and it is much easier to get things done there. It is very open-minded. In the 80s, it was the centre of the West German art-scene, and was an important link to American artists. There were other artists living there, as well as collectors - rich industrialist patrons - unlike Berlin, which is surrounded by agriculture and which, until recently, did not have strong connections to western Europe.’ - Benedikt Taschen, Founder of Taschen. Think flash. Think weird. Think houses by Neutra and lilies by Redoute. Taschen books are beautiful, original, unpredictable and - pay attention, because this is important - affordable. They have made Taschen a unique publishing house in a world where inventive notions struggle to survive in the swamp of corporate conglomeration. The founder, Benedikt Taschen, has merged the sensibility of a small imprint with sure-fire commercial ideas, while managing to remain independent, transgressive and viable. And he doesn't print cookery books. For this alone, he should be revered. Taschen has offices in London, Madrid, New York, Paris and Tokyo, but Cologne is the place to view the man in his natural habitat. A German cathedral city on the Rhine, Cologne is not immediately recognisable as a place to promote fancy plans. It seems, on casual inspection, to be full of ice-cream parlours. Berlin, surely, with its psycho-sexual cabaret backdrop and tradition of cultural resistance should be the breeding ground of the wayward. But Wolfgang Tillmans, an artist with whom Taschen has worked since 1993 and who grew up in this area, observes that Cologne is, in fact, exactly the right place for this operation. And so to Hohenzollernring 53, Taschen HQ. This is a grand, grey mansion with a cool, white courtyard. It is all pillars and white walls and glass and parquet floors that are screaming out for someone to tap dance on them. There is a suspended boat by the late Martin Kippenberger. There is a huge nude by Helmut Newton. There is also a staff of 75, as well as Mr and Mrs Taschen. https://www.instagram.com/p/Bna2MV2lKG7/?utm_source=ig_tumblr_share&igshid=1dmto1387w5dm

[denise1234556789]

Martin kippenberger, lamppost 1993

An everyday object used, seen in a poignant light, about his experiences as a gay man, (stood out to me in the 'everyday' lecture

Also looks at identity, something that I'm interested in too

[osmosnyc]

Martin Kippenberger: Twenty Years Later March 7 - April 21, 2017

OSMOS Address 50 E 1st Street New York NY 10003

Commemorating the 20th anniversary of Martin Kippenberger's passing and for the first time on view in New York, a recreation of the artist's book vitrine as it was installed in Candidature à une rétrospective at the Centre George Pompidou in Paris in 1993. A personal letter recalls the installation: “As is so often the case with Martin Kippenberger, there must also be a reference to the place, which for the Paris exhibition, was slightly exaggerated with the most banal stereotypes. In this case, for the poster and for the catalog, the typography was of the metro and for the exhibition space, Paris itself became a ‘city of showcases’ and love. On the central axis of the exhibition rooms was a continuous series of vitrines, in which all of his books and catalogs, as well as invitation cards, posters and other print matter could be presented. The 16 meter long partition penetrated the exhibition architecture, so that the real showcase happened in a third room,” the back room, which contained the artists erotic collection, partitioned by various curtains. The installation at OSMOS is a replica that has been realized with photography by Andrea Stappert in collaboration with 8. Salon in Hamburg. Co-curators, Cay-Sophie Rabinowitz, Roberto Ohrt and Axel Heil have assembled a special collection of drawings, print editions, ephemera, sculpture and performance documents spanning Martin Kippenberger's prolific and provocative artistic production. To this day, Kippinberger inspires and haunts us with his insouciant genius.

Martin Kippenberger: Twenty Years Later is part of a year-long series of projects that reflect on the 20 years OSMOS has been in existence since its’ founding in Berlin in 1997. OSMOS Address in New York is a project space for art gatherings and exhibitions in the East Village storefront that was once a saloon frequented by Emma Goldman and other radicals. In the 19th Century, the space in back was the printing office for their German language newspaper; and it is now the editorial office for OSMOS Magazine and OSMOS Books.

[banffcentrelibraryandarchives]

Artists’ Book Display for the week of July 2nd, 2019

Shopping by phone : March 27, 1993 by Melissa Shook- Chelsea, MA : Penny Ante Press, 1993

Transmit. 92: visual telephone directory by Carolyn Speranza- Basking Ridge, NJ: Whatever IT IS Productions, 1991

King size by Martin Kippenberger- Koln : Walther Konig, 1991

Rife with magic by Susan Sharenow- Rhode Island: 1991

A Fluxatlas by Mieko Shiomi- New York: Reflux Edition, 1992

[moma-prints]

Pictures of an Exhibition,, Martin Kippenberger, 1993, MoMA: Drawings and Prints

Committee on Drawings and Prints Fund and through the generosity of Philip E. Aarons and Shelley Fox Aarons Size: page (each): 9 5/8 × 7 5/8" (24.5 × 19.4 cm); overall (closed): 9 5/8 × 7 7/8 × 3/16" (24.5 × 20 × 0.5 cm) Medium: Catalogue, lithograph printed

http://www.moma.org/collection/works/195231