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Gottfried Helnwein : The Child, works by Gottfried Helnwein
Fine Arts Museums of San Francisco
California Palace of the Legion of Honor
Robert Flynn Johnson

Curator in Charge, Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco

One man show, 31. July 2004 - 16. January 2005
exhibition-cataogue
..A clarity of vision in his subject matter was emerging in Helnwein's art that was to stay consistent throughout his career. His subject matter was the human condition. The metaphor for his art, although it included self-portraits, was dominated by the image of the child, but not the carefree innocent child of popular imagination. Helnwein instead created the profoundly disturbing yet compellingly provocative image of the wounded child. The child scarred physically and the child scarred emotionally from within. ... +

Gottfried Helnwein : Ninth November Night
Museum of Tolerance, Simon Wiesenthal Center
Los Angeles
Johnathon Keats

The Art of Humanity

catalogue
On Sunday, November 9, at 7:00 p.m. the Museum of Tolerance commemorates the 65th anniversary of the infamous 1938 Nazi “Night of Broken Glass” (Kristallnacht) pogrom which targeted 1,000 synagogues in Germany and Austria and marked the beginning of the end of European Jewry.
The commemoration is highlighted by the screening of a documentary by renowned Austrian artist, Gottfried Helnwein, 9th November Night, who has committed himself and his art to reminding the world of the Holocaust. The documentary is based upon his 1988 exhibit of seventeen children’s portraits that were displayed in commemoration of Kristallnacht in Cologne, Germany. Just days into the exhibit, these portraits were vandalized.. “The fury with which the neo-nazis reacted to these portraits is understandable inasmuch as it is the very same fury with which they have for years been fighting against The Diary of Anne Frank,” said famed Nazi hunter Simon Wiesenthal. “The murder of children rouses abhorrence and conflict in every human, whether they are motivated by ideology or insanity. The urge to destroy has survived; the portraits bear witness to its rage.” ... +

Gottfried Helnwein : The Golden Age 1 (Marilyn Manson)
Ludwig Galerie Schloss Oberhausen, Wilhelm-Busch-Museum Hannover
Gisela Vetter-Liebenov, Peter Pachnike
One man show
Exhibition catalogue ... +

Gottfried Helnwein :
The Denver Art Museum
Kent and Vicki Logan donated over 200 artworks to the Denver Art Museum's Modern and Cpontemporary Art department.
Exhibition catalogue
The Logan Collection
Gottfried Helnwein's Epiphany (Adoration of the Magi) is a strange takeoff on a traditional New Testament theme in art. The work depicts a Madonnalike mother displaying her baby to attentive Nazi officers, Painted in hyperrealist grisaille with chiaroscuro effects, the work resembles an old documentary photograph made huge. The eerie, sinister overtones are unmistakable. Who is this mother? What do these officers want with her and her child? What kind of official paper might the officer on the left hold in his hand and what might be its result? Helnwein, characteristically, presents us with an ambiguous, haunting image and leaves us to wonder about its meaning...
With its huge size, hyperrealist style, and disturbing content, this unsettling work bestows a psychological anxiety accompanied by a strong magnetic pull. Confronting it, we tend to stare-entranced by both its beauty and its seductive, malevolent overtones... ... +

Gottfried Helnwein : Black Mirror VII
Galeries Nationales du Grand Palais - Paris, Neue Nationalgalerie, Berlin
Melancholie- Genie und Wahnsinn im Abendland
Ausstellungskatalog

Aucune disposition d'âme n'a occupé si longtemps l'Occident. Les Grecs l'appelaient la bile noire (melangkholia, qui donnera le mot mélancolie). Aristote s'étonnait que cette humeur réputée néfaste touche la plupart des hommes d'exception. Elle est par tradition cause de souffrance et de folie, et sa désignation comme "maladie sacrée" implique une dualité. Les artistes de l'Antiquité la représentèrent sous la forme d'êtres pensifs, tête inclinée posée sur la main, regard perdu où se devine une sourde douleur. Au fil des siècles, l'image du mélancolique changera peu - 'le Portrait du Dr Gachet', de Van Gogh, ou la sculpture hyperréaliste de l'Australien Ron Mueck ('Big Man', 2000) respectent cette iconographie. Devenue saturnienne, puis reclassée dans la grande famille des dépressions, la mélancolie a toujours inspiré les artistes qui, pour en être victimes dans les périodes de doute et d'impuissance, connaissent son charme mortifère. Avec plus de 200 oeuvres, l'exposition se propose de vous introduire à cette richesse encore mal connue et met en évidence le rôle essentiel joué par la mélancolie dans les différentes formes de la création artistique en Europe, de Dürer à Goya en passant par Bruegel, Bosh, Arcimboldo, Watteau, La Tour, Füssli, Delacroix, Rodin, Munch, Baudelaire, Artaud, De Chirico, Picasso, Hopper... ... +

Gottfried Helnwein : Head of a Child 5
The Denver Art Museum
The University of Denver's Victoria H. Myhren Gallery.
from the collection of Kent and Vicki Logan and the Denver Art Museum, opening January 2005
Catalogue cover: Gottfried Helnwein, Head of a Child 5, 1998 ... +

Gottfried Helnwein :
Galeries nationales du Grand Palais Paris
Aux sources de l'art des studios Disney
Galeries nationales du Grand Palais Paris - 16 septembre 2006 - 15 janvier 2007
Museum of Modern Art Montreal - March 8, 2007 - June 24, 2007

It All Starts Again with a Mouse: Disney Recycled by Contemporary Art -
Pop Art made Mickey and Donald into icons, and artists continue to be inspired by Disney’s legacy today. This section shows some thirty works based on Disney characters, created by a diverse group of modern and contemporary artists that includes Gary Baseman, Christian Boltanski, Gottfried Helnwein, Bertrand Lavier, Roy Lichtenstein, Claes Oldenburg, Peter Saul and Andy Warhol. ... +

Gottfried Helnwein : Helnwein, irish and other Landscapes
The Crawford Municipal Art Gallery
Cork, Ireland
Peter Murray

Chief Curator

One man show, 01. July 2004 - 01. August 2004
"Helnwein's meticulous Irish landscapes, which are the cornerstone of this Crawford show, are unashamedly aesthetic: gorgeous confections of pure, delicious spectacle. The typically epic but not inhuman scale imitates the subject matter. The tonal realism will make people go "Wow, are they paintings?" - thanks to the photorealist finish which seems free of the foibles of the human hand. Helnwein works with very small brushes - highlighting and subtly magnifying here, muting colours or creating shadows there; pushing some paintings towards momentary sleights of impressionism; and others towards seamless, burnished hyperreality. The bird's eye view suggests a kind of superhuman vision which can simultaneously take in the entire view with breath-taking clarity, like some bionic eagle."
Mic Moroney, from the essay "Out of the Apocalypse into the Sublime - bursting into Irish Landscape: Citizen Helnwein" ... +
Exhibition-catalogue, The Crawford Municipal Art Gallery, Cork

Gottfried Helnwein :
McGill-Queen's University Press
Le Mois de la Photo à Montréal 2005
Petra Halkes, Gottfried Helnwein’s American Prayer: A Fable in Pixels and Paint.

Edited by Martha Langford

A richly illustrated exploration of the imagination in photography featuring the work of over sixty international artists.
Photography and reality are inextricably linked but, whether one is being photographed, making a photograph, or looking at a photograph, photography is an act of the imagination. In nine original essays, art historians and cultural theorists break with photographic tradition to explore the crucial role of the imagination in photography from nineteenth-century studio portraiture to twenty-first-century digital innovations. ... +

Gottfried Helnwein : "Los Caprichos", detail
Université Paris I. Panthéon-Sorbonne
Mémoire de Maîtrise d’Histoire de l'art
Galia Fischer
... +

Gottfried Helnwein :
Chronicle Books
San Francisco
Barbara Thornburg

Photographs: Dominique Vorillon

Working Castle: Gottfried & Renate Helnwein
... +

Gottfried Helnwein : Post Modern Portaiture
The Logan Collection
Published on the Occasion of the Exhibition
Exhibition at the Logan Collection Vail ... +

Gottfried Helnwein : sleep 7
Modernism Inc.
San Francisco
Jonathon Keats
Twenty-Five 1979-2004
Volume 1 - Modern
Volume 2 - Contempoprary ... +

Gottfried Helnwein : Fall of the Angels
Museum of Modern Art - Ostend
Stichting Kunstboek
Willy Van den Bussche
Bezielde kunst / Inspired Art
Exhibition, Episcopal Seminary, Bruges ... +

Gottfried Helnwein : Roter Mund ( Detail )
Ruprecht-Karls-Universität Heidelberg
Institut: Kunstgeschichte
Klaus Honnef

Curator for Photography and New Media at Rheinisches Landesmuseum, Bonn

Klaus Honnef
Es gibt gewichtige Gründe, um Helnwein als den legitimen Erben Beuys und Warhols zu bezeichnen. Einerseits folgt er in seinen Werken rituellen Mustern, andererseits spielt er mit einer Reihe von künstlerischen Variationen. Er untergräbt die Magie der Bilderwelt, indem er einen Störfaktor einbaut, durch den ein Schock im Verhältnis zwischen dem Kunstwerk und dem Betrachter entsteht. Helnwein vermischt Altes mit Neuem, und sein Stil spiegelt den Beginn der Moderne, aber auch die Welt des Cyberspace wieder. Einen großen Einfluss hat das Wien der sechziger Jahre auf ihn. Auch wird er von der Welt des Comics inspiriert. Helnwein besuchte die 'Höhere Graphische Bundeslehr- und Versuchsanstalt'. Um gegen die tägliche Routine des Klassenzimmers zu protestieren, schnitt er sich mit einer Rasierklinge die Hände auf. Durch diesem Vorfall wurde ihm bewußt, wie hilflos die Gesellschaft auf körperliche Ungerechtigkeit und auf Verletzungen reagiert. Nach dem Abschluss an der 'Graphischen' besuchte er die Wiener Akademie der Künste. Zu dieser Zeit tauchte auch zum ersten mal eines seiner Leitmotive auf: Kinder. Durch das Malen von verletzten Kindern verursachte Helnwein eine Art Schock, und brachte somit den 'Horror' zurück in die Kunst. Damit zeigte er offen den Zynismus einer Gesellschaft, die nicht mehr die Dinge so sieht, wie sie sind, dessen Sichtweise aber durch 'Bilder über Dinge' geprägt ist. ... +

Gottfried Helnwein : Arno Breker holding a Picture of Joseph Beuys
Hatje Cantz
Kunsthalle Wien und Kunstforum Wien.
Ingried Brugger, Heike Eipeldauer, Gerald Matt
Katalog zur Ausstellung: Superstars: Von Warhol bis Madonna (4.11.2005 - 19.2.2006) - eine Kooperation zwischen Kunsthalle Wien und Kunstforum Wien. ... +

Gottfried Helnwein : Untitled
Instituto de cultura Superior A,C.
Secretaria de Educación Publica
Michelle Dana Missrie

Mexico

Toda la obra de Helnwein presenta originalidad. Esta es una de las características que hacen que lo podamos definir como verdadero artista; no sólo porque se ha podido apoderar de la técnica a tal punto que pareciera que le pertenece, sino porque además se ha propuesto descubrir y experimentar con distintos soportes y técnicas nuevas. En cada pieza podemos ver la reflexión que plantea sobre lo humano visto por medio del dolor y el sufrimiento; intentando hablar por medio de lo visual lo que los escritores y filósofos plantearon sobre lo utópica que es la sociedad; desmitifica los valores religiosos y cuestiona la moral. ... +

Gottfried Helnwein :
Wilhelm Fink Verlag
Christoph Wulf, Jörg Zirfas

Herausgeber

... +

Gottfried Helnwein : Ireland
Start
Arts and Culture of the South East, Ireland
Brendan Maher
"...When I look at a work of Art I ask myself: does it challenge me, does it touch, move or inspire me? Do I learn something from it, does it startle or amaze me - do I get excited, upset?
That is the test any artwork has to pass: can it create an emotional impact on a human being even when he has no education or any information about art? I’ve always had a problem with art that you can only understand if you have a degree in art history, and I have a problem with theories in general. Most of them are bullshit anyway. Most critics and theorists have little respect for artists, and I think the importance of theory in art is totally overrated. Real art is self-evident. Real art is intense, challenging, enchanting, exciting and unsettling; it has a quality and magic that you cannot explain. Like the Blues, a poem of Rimbaud or Rembrandt's late self-portraits. Art is not logic, and if you really want to experience it, your mind and rational thinking will be of little help. Art is something spiritual that you can only experience with your senses, your heart, your soul. Think of Bob Dylan, Hendrix, Mozart, Howling Wolf, Goya, Bukowski or Robert Crumb - do you need to know the theories that some busybodies might attach to their art in order to experience it?
Marcel Duchamp said: "The work of art is always based on the two poles of the onlooker and the maker, and the spark that comes from the bipolar action gives birth to something - like electricity."
These two poles is all you need. ... +

Gottfried Helnwein :
Wienbibliothek
Sonderzahl Verlagsgesellschaft
Hg. von Marcel Atze und Hermann Böhm
... +



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