Gottfried Helnwein (ur. 8 października 1948 roku w Wiedniu) - artysta pochodzenia austriacko-irlandzkiego. Uprawia kilka gałęzi sztuk, od tradycyjnego malarstwa, poprzez fotografię a po perfomance. Helnwein studiował malarstwo na Akademii Sztuk Pięknych w Wiedniu (Academy of Fine Arts Vienna; Akademie der Bildenden Künste, Wien). Skończył z wyrónieniem (the Master-class prize); otrzymał równie nagrody Kardinal-König prize oraz Theodor-Körner prize.
Jego wczesne prace to przede wszystkim hiper-realistyczne akwarele przedstawiające okaleczone dzieci; motyw ten był często wykorzystywany równie w licznych perfomances w miejscach publicznych. Helnwein jest konceptualnym artystą; koncentruje się przede wszystkim na psychologicznych i socjologicznych aspektach niepokoju i lęku wśród społeczeństwa, które te z kolei wywodzą się z historycznych wydarzeń i politycznych dyskusji. W rezultacie jego prace często są postrzegane jako prowokacyjne i kontrowersyjne. ...

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The visual appearance of this film, as well as a large extent of the subject matter and setting, are alarmingly reminiscent of the work of artist Gottfried Helnwein. Can anyone confirm that he was cited as an influence or had anything to do with the film? I don't believe he was anywhere in the credits, which in my opinion constitutes plagiarism by the filmmakers. ...

Inspiriert von ihrem Vater und Künstlern wie Robert Crumb, kreierte Mercedes ihren eigenen Stil; eine Kombination aus raffinierter Detailtreue, bissigem Humor und gekonnter Oberflächenbehandlung. Emotional und komplex sind sie; die Arbeiten einer Mercedes Helnwein! Einflüsse wie Southern Blues, russische Literatur der Jahrhundertwende und Comicbuch-Künstler der 60er Jahre haben sie geprägt und fließen in ihre Werke ein. Ihre zeichnerischen Serien basieren auf oft unheimlich anmutenden Porträts und eigenartigen Charakteren ihrer Reisen durch Amerika sowie Szenen dramatisch beleuchteter ungewöhnlicher häuslicher Geschehnisse. ...

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The exhibition was conceived exclusively for the Caricature Museum Krems by Gottfried Helnwein. This is the first time that Bark’s body of work is presented in Austria.
Barks, who is one of the most eminent American artists of the 20th century, was a leading cartoonist of Walt Disney. He made Donald Duck a highly popular character and created duckdom with his unique style and original stories. He is considered the inventor of Uncle Scrooge, the Beagle Boys, Gladstone Gander and Gyro Gearloose and other inhabitants of duckdom. His creative work had a lasting influence on artists like Roy Lichtenstein, Andy Warhol, Robert Crumb and Manfred Deix. Film directors such as Steven Spielberg and George Lucas also expressed their admiration for Barks.
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"It may be seen that the Viennese Helnwein is part of a tradition going back to the 18th century, to which Messerschmidt's grimacing sculptures are to belong, on which one of Freud's pupils wrote a long treatise. One sees, too, the common ground of these works with those of Arnulf Rainer or Nitsch, two other Viennese, who display their own bodies in the frame of reference of injury, pain, and death. And one sees how this fascination with body language goes back to the expressive gesture in the work of Egon Schiele."
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(Roland Recht, Chief Curator of Museums, Strasbourg, Musée d’Art Moderne, Strasbourg. From the Essay "The Self-Portais of Gottfried Helnwein: A World of Horror in Pictures.") ...

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"Ist es purer Zufall , daß der Österreicher Helnwein von dem Deutschen und Amerikaner ein Porträt entworfen hat? Zufall daß er Warhol als erschreckendes Schattengespenst fotografisch fixiert und Beauys gemalt hat?
Darüber hinaus das gemalte Porträt von Beuys wieder fotografiert hat , in den Händen von Arno Breker, Adolf Hitlers liebstem Bildhauer? Es spricht viel dafür , daß Helnwein der legitime Erbe von Beauys und Warhol ist."
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(Klaus Honnef, aus dem Essay "Gottfried Helnwein - Ein Konzeptkünstler vor der Jahrtausendwende." ...

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Listen. I tried very hard to think up both a concise and comprehensive bio about Gottfried Helnwein, the artist whose work is featured exclusively throughout our debut album, but it is virtually impossible to wrap my tiny arms around this guy's legacy in one email. And it'd be an insult to try. So I'll just say the following, and let your pending curiosty to explore his body of work speak the rest:
Mark my words, someday Helnwein will immortally reside in art history textbooks, right next to Van Gogh and Warhol. ...

...the last room was dedicated to contemporary artists with really good choices, there's even a Warhol Donald Duck canvas, and also a beautiful piece of Gottfried Helnwein which I happen to have been loving for years, "American Prayer". ...

I went to the Denver Art Museum today to see the newly opened expansion and in particular, the Radar collection. Very inspiring work, I have to say they are the most interesting and provocative pieces I've seen on display in Denver, ever. My favorite pieces were the works by Damien Hirst and the "Adoration of the Magi" by Gottfried Helnwein. ...

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... ...

Adoration of the Magi (1496) by Filippino Lippi - Epiphany (Adoration of the Magi) 1996 by Gottfried Helnwein.
If you noticed the completion dates, you would be correct to count 500 years difference between them. Considering Helnwein body of work, I don't think his 1996 completion date is entirely coincidental. Is there a meaning behind the date? Probably, but you will have to ask him. On the other hand, there were quite a few "Adoration of Magi" paintings and I am just putting too much thought into the two I found the most interesting. But then again, art is very subjective and I have chosen to give meaning to these two works of art and hence find the 500 years relevant. ...

{i am a madwoman right now. soon enough i'll burn out/fade away.}
{& yes, this was a school assignment, so kill me.} ...

THE SYMBOLISM OF GOTTFRIED HELNWEIN ...

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He just crashed very high into my favorite painters ever list. So impressive, check out the rest of his work here.
::update:: Well maybe you're better off NOT to check it, at least not the stuff before 2005. The 2005 stuff I LOVE.
But the stuff before that, maybe a matter of taste, but I just discovered he also made really sick disturbing stuff that's just sick sick sick that I think is just so disturbing I don't even want to link it here (it's at his watercolors section "the intrusion", most specifically, well most of that page in general actually.). Why!? Whyyy? How can that be! ...

целую, князь ([info]activatemorlack) wrote, @ 2006-06-10 01:48:00 ...