It began, as it had to begin, how painting – which captures something new, thereby disturbing the conventional view – nearly always begins. With the changing times. With the meeting of artistic minds. With admiration that follows, along with a lack of understanding and sometimes even denial.

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Four years after Georges Braque moved into the French capital from Normandy, he was still painting landscapes in the Impressionistic style. However, his sphere of influence changed. He admires Matisse, Derain, Dufy, and Friesz. Not two years passed by before he became one of the Fauves, one of the young wild ones, as the art critic Louis Vauxcelles patronizingly referred to them on the occasion of an exhibition. more »

Picture for yourself reality. Is that reality immediate, direct, unexpected? Should we attribute this power of reality to something within the medium or to the medium itself? Reality, realized as a procedure of exclusion, as an attempt at reduction, has reigned over the scientific and artistic arguments that have existed over centuries. In the last twentieth century, this gateway was submerged in the continually rising flood of the everyday vocabulary of visual art.

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The influence of this radical change on the work of the painter Franziska Maderthaner is visible. Instead of reduction, construction, de- and re-construction, and bricolage prevail. Instead of strict exclusion, surplus of meaning. Instead of the pathos of one, a play with references with which to assemble and compose. more »

The Albertina in Vienna—its distinguished collection of artwork covers, among other things, Albrecht Dürer’s rabbits—shows in its current exhibition, “Art after 1970”, that it also offers more recent works of art. CastYourArt’s Ulrike Grabler and Ewa Stern were at the exhibition opening and asked visitors about their opinion over the museum and the exhibited works. For example, does the museum’s exhibition suit the taste of its tradition-conscious public, and does the size of exhibited works from such artists as Baselitz, Brandl, Lassnig, Rainer or Weiler really determine their aesthetic value? The attending guests readily responded to both questions, but they were not necessarily united in their opinions. Listen and decide for yourself. (wh/jn)

Albertina exhibition. Art after 1970

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