Luhring Augustine is pleased to present The Irreverent Object, a group exhibition of European sculpture from the 1960s,1970s and 1980s. The exhibition includes work by Arman, Joseph Beuys, Louise Bourgeois, Marcel Broodthaers, LucioFontana, Georg Herold, Martin Kippenberger, Jannis Kounellis, Piero Manzoni, Mario Merz, Reinhard Mucha, Giulio Paolini, Michelangelo Pistoletto, Gerhard Richter,Dieter Roth, Jean Tinguely, Rosemarie Trockel and Franz West.The Irreverent Object examines the subversive nature of sculptural practice employed by European artistsfrom the 1960s through the 1980s.
These artists expanded the historically limited definition of the sculptural object through an elevation of non traditional media and a rebellion against the accepted canon.Unorthodox construction, diverse pairings and alternative materials blurred the conventional distinction between aesthetic and utilitarian forms, opening the floodgates for limitless appropriation and givingrise to a dynamic new formal vocabulary. Referencing Marcel Duchamp’s infamous ready mades, artists such as MarcelBroodthaers, Giulio Paolini, Jean Tinguely and Joseph Beuys bucked tradition through the re contextualization and displayof recognizable objects. Broodthaers’ wall piece, Moule, presents a dense group of empty mussel shells affixed to board, and Paolini’s Intervallo (Torsi) divides the classical plaster cast of a figure which emerges from opposing walls. Disparate mechanical parts appear functional in Tinguely’s ultimately impractical floor and wall sculptures, and Joseph Beuys’Fluxu objekt is a grouping of intentionally arbitrary elements such as a cardboard box, fat, oil, a rubber ring, and a child’stoy.
By removing ordinary items from their familiar context, these artists often use humorous presentation and languageto highlight the artistic potential that lies within the objects around us. Other artists employed everyday items to address existential notions of mortality. Dieter Roth’s Motorcycle Driver’s Misfortune reflects this somber perspective through the implied demise of the titular character and the decaying composition of the organic materials that make up the work itself. Similarly, Martin Kippenberger’s Baby Püppi uses dark humor to address issues of mortality and artistic legacy.
The absurd juxtaposition of a baby stroller and a bronze cast of a pig leg in place of a child elevates thesculpture to an object of high art and, in a literal replacement of progeny, suggests that his artwork is his lasting contribution to humanity.
Trash Mash No.1 1969
Feu Louis XV 1985
Le Piano de Nero, 1999
For further information, please contact the gallery at (212) 206.9100 or email@example.com.View Site : www.luhringaugustine.com