COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0007828
image_record_id
aahi0007828
Image Record ID
false
Work Title (display):
Alcan: Tableau pour la salle due conseil d'administration
Work Title (variant):
Alcan: Painting for the Boardroom
Image Title:
full view
Work Dates (display):
1983
Work Dates type:
creation
Image Date (display):
2011-01-31
Work Creator (display):
Hans Haacke (German, active in United States, born 1936)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
German painter and conceptual artist, active in the USA. He studied at the Staatliche Hochschule für Bildende Künste in Kassel from 1956 to 1960, and during this period he painted pictures in a style close to Tachism, working on the visualization of movement. He also worked on examinations of colour fields, and in 196061 he spent a year in S. W. Hayter's Atelier 17 in Paris. While there he was brought into contact with the work of Yves Klein and the Zero group. He stayed in touch with Zero until 1965, and this was revealed in his work through a demonstration of optical phenomena that is more objective than romantic. In 19612 he received a Fulbright Scholarship and studied at Temple University in Philadelphia, PA, spending the remainder of 1962 in New York. From 1963 to 1965 he had a number of teaching posts in Germany, first at Kettwig, then at Düsseldorf, but he returned to the USA in 1965 to live in New York and to take up a visiting lectureship at the University of Washington, Seattle, WA. With his mirrorworks of 1961, Mirror Relief (1961; artist's col.) and the Battle of Reichenfels (1961; Paris, Bernard Aubertin priv. col.), Haacke freed himself from the object, and the water-containers done after 1962 are determined by technical factors, only formally recalling minimal art. The Rain Tower (1962; New York, Wilfried P. Cohen priv. col.) is the artist's first object that not only is a sensory and optical stimulation for the viewer but also has a practical use. He followed it with other 'real time systems', such as the condensation containers of 1963, which address themselves to natural laws and phenomena, not on a metaphorical or literary level but by causing them to occur in real time. At the beginning of the 1960s he made the acquaintance of the American artist and theorist J. W. Burnham, exchanging ideas with him about the 'systematic comprehension' of art.In the second half of the 1960s Haacke added new components to his physical systems in real time. Biological phenomena, as in Grass Cube (1967; see Haacke, 1972, pl. 57) and Chicks Hatching (1969; see Haacke, 1972, pl. 62), became 'unassisted ready-mades'. But unlike Duchamp's ready-mades, which lose their original function, Haacke's works were isolated phenomena which, although signed by the artist as works of art, still showed the real phenomenon in real time. In his political works after the late 1960s, Haacke transferred the principle of the real-time system to the analysis and exposure of social structures, as in Isolation of News Broadcasting Systems (1969). With the help of statistical investigations, questionnaires and his own research, he constructed 'social' systems in real time. The spectrum of the works extended from research into property relations in Manhattan, New York (leading to the cancellation of an exhibition by the Guggenheim Museum in 1971) (see Shapolsky et al., Manhattan Real Estate Holdings, a Real Time Social System, as of May 1, 1971, 1971) to the exposure of interconnections in artistic and cultural politics within the museum world: the exhibition of his Manet Project '74 was prevented by the Wallraf-Richartz-Museum in Cologne. In his work Haacke touched on taboos in the social system, using his art to aim for the nerve-centre of the establishment. He cannot be bracketed in any artistic trend; his works from the 1960s consist, in a conceptual way, of text and photograph (for illustration see Conceptual art), while towards the end of the 1970s he painted large pictures, as did many contemporaries. After 1967 he taught in New York at Cooper Union, which gave him a full professorship in 1979. He was guest professor at the Hochschule für Bildende Künste in Hamburg in 1973 and at the Gesamthochschule in Essen in 1979.
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Subject:
aluminum (metal)
subject
aluminum (metal)
Work Subject
false
Work Subject:
corporations
subject
corporations
Work Subject
false
Work Subject:
advertisements
subject
advertisements
Work Subject
false
Work Subject:
factories (structures)
subject
factories (structures)
Work Subject
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil painting in aluminum frame
Work Measurements (display):
55 in (H) x 60 in (W)
Work Location (Repository or Site) name:
National Gallery of Canada
Work Location (Repository or Site) role:
exhibition
Work Location (Geographic) name:
Ottawa, Canada
Image Source Reproduction citation:
Wallis, Brian, ed. Hans Haacke: Unfinished Business. Cambridge: M.I.T. Press, 1986. Print
image_source_copy_from_print_name
Wallis, Brian, ed. Hans Haacke: Unfinished Business. Cambridge: M.I.T. Press, 1986. Print
Image Source Reproduction citation
false
Image Source Reproduction refid:
0-262-23129-8
Image Source Reproduction page number:
251
Image Source Reproduction refid type:
ISBN
Image Rights (display):
unknown
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Hans Haacke
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Collection
Collection info and contact:
For information about this collection, see