Ausstellungs - Ausstellung.
Schwenningen, Germany: Kleine Galerie, 1967. Kleine Galerie [art direction Paul Maenz],1967 (05)
42,5x31 cm.
Exhibition poster / invite published in conjunction with the 4th solo show by Peter Roehr - out of only five he had during his brief lifetime. In an extreme gesture of auto-appropriation this document incorporates the invite for his previous show as this one was a 'repetition' within a small timeframe. We read "That was the invitation to the last Roehr exhibition. In Frankfurt, four weeks ago. It consisted of ten identical works (black, 120x120). Roehr, 22, makes assemblies from identical prefabricated parts. His concept. This concept applied to an exhibition: ten identical works. Actually quite simple. We are interested in this [and] we are showing this exhibition again. From April 22nd to May 18th, 1967. Come to the opening on Friday, April 21st, 8 p.m. We look forward to your impressions." Extremely scarce, as all material from Roehr's lifetime. Folded twice as issued for mailing. Near Fine.
Roehr’s magnum opus, Schwarze Tafeln (Black Tablets, 1966), first exhibited at the Galerie Adam Seide in 1967, and recently acquired by the Städel Museum, is a series of ten identical 119-centimetre-square pieces, composed of 35 black cards laid out in a 5:7 ratio. While Ad Reinhardt and Frank Stella had also recently created their own entirely black canvases to address the ‘end of painting’ – and which indeed they branded their ‘final paintings’ – these had still been applied with a brush. Roehr pushed the concept even further, trying to completely remove the hand of the artist. Ironically, in their monumentality and sombre tone, the panels are highly emotional: it was in 1966 that Roehr had learned of his terminal illness. By the time of the show, he was already very sick. These would indeed be his ‘final paintings’ and it’s appropriate that in them he successfully merges his goals: seriality, reduction of content, autonomy of the object and its surrounding space. With these, the young German contemporaneously matched the groundbreaking explorations of artists such as Donald Judd, even if it took the world another 40 years to notice. [Amanda Coulson, Frieze, 2010].
42,5x31 cm.
Exhibition poster / invite published in conjunction with the 4th solo show by Peter Roehr - out of only five he had during his brief lifetime. In an extreme gesture of auto-appropriation this document incorporates the invite for his previous show as this one was a 'repetition' within a small timeframe. We read "That was the invitation to the last Roehr exhibition. In Frankfurt, four weeks ago. It consisted of ten identical works (black, 120x120). Roehr, 22, makes assemblies from identical prefabricated parts. His concept. This concept applied to an exhibition: ten identical works. Actually quite simple. We are interested in this [and] we are showing this exhibition again. From April 22nd to May 18th, 1967. Come to the opening on Friday, April 21st, 8 p.m. We look forward to your impressions." Extremely scarce, as all material from Roehr's lifetime. Folded twice as issued for mailing. Near Fine.
Roehr’s magnum opus, Schwarze Tafeln (Black Tablets, 1966), first exhibited at the Galerie Adam Seide in 1967, and recently acquired by the Städel Museum, is a series of ten identical 119-centimetre-square pieces, composed of 35 black cards laid out in a 5:7 ratio. While Ad Reinhardt and Frank Stella had also recently created their own entirely black canvases to address the ‘end of painting’ – and which indeed they branded their ‘final paintings’ – these had still been applied with a brush. Roehr pushed the concept even further, trying to completely remove the hand of the artist. Ironically, in their monumentality and sombre tone, the panels are highly emotional: it was in 1966 that Roehr had learned of his terminal illness. By the time of the show, he was already very sick. These would indeed be his ‘final paintings’ and it’s appropriate that in them he successfully merges his goals: seriality, reduction of content, autonomy of the object and its surrounding space. With these, the young German contemporaneously matched the groundbreaking explorations of artists such as Donald Judd, even if it took the world another 40 years to notice. [Amanda Coulson, Frieze, 2010].
ID: 4449
Price:
€420
See all items by Peter ROEHR