Katharina Fritsch roots her work in the personal, often drawing from childhood memories of familiar circumstances or chance encounters. Her references engage broad aspects of folklore and culture through meticulous reproductions of everyday objects, which she formally manipulates with shifts in scale and color. Made strange by repetition and siting, her sculptural installations are both seductive and disturbing. In the Proustian sense of activating memory, Fritsch’s works create an unnerving familiarity that is subsequently destabilized by the realization that we are seeing a form, a character, or an object for the very first time.
While Fritsch’s painstakingly handcrafted objects are easily mistaken for manufactured items, the artist employs a complicated and time-consuming fabrication process that begins with sketches and scale models. Molded by hand, worked and reworked, each object is subjected to multiple processes of casting or layering. The completed yet still idiosyncratic forms are then painted in bold, highly saturated colors with matte, nonreflective surfaces, creating a sense of otherworldliness. In Fritsch’s words, “Often my sculptures have a matte surface so that there is no reflection whatsoever from the surroundings. That increases the impression of a vision that one cannot grasp.”
Born in Essen, Germany, Fritsch trained at the Kunstakademie in Düsseldorf, where she continues to live and work.
Katharina Fritsch is organized by the Art Institute of Chicago with major funding from the Bluhm Family Endowment Fund, which supports exhibitions of modern and contemporary sculpture. This exhibition was created with funds from the Prince Prize for Commissioning Original Work, which was awarded to Katharina Fritsch and the Art Institute of Chicago in 2011.
Generous support is provided by the Exhibitions Trust: Goldman Sachs, Kenneth and Anne Griffin, Thomas and Margot Pritzker, the Earl and Brenda Shapiro Foundation, Melinda and Paul Sullivan, and the Trott Family Foundation.
Katharina Fritsch's installation on the Bluhm Family Terrace.
1 day 12 hours ago The Art Institute of Chicago "Be a good craftsman; it won't stop you being a genius.”
Advice from Pierre-Auguste Renoir, on his birthday.
See 13 paintings by the great French Impressionist—now on view: http://bit.ly/2lj3AVq
2 days 6 hours ago The Art Institute of Chicago NOW OPEN—Go
Speed is both a product of modern life and an agent of it. At the turn of the 20th century, new technologies of mobility and transmission—trains, cars, airplanes, radio, film, television, to name only a few—increased the pace of life, collapsing distances between people and places and assaulting the senses.
Go, the second exhibition in the Art Institute’s Modern Series, explores how artists responded to different ways of experiencing and seeing the world in the accelerated modern age—through paintings, sculpture, works on paper, photographs, designed objects, textiles, books, and films.
2 days 11 hours ago The Art Institute of Chicago Happy birthday to Winslow Homer. In 1883 the artist moved to a small coastal village in Maine, where he created a series of paintings of the sea unparalleled in American art. The paintings he created after 1882 focused almost exclusively on humankind’s age-old contest with nature.
In The Herring Net, Homer depicted the heroic efforts of fishermen at their daily work. While one fisherman hauls in the netted and glistening herring, the other unloads the catch. Utilizing the teamwork so necessary for survival, both strive to steady the precarious boat as it rides the incoming swells. Homer’s isolation of these two figures underscores the monumentality of their task: the elemental struggle against a sea that both nurtures and deprives.
See five paintings by Winslow Homer in Gallery 171 of American Art—http://bit.ly/2l89rfx