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by Iwona Ed Blazwick
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Individual Artists
  • Author:
    Iwona Ed Blazwick
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    Tate Publishing; 1st Ed. edition (August 15, 2002)
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    64 pages
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    Individual Artists
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FREE shipping on qualifying offers. This is the first major survey in English of the work of Katharina Fritsch, one of the most important artists to emerge in Europe in the last 20 years. Ranging from the colossal to the miniature.

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Iwona Blazwick has been Director of the Whitechapel Gallery, London, UK, since 2001. Recent curatorial projects include ‘Terrapolis’ in Athens (2015), ‘Adventures of the Black Square’ (2015), ‘Thomas Ruff Photographs 1979-2017’ (2017) and ‘Mark Dion: Theatre of the Natural World’ (2018) at the Whitechapel Gallery.

Katharina Fritsch est une artiste femme sculptrice allemande. Blazwick Iwona (e., Katharia Fritsch, exh. ca. Tate Modern, London; Kunstsammlung im Ständehaus, Düsseldorf, (2001 – 2002), Ostfildern-Ruit, Hatje Cantz, 2002. Ses oeuvres variées puisent dans différentes sources et appartiennent à la mémoire collective. Katharina Fritsch, New York, Dia Center for the Arts, April 1993 – April 1994. Katharina Fritsch, San Francisco Museum of Modern Art; Museum für Gegenwartskunst, Basel, San Francisco, 1995-1996. Katharia Fritsch, Tate Modern, London; Kunstsammlung im Ständehaus, Düsseldorf, 2001 – 2002.

Katharina Fritsch (born 14 February 1956) is a German sculptor. She lives and works in Düsseldorf, Germany. Katharina Fritsch was born on February 14, 1956 in Essen, West Germany. Fritsch first studied history and art history at the University of Münster and, in 1977, transferred to Kunstakademie Düsseldorf where she was a student of Fritz Schwegler until 1984.

elected Bibliography. San Francisco: San Francisco Museum of Modern Art, 1996. New York: Matthew Marks Gallery, 2000. Wolfsburg: Stadische Galerie Wolfsburg, 1999.

New York: Matthew Marks Gallery, 2000.

Her works' iconography is drawn from many different sources, including Christianity, art history and folklore.

The Tate press packet calls Katharina Fritsch one of the most important artists to have emerged from Europe in the . Organized by Iwona Blazwick and Susanne Bieber, this show comprises nineteen works realized since 1979.

The Tate press packet calls Katharina Fritsch one of the most important artists to have emerged from Europe in the last twenty years ; still, she remains something of a critical enigma.

She's a rodentiaphile teuton. Fritsch continues to exploit serialism and tamper with scale. Issues of kitsch and mass-production, which prevailed in her yellow Lourdes Madonna souvenirs and cutesy, arched-backed kitty cats recede in Rattenkonig. Minimalist, Conceptual, and Pop strategies remain her formal and presentational referents.

Katharina Fritsch is one of the most important artists to have emerged in Europe in the last twenty years. This book, and the accompanying exhibition, provide the first major survey of her work in this country. Fritsch's work - predominantly sculpture - is both general and specific, recreating types of objects that already exist in the world, and fabricating a kind of platonic version of them to trigger collective recognition. A case of books with no titles or texts symbolises the idea of books; a yellow madonna encapsulates all figures of worship; a group of rats, that in their formal composition and colossal scale suggest a collective of folk stories and myths. At the same time these objects are created according to her own singular inner vision. Each sculpture or installation is made with absolute precision, almost surreal in their perfect realisations of people or objects in the world. Fritsch is also interested in craftsmanship and the traditions around the Arts and Crafts and Bauhaus movements, often producing her works as multiples that can be bought by ordinary people as ornaments for the home. Katharina Fritsch lives and works in Dusseldorf. A retrospective exhibition of her work was held at the San Francisco Museum of Modern Art in 1997, which then transferred to Basel in 1997. She also exhibited at the Venice Biennale in 1995 and 1999. Recent show venues include The White Cube in London, and the Matthew Marks Gallery in New York.