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Added education history, and information about an important show she held in 2009, as well as a critical text written about the show
Added to her teaching history, and placed all teaching information in career. Added information about her relationship with Martin Kippenberger. Edited some information about the David Joselit essay
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==Early life and education==
==Early life and education==
Koether was born in [[Cologne]] and studied art and philosophy at the University of Cologne<ref>{{Cite book|url=https://www.worldcat.org/oclc/269434700|title=Interviews, conversations, and chit-chat, 1986-2004|last=1954-2012.|first=Kelley, Mike,|date=2005|publisher=JRP/Ringier|others=Edited and Introductions by John C. Welchman|year=|isbn=3905701006|location=Zurich|pages=95-117|oclc=269434700}}</ref>. She relocated to New York City in 1991.<ref name="Art Review: Jutta Koether">[[Roberta Smith]] (June 4, 1993), [https://www.nytimes.com/1993/06/04/arts/art-in-review-720893.html Art Review: Jutta Koether] ''[[New York Times]]''.</ref> She is currently a professor at the [[Hochschule für bildende Künste Hamburg]].<ref name="dca.org.uk"/>
Koether was born in [[Cologne]] and studied art and philosophy at the University of Cologne<ref name=":1">{{Cite book|url=https://www.worldcat.org/oclc/269434700|title=Interviews, conversations, and chit-chat, 1986-2004|last=1954-2012.|first=Kelley, Mike,|date=2005|publisher=JRP/Ringier|others=Edited and Introductions by John C. Welchman|year=|isbn=3905701006|location=Zurich|pages=95-117|oclc=269434700}}</ref>. She relocated to New York City in 1991.<ref name="Art Review: Jutta Koether">[[Roberta Smith]] (June 4, 1993), [https://www.nytimes.com/1993/06/04/arts/art-in-review-720893.html Art Review: Jutta Koether] ''[[New York Times]]''.</ref>


== Career ==
== Career ==
Koether's [[painting]]s are exercises in color, line, form and pattern and often feature text. Her style has precedent in the work of [[Sigmar Polke]] and [[Kenny Scharf]].<ref name="Art Review: Jutta Koether"/> She is also inspired by artists and intellectuals who have created an alternative to mainstream culture, including underground filmmaker [[Kenneth Anger]] and musician [[Patti Smith]].<ref>[http://www.modernamuseet.se/en/Moderna-Museet/PressRoom/Press-releases/Stockholm1/Jutta-Koether--painter-performer-participant/ Jutta Koether – The Thirst, 5 March, 2011 - 24 April, 2011] [[Moderna Museet]], Stockholm.</ref>
Koether's [[painting]]s are exercises in color, line, form and pattern and often feature text. Her style has precedent in the work of [[Sigmar Polke]] and [[Kenny Scharf]].<ref name="Art Review: Jutta Koether"/> She is also inspired by artists and intellectuals who have created an alternative to mainstream culture, including underground filmmaker [[Kenneth Anger]] and musician [[Patti Smith]].<ref>[http://www.modernamuseet.se/en/Moderna-Museet/PressRoom/Press-releases/Stockholm1/Jutta-Koether--painter-performer-participant/ Jutta Koether – The Thirst, 5 March, 2011 - 24 April, 2011] [[Moderna Museet]], Stockholm.</ref> She has collaborated with [[Sonic Youth]]’s [[Kim Gordon]] on a number of projects, for example ''Her Noise'' at [[Tate Modern]] in 2005.<ref>Tate.org.uk</ref><ref>Holly Myers (August 18, 2006), [http://articles.latimes.com/2006/aug/18/entertainment/et-galleries18 A message in the starkness] ''[[Los Angeles Times]]''.</ref> Koether's work is also affiliated with Martin Kippenberger. Their relationship began in Cologne when she interview him for Spex magazine<ref>{{Cite web|url=https://www.flashartonline.com/article/jutta-koether/|title=Jutta Koether: The Inside Job|last=Gordon|first=Kim|date=Feb 2011|website=Flash Art|archive-url=|archive-date=|dead-url=|access-date=Sept 7, 2017}}</ref>. Although her work is not as grandiose as Kippenberger, both their works engage with the dense history of European, and more specifically, German painting,.


For much of the 1990s, she mixed graffiti-inspired brushwork, fluorescent colors (especially bright pink), fragmented images and assorted quotations on surfaces that had a vibrant, all-over undergrowth.<ref>[[Roberta Smith]] (April 15, 2005), [https://query.nytimes.com/gst/fullpage.html?res=9B07E6DD113EF936A25757C0A9639C8B63 Art in Review; Jutta Koether] ''[[New York Times]]''.</ref> Her solo show at [[Pat Hearn Gallery]], New York, in 1997 featured a soundtrack by the artist, accompanied by [[Tom Verlaine]].<ref>William McCollum, [http://www.artnet.com/magazine_pre2000/reviews/mccollum/mccollum11-3-97.asp ArtNet.com]</ref> Her visionary work, according to ''[[The New York Times]]'' art critic [[Roberta Smith]], sees painting as multipurpose.<ref>[https://query.nytimes.com/gst/fullpage.html?res=9B07E6DD113EF936A25757C0A9639C8B63 Roberta Smith, "Art in Review; Jutta Koether," NY Times]</ref> She has collaborated with [[Sonic Youth]]’s [[Kim Gordon]] on a number of projects, for example ''Her Noise'' at [[Tate Modern]] in 2005.<ref>Tate.org.uk</ref><ref>Holly Myers (August 18, 2006), [http://articles.latimes.com/2006/aug/18/entertainment/et-galleries18 A message in the starkness] ''[[Los Angeles Times]]''.</ref>
For much of the 1990s, she mixed graffiti-inspired brushwork, fluorescent colors (especially bright pink), fragmented images and assorted quotations on surfaces that had a vibrant, all-over undergrowth.<ref>[[Roberta Smith]] (April 15, 2005), [https://query.nytimes.com/gst/fullpage.html?res=9B07E6DD113EF936A25757C0A9639C8B63 Art in Review; Jutta Koether] ''[[New York Times]]''.</ref> Her solo show at [[Pat Hearn Gallery]], New York, in 1997 featured a soundtrack by the artist, accompanied by [[Tom Verlaine]].<ref>William McCollum, [http://www.artnet.com/magazine_pre2000/reviews/mccollum/mccollum11-3-97.asp ArtNet.com]</ref> Her visionary work, according to ''[[The New York Times]]'' art critic [[Roberta Smith]], sees painting as multipurpose.<ref>[https://query.nytimes.com/gst/fullpage.html?res=9B07E6DD113EF936A25757C0A9639C8B63 Roberta Smith, "Art in Review; Jutta Koether," NY Times]</ref>


Koether’s 2009 show entitled ''Lux Exterior'' at [[Reena Spaulings]] further explored a common thematic in her work, the relation of painting with other aspects of theoretical and popular culture. Koether’s 2009 show was discussed in [[David Joselit]]’s essay entitled ''Painting Beside Itself''<ref name=":0">{{Cite journal|last=Joselit|first=David|date=2009-10-01|title=Painting Beside Itself|url=http://www.mitpressjournals.org/doi/10.1162/octo.2009.130.1.125|journal=October|volume=-|pages=125–134|doi=10.1162/octo.2009.130.1.125|issn=0162-2870}}</ref>. The exhibition, which included a painting entitled ''Hot Rod (after Poussin) (2009)'' along with sculptural found objects and a series of three performances, was noted by Joselit as a “sophisticated response to the question which I began [this essay with]: How does a painting belong to a network?”<ref name=":0" />
Koether’s 2009 show entitled ''Lux Exterior'' at [[Reena Spaulings]] further explored a common thematic in her work, the relation of painting with other aspects of theoretical and counter culture. Koether’s 2009 show was discussed in [[David Joselit]]’s essay entitled ''Painting Beside Itself''<ref name=":0">{{Cite journal|last=Joselit|first=David|date=2009-10-01|title=Painting Beside Itself|url=http://www.mitpressjournals.org/doi/10.1162/octo.2009.130.1.125|journal=October|volume=-|pages=125–134|doi=10.1162/octo.2009.130.1.125|issn=0162-2870}}</ref>. The exhibition, which included a painting entitled ''Hot Rod (after Poussin) (2009)'' along with sculptural found objects and a series of three performances, was noted by Joselit as a “sophisticated response to the question which I began [this essay]: How does a painting belong to a network?”<ref name=":0" />


In spring 2012, Koether took part in the three-month exposition of [[Whitney Biennial]].<ref name="NYT2012a">{{cite web | url=https://www.nytimes.com/2012/03/02/arts/design/2012-whitney-biennial.html?pagewanted=all | title=A Survey of a Different Color 2012 Whitney Biennial | publisher=NY Times | date=March 1, 2012 | accessdate=March 5, 2012 | author=Roberta Smith}}</ref> Around that time, she conceived two large series of works that respond directly to the French artist [[Nicolas Poussin]], a reinterpretation of his ''[[Seven Sacraments (Poussin)|The Seven Sacraments]]'' reimagined as a series of installations, and ''Seasons'' (2012), a response to Poussin’s ''[[The Four Seasons (Poussin)|The Four Seasons]]''.<ref>[http://www.arnolfini.org.uk/whatson/jutta-koether-seasons-and-sacraments Jutta Koether: Seasons and Sacraments, 4 May 2013 to 7 July 2013] [[Arnolfini]], Bristol.</ref>
In spring 2012, Koether took part in the three-month exposition of [[Whitney Biennial]].<ref name="NYT2012a">{{cite web | url=https://www.nytimes.com/2012/03/02/arts/design/2012-whitney-biennial.html?pagewanted=all | title=A Survey of a Different Color 2012 Whitney Biennial | publisher=NY Times | date=March 1, 2012 | accessdate=March 5, 2012 | author=Roberta Smith}}</ref> Around that time, she conceived two large series of works that respond directly to the French artist [[Nicolas Poussin]], a reinterpretation of his ''[[Seven Sacraments (Poussin)|The Seven Sacraments]]'' reimagined as a series of installations, and ''Seasons'' (2012), a response to Poussin’s ''[[The Four Seasons (Poussin)|The Four Seasons]]''.<ref>[http://www.arnolfini.org.uk/whatson/jutta-koether-seasons-and-sacraments Jutta Koether: Seasons and Sacraments, 4 May 2013 to 7 July 2013] [[Arnolfini]], Bristol.</ref>


Since 1985, Koether has also worked as a reviewer and editor for many magazines and journals such as ''[[Spex (magazine)|Spex]]'', ''[[Texte zur Kunst]]'', ''[[Flash Art|FlashArt]]'' and ''[[Artscribe]]''.
Since 1985, Koether has also worked as a reviewer and editor for many magazines and journals such as ''[[Spex (magazine)|Spex]]'', ''[[Texte zur Kunst]]'', ''[[Flash Art|FlashArt]]'' and ''[[Artscribe]]''. <nowiki>''</nowiki>

Koether has taught at many institutions, including Columbia University, the Academy of Fine Arts in Berlin, Yale University, and Bard College.<ref name=":1" /> Currently, she is a professor at the [[Hochschule für bildende Künste Hamburg]].<ref name="dca.org.uk" />


==Selected exhibitions==
==Selected exhibitions==

Revision as of 23:05, 7 September 2017

Jutta Koether (born 1958) is a German artist, musician and critic based in New York City and Berlin[1] since the early 1990s.

Early life and education

Koether was born in Cologne and studied art and philosophy at the University of Cologne[2]. She relocated to New York City in 1991.[3]

Career

Koether's paintings are exercises in color, line, form and pattern and often feature text. Her style has precedent in the work of Sigmar Polke and Kenny Scharf.[3] She is also inspired by artists and intellectuals who have created an alternative to mainstream culture, including underground filmmaker Kenneth Anger and musician Patti Smith.[4] She has collaborated with Sonic Youth’s Kim Gordon on a number of projects, for example Her Noise at Tate Modern in 2005.[5][6] Koether's work is also affiliated with Martin Kippenberger. Their relationship began in Cologne when she interview him for Spex magazine[7]. Although her work is not as grandiose as Kippenberger, both their works engage with the dense history of European, and more specifically, German painting,.

For much of the 1990s, she mixed graffiti-inspired brushwork, fluorescent colors (especially bright pink), fragmented images and assorted quotations on surfaces that had a vibrant, all-over undergrowth.[8] Her solo show at Pat Hearn Gallery, New York, in 1997 featured a soundtrack by the artist, accompanied by Tom Verlaine.[9] Her visionary work, according to The New York Times art critic Roberta Smith, sees painting as multipurpose.[10]

Koether’s 2009 show entitled Lux Exterior at Reena Spaulings further explored a common thematic in her work, the relation of painting with other aspects of theoretical and counter culture. Koether’s 2009 show was discussed in David Joselit’s essay entitled Painting Beside Itself[11]. The exhibition, which included a painting entitled Hot Rod (after Poussin) (2009) along with sculptural found objects and a series of three performances, was noted by Joselit as a “sophisticated response to the question which I began [this essay]: How does a painting belong to a network?”[11]

In spring 2012, Koether took part in the three-month exposition of Whitney Biennial.[12] Around that time, she conceived two large series of works that respond directly to the French artist Nicolas Poussin, a reinterpretation of his The Seven Sacraments reimagined as a series of installations, and Seasons (2012), a response to Poussin’s The Four Seasons.[13]

Since 1985, Koether has also worked as a reviewer and editor for many magazines and journals such as Spex, Texte zur Kunst, FlashArt and Artscribe. ''

Koether has taught at many institutions, including Columbia University, the Academy of Fine Arts in Berlin, Yale University, and Bard College.[2] Currently, she is a professor at the Hochschule für bildende Künste Hamburg.[1]

Selected exhibitions

2014

  • Maquis, Galerie Francesca Pia, Zurich
  • A Moveable Feast - Part XV, Campoli Presti, Paris
  • Champrovement, Reena Spaulings, New York

2013

  • Un établissement aux Folies-Koethère, Établissement d'en face projects, Brussels
  • Cycle 1. Jutta Koether. Viktoria, Luise, Isabelle, Praxes, Berlin
  • The Double Session, Campoli Presti, London
  • Seasons and Sacraments, Arnolfini, Bristol, United Kingdom
  • Seasons and Sacraments, Dundee Contemporary Arts, Dundee, United Kingdom

2012

  • The Fifth Season, Bortolami Gallery, New York

2011

  • Mad Garland, Campoli Presti, Paris
  • The Thirst, Moderna Museet, Stockholm
  • Berliner Schlussel, Galerie Daniel Buchholz, Berlin

2009

2008

  • New Yorker Fenster, Galerie Daniel Buchholz, Koln
  • No.5, Kunsthall Landmark, Bergen
  • JXXXA LEIBHAFTIGE MALEREI, Sutton Lane, Paris
  • Touch and Resist, Song Song, Wien
  • Galerie Francesca Pia, Zurich

2007

  • Anderungen aller Art, Kunsthalle Bern, Bern

2006

2005

  • Very Lost Highway, Simultanhalle, Köln
  • extreme harsh, Ausstellungsraum Ursula Werz, Tübingen
  • I Is Had Gone, Thomas Erben Gallery, New York
  • Her Noise, South London Gallery, London
  • Blankness is not a Void, Standard Oslo, Oslo
  • Kim Gordon and Jutta Koether, Talk and Performance at Tate Modern, London

2004

2003

2002

  • Black Bonds, Jutta Koether and Steven Parrino, Swiss Institute, New York
  • Galerie Daniel Buchholz, Koln

2000

  • Galerie Daniel Buchholz, Koln
  • zur grunen schenke-funf nachmittags. die geheimen Bilder, Galerie Freund, Wien

1999

1998

Brushholder Value, Westfälischer Kunstverein, Münster

1994

Dysfunction USA, Arthur Rogers Gallery, New Orleans

1993

Parralax View: Cologne-New York, P.S. 1 Institute for Contemporary Art, New York

1987

Werkschau Jutta Koether, Kunstraum Stuttgart, Stuttgart

References

  1. ^ a b Jutta Koether: Seasons and Sacraments, 9 February 2013 - 21 April 2013 Dundee Contemporary Arts, Dundee.
  2. ^ a b 1954-2012., Kelley, Mike, (2005). Interviews, conversations, and chit-chat, 1986-2004. Edited and Introductions by John C. Welchman. Zurich: JRP/Ringier. pp. 95–117. ISBN 3905701006. OCLC 269434700. {{cite book}}: |last= has numeric name (help)CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link)
  3. ^ a b Roberta Smith (June 4, 1993), Art Review: Jutta Koether New York Times.
  4. ^ Jutta Koether – The Thirst, 5 March, 2011 - 24 April, 2011 Moderna Museet, Stockholm.
  5. ^ Tate.org.uk
  6. ^ Holly Myers (August 18, 2006), A message in the starkness Los Angeles Times.
  7. ^ Gordon, Kim (Feb 2011). "Jutta Koether: The Inside Job". Flash Art. Retrieved Sept 7, 2017. {{cite web}}: Check date values in: |access-date= (help); Cite has empty unknown parameter: |dead-url= (help)
  8. ^ Roberta Smith (April 15, 2005), Art in Review; Jutta Koether New York Times.
  9. ^ William McCollum, ArtNet.com
  10. ^ Roberta Smith, "Art in Review; Jutta Koether," NY Times
  11. ^ a b Joselit, David (2009-10-01). "Painting Beside Itself". October. -: 125–134. doi:10.1162/octo.2009.130.1.125. ISSN 0162-2870.
  12. ^ Roberta Smith (March 1, 2012). "A Survey of a Different Color 2012 Whitney Biennial". NY Times. Retrieved March 5, 2012.
  13. ^ Jutta Koether: Seasons and Sacraments, 4 May 2013 to 7 July 2013 Arnolfini, Bristol.
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