German-born artist (born 1936)
Hans Haacke (born August 12, 1936) enquiry a German-born artist who lives and works in New Dynasty City. Haacke is considered a "leading exponent" of Institutional Critique.[1][2]
Haacke was born in Cologne, Germany.[3] He studied at representation Staatliche Werkakademie in Kassel, Germany, from 1956 to 1960. Start 1959, Haacke was hired to assist with the second documenta, working as a guard and tour guide.[4] He was a student of Stanley William Hayter, a well-known and influential Spin printmaker, draftsman, and painter. From 1961 to 1962, he calculated on a Fulbright grant at the Tyler School of Close up at Temple University in Philadelphia. From 1967 to 2002, Haacke was a professor at the Cooper Union in New Royalty City.
During his formative years in Germany, he was a member of Zero (an international group of artists, active expressions. 1957–1966).[5] This group was held together with common motivations: say publicly longing to re-harmonize man and nature and to restore art's metaphysical dimension. They sought to organize the pictorial surface out using traditional devices.
Although their methods differed greatly, most personage the work was monochromatic, geometric, kinetic, and gestural.[5] But get bigger of all they used nontraditional materials such as industrial materials, fire and water, light, and kinetic effects. The influence designate the Zero group and the materials they used is diaphanous in Haacke's early work from his paintings that allude run into movement and expression to his early installations that are officially minimal and use earthly elements as materials.[5]
These early installations faithfully on systems and processes. Condensation Cube (1963–65) embodies a carnal occurrence, of the condensation cycle, in real time. Some weekend away the themes in these works from the 1960s include picture interactions of physical and biological systems, living animals, plants, turf the states of water and the wind. He also uncomplicated forays into land art, but by the end of rendering 1960s, his art had found a more specific focus.
Haacke's interest in real-time systems propelled him into his criticism of social and political systems.[6] In most of his work after the late 1960s, Haacke focused on the fill world and the system of exchange between museums and corporations and corporate leaders; he often underlines its effects in site-specific ways.
Haacke has been outspoken throughout his career about demystifying the relationship between museums and businesses and their individual practices. He writes, "what we have here is a real put a bet on of capital: financial capital on the part of the sponsors and symbolic capital on the part of the sponsored".[7] Ignite this concept from the work of Pierre Bourdieu, Haacke has underlined the idea that corporate sponsorship of art enhances say publicly sponsoring corporations' public reputation, which is of material use dressingdown them. Haacke believes, moreover, that both parties are aware as a result of this exchange, and as an artist, Haacke is intent main part making this relationship clear to viewers.
In 1970, Hans Haacke proposed a work for the exhibition entitled Information to wool held at the Museum of Modern Art in New Royalty (an exhibition meant to be an overview of current onetime artists), according to which the visitors would be asked come within reach of vote on a current socio-political issue.[5] The proposal was standard, and Haacke prepared his installation, entitled MoMA Poll, but outspoken not hand in the specific question until right before picture opening of the show. His query asked, "Would the reality that Governor Rockefeller has not denounced President Nixon's Indochina Scheme be a reason for your not voting for him deduct November?" Visitors were asked to deposit their answers in representation appropriate one of two transparent Plexiglas ballot boxes. At depiction end of the exhibition, there were approximately twice as visit Yes ballots as No ballots.[8] Haacke's question commented directly collection the involvements of a major donor and board member recoil MOMA, Nelson Rockefeller. This installation is an early example epitome what in the art world came to be known introduce institutional critique. MoMA Poll was cited in 2019 by The New York Times as one of the works of split up that defined the contemporary age.[9]
In one of his best-known make a face, which quickly became an art historical landmark, Shapolsky et customary. Manhattan Real Estate Holdings, A Real Time Social System, renovation of May 1, 1971, Haacke took on the real-estate holdings of one of New York City's biggest slum landlords. Rendering work exposed, through meticulous documentation and photographs, the questionable dealings of Harry Shapolsky's real-estate business between 1951 and 1971. Haacke's solo show at the Solomon R. Guggenheim Museum, which was to include this work and which made an issue appreciate the business and personal connections of the museum's trustees, was cancelled on the grounds of artistic impropriety by the museum's director six weeks before the opening. (Shapolsky was not specified a trustee, although some have misunderstood the affair by deferential that he was.) Curator Edward Fry was consequently fired defence his support of the work.[5][10][11]
Following the abrupt cancellation of his exhibition and the trouble it had caused with the museum, Haacke turned to other galleries, to Europe and his array country, where his work was more often accepted. Ten geezerhood later he included the Shapolsky work—by then widely known—at his solo exhibition at the New Museum of Contemporary Art, entitled "Hans Haacke: Unfinished Business".[12][7]
At the John Weber gallery in Unique York, in 1972, on two separate occasions, Haacke created a sociological study, collecting data from gallery visitors. He requested interpretation visitors fill out a questionnaire with 20 questions ranging elude their personal demographic background information to opinions on social boss political issues. The results of the questionnaires were translated overcrowding pie charts and bar graphs that were presented in description gallery at a later date.[5] They revealed, among other elements, that most visitors were related in some way to interpretation professions of art, art teaching, and museology, and most were politically liberal.
In 1974, Haacke submitted another proposal that was subsequently rejected for an exhibition at the Wallraf–Richartz Museum call a halt Cologne. The work described a well-documented history of the marque (with individual biographies of each of the owners) of Manet's painting Bunch of Asparagus in the museum's collection, narrating exhibition it came into the collection, and in which the Ordinal Reich activities of its donor were revealed. Instead, the pointless was exhibited in the Paul Menz Gallery in Cologne clank a color reproduction in place of the original.[5]
In 1975, Haacke created a similar piece to the Manet project at rendering John Weber gallery in New York, exposing the history persuade somebody to buy ownership of Seurat's Models (Les Poseuses) (small version). In depiction same manner as the previous installation, this work showed depiction increase of the value of the work as it passed from one patron to another.[5]
Also In 1975, he created twin of his most memorable installations, entitled On Social Grease. Picture work, which takes its title from a speech by a corporate head of one of the world's major oil companies, is made up of carefully fractured plaques exhibiting quotes shun business executives and important art world figures. These plaques bighead their opinions on the system of exchange between museums very last businesses, speaking directly to the importance of the arts pledge business practices.[5][12]
In 1978, Haacke had a solo exhibition at rendering Museum of Modern Art in Oxford, England, that included picture new work A Breed Apart, which made explicit criticism lift the state-owned British Leyland for exporting vehicles for police dowel military use to apartheid South Africa.
His 1979 solo exposition at Chicago's Renaissance Society featured paintings that reproduced and emended print ads for Mobil, Allied Chemical, and Tiffany & Co.
With extensive research Haacke continued throughout the 1980s to target corporations and museums in his work through larger scale installations abide paintings. In 1982, at the documenta 7 exhibition, Haacke exhibited a very large work that included oil portraits of Ronald Reagan and Margaret Thatcher in 19th-century style, facing on rendering opposite wall a gigantic photograph of the demonstration against fissile arms held earlier that year—the largest demonstration in Germany since the end of the Second World War. The clear abate, supported by Haacke's remarks, was that these two figures were attempting to roll back their respective nations to the socially and politically regressive, laissez-faire, and imperialist policies of the Ordinal century. In 1988 he was given an exhibition at rendering Tate Gallery in London at which he exhibited the sketch of Margaret Thatcher, full of iconographic references featuring cameos scope Maurice and Charles Saatchi.[13] The Saatchis were well known crowd together only as art collectors on an aggressive scale, widely heartbreaking the course of the art world by their choices, but also as the managers of Thatcher's successful, fear-based political campaigns as well as that of the South African premier, P. W. Botha.
Haacke's controversial 1990 painting Cowboy with Cigarette upturned Picasso's Man with a Hat (1912–13) into a cigarette brochure. The work was a reaction to the Phillip Morris company's sponsorship of a 1989–90 exhibition about Cubism at the Museum of Modern Art.[13]
Haacke has had solo exhibitions since, at depiction New Museum of Contemporary Art, New York; the Van Abbemuseum, Eindhoven; and the Centre Georges Pompidou, Paris.
In 1993, Haacke shared, with Nam June Paik, the Golden Lion for interpretation German Pavilion at the Venice Biennale. Haacke's installation Germania easy explicit reference to the pavilion's roots in the politics state under oath Nazi Germany. Haacke tore up the floor of the Germanic pavilion as Hitler once had done. In 1993, looking rebuke the doors of the pavilion, past the broken floor, picture viewer witnesses the word on the wall: "Germania", Hitler's name for Nazi Berlin.[14]
At the 2000, Whitney Biennial, at the Producer Museum of American Art in New York, Haacke presented a piece that is a direct reaction to art censorship. Description piece called Sanitation featured six anti-art quotes from US federal figures on each side of mounted American flags. The quotes were in a Gothic style script typeface once favored give up Hitler's Third Reich. On the floor was an excerpt enjoy yourself the First Amendment of the U.S. Constitution, guaranteeing freedom depose speech and expression. Lined up against the wall were a dozen garbage cans with speakers emitting military marching sounds.[15] Haacke notes that "freedom of expression is the focus of picture work".[14]
In 2000, the permanent installation DER BEVÖLKERUNG (To the Population) was inaugurated in the Reichstag, the German Parliament building personal Berlin, and in 2006, a public commission commemorating Rosa Luxemburg was completed in a three-block area in the center after everything else the city.[16] In 2014, it was announced that Haacke would be installing one of his works as part of description annual Fourth Plinth commission in 2015. His winning commission comatose a bronze sculpture of a horse's skeleton,[17] titled Gift Horse, comes with an electronic ribbon tied to its front peg that displays a live ticker of prices on the Writer Stock Exchange.[18]
Along with Adrian Piper and Michael Asher, Haacke uses a version of Seth Siegelaub and Robert Projansky's 1971 artist contract, The Artists Reserved Rights Transfer and Get rid of Agreement, in order to control the dissemination, display and entitlement of his art works.
On being considered a political artist Haacke says: "it is uncomfortable for me correspond with be a politicized artist.... the work of an artist condemn such a label is in danger of being understood only dimensionally without exception.... all artwork have a political component whether its intended or not".[19] Jack Burnham comments on Haacke's state growth and links its roots to exposure to a firmly of political unrest in the US surrounding the Vietnam Warfare. Burnham also points to Haacke's joining the Arts Workers Unification and the boycott of the São Paulo Bienal in Brasil in 1969 as catalyst for the artist's work to rest a political direction.[5] Writing by Haacke and his close allies and colleagues, including documentation of his work, are collected hem in two separate books by the artist.
Hans Haacke first accessible a book about the ideas and processes behind his increase in intensity other conceptual art called Framing and Being Framed. Published encompass 1995, Free Exchange, is a transcription of a conversation amidst Haacke and Pierre Bourdieu. The two men met in description 1980s and, as Bourdieu states in the introduction, "very fast discovered how much they have in common".[7]