Kröller-Müller Museum presents Major International Works from its Collection

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Written by Nicholas Bagby   
Sunday, 17 January 2010 02:10

Anselm Kiefer - Noch ist Polen nicht verloren IV , 1978 - Courtesy of the Kröller-Müller Museum

Otterlo, Netherlands - From June 20th to August 23rd, the museum presents a selection from its international collection of modern art from the 1960s, 70s and 80s. These are major pieces from the collection, brought together under the title Young classicschapters from the contemporary art collection. The work, which was then avant-garde, and as such suited the purchasing policy, is now increasingly regarded as established art.

Robert Morris, Untitled (143), 1974 (photographer Cary Markerink)The exhibition is structured chronologically. The first part covers the ‘60s and ‘70s, with artists who turned away from the generations that went before them. This includes the work of Ger van Elk, Jan Dibbets, Joseph Kosuth, Bruce Nauman, Sol LeWitt, Dan Flavin, Robert Morris, Eva Hesse, Louise Bourgeois, Mario Merz, Gilberto Zorio, Luciano Fabro, Jannis Kounellis and Giovanni Anselmo among others.

In the form of a solo presentation, the continuation represents young artists from the years that followed, who actually appear more inclined to seek great examples and role models, than to react against their artistic predecessors. This group includes the now leading artists Anselm Kiefer and Sigmar Polke.

Minimal Art, Land Art, Conceptual Art and Arte Povera are terms from the history of modern art, which are used to denote closely related avant-garde movements from the ‘60s and ‘70s. At that time, particularly in America and Europe, young artists were pondering the question: what is the essence of art and what is the artist’s role in society? This thorough reorientation of the codes and conventions of art led to research and experimentation, whereby trusted values concerning the idea and the representation of the idea were minutely analysed and stripped of all emotion.

The second part of the exhibition is in contrast to the first. This rather abrupt transition corresponds with the comprehensive reorientation of the museum in the late seventies. The questions that art had posed itself in the preceding years had been answered profusely, and were in danger of becoming ‘art for art’s sake’ through repetition; reason for the museum to review its policy, resulting in a new opening towards the future.

Visit the Kröller-Müller Museum at : www.kmm.nl/?lang=en


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