docPRESS RELEASE LUDWIG GOES POP October
download 
Report Transcription
PRESS RELEASE LUDWIG GOES POP October
Contact: Anne Niermann / Leonie Pfennig Press and Public Relations Tel +49 (0)221 - 221 - 23491 Tel +49 (0)221 - 221 - 23003 [email protected] [email protected] PRESS RELEASE LUDWIG GOES POP October 2, 2014 – January 11, 2015 Opening: October 1, 7 p.m. Press reception: September 30, 11 a.m. “Popular, mass produced, expendable, cheap, witty, sexy, playful, conspicuous, seductive”according to Richard Hamilton these are the characteristics that make something interesting and that he also demanded of his own artistic work. What the British artist formulated in 1957as a new standard was considered scandalous at the time. A rejection of the prevailing art and its sublime values originality, authenticity, and “depth”. Pop Art was a liberation for some-and a trivial affront for others. The exhibition LUDWIG GOES POP offers an opportunity to explore this phenomenon and to comprehend Pop Art as an expression of a modern attitude toward life. In the 1960s the “everyday” had arrived—it had made its way into art: in all manner of play, from humorously ironic to biting and critical, artists explored the Zeitgeist in their art, integrated fragments and quotes from the world of consumerism and advertising, comics, science, technology, erotic, and mass media. Thanks to Peter and Irene Ludwig, the Museum Ludwig in Cologne holds one of the internationally most significant collections of American as well as British Pop Art. In addition to the Cologne holdings, other parts of this collection are preserved at the mumok in Vienna, the Ludwig Forum in Aachen, and the Kunstmuseum Basel, as well as at the Ludwig museums in Budapest, Koblenz, St. Petersburg, and Beijing. Opening in fall 2014 LUDWIG GOES POP brings together for the first time around 150 key works by the leading figures of this art movement from all institutions associated with the name Ludwig and in the process expands the historical picture of this world-class private collection. When Peter Ludwig first encountered a Pop Art sculpture by George Segal at MoMA in the mid1960s, the collector, who together with his wife had up to then collected chiefly antique and medieval art, was shocked. Shortly thereafter, however, both became enthusiastic collectors of these then-current works. Tom Wesselman’s Landscape No. 4, featuring a Ford driving through a country road in the mountains, was among the first purchases; soon followed key works by Roy Lichtenstein, James Rosenquist, Robert Rauschenberg, and Jasper Johns. These artists belonged to the same generation as the Ludwigs; they represented modern life, and the couple visited many of them directly in their studios. Many works came to Ludwig from the renowned Scull and Kraushaar collections, a few derived from the holdings of the Darmstadt Wella manufacturer Karl Ströher, who had bought New York insurance salesman Leon Kraushar’s pop collection. In 1968, following documenta 4, the Ludwigs bought works directly from the exhibition, including M-Maybe—A Girl’s Picture by Roy Lichtenstein, Claes Oldenburg’s Soft Washstand, Rauschenberg’s Wall Street, George Segal’s Restaurant Window I, and Richard Lindner’s Leopard Lilly. The following year the Ludwigs presented their collection for the first time in Cologne, at the then Wallraf-Richartz Museum. The media and public responded enthusiastically to the exhibition, and it attracted around 200,000 visitors. Consequently Pop Art became the Museum Ludwig’s signature tune. The exhibition will subsequently be shown at the mumok Museum moderner Kunst Stiftung Ludwig Wien in Vienna. A comprehensive catalogue is being published at Verlag der Buchhandlung Walther König in conjunction with the show. Curators: Stephan Diederich and Luise Pilz The exhibition is kindly supported by Peter und Irene Ludwig Stiftung, Terra Foundation for American Art, Sparkasse KölnBonn, Lamy and Frankfurter Allgemeine Zeitung GmbH as media partner. Contact: Anne Niermann / Leonie Pfennig Press and Public Relations Heinrich-Böll-Platz, 50667 Köln Tel + 49 - 221 - 221 - 23491 Tel + 49 - 221 - 221 - 23003 [email protected] [email protected] INFORMATION LUDWIG GOES POP October 2, 2014–January 11, 2015 Press Talk 09/30/2014, 11 a.m. Opening 10/01/2014, 7 p.m. Location Museum Ludwig, Heinrich-Böll-Platz, 50667 Köln www.museum-ludwig.de [email protected] Phone: +49-221-221 26165 Opening Hours Tue-Sun (incl. holidays): 10 a.m. – 6 p.m. 1st Thursday of the month: 10 a.m. – 10 p.m. Closed on Mondays Special opening hours during LUDWIG GOES POP: OPEN every Thursday until 8 p.m. OPEN Friday; December 26, and Monday, December 29 (closed December 24, 25, and 31, 2014 and January 1, 2015) Admission Valid for the collection and all exhibitions €11.00, Reduced: €7.50, Families: €22.00, Groups (20 or more people): €8.00 School groups incl. teacher: free entrance to the collection. To the exhibition per pupil: €4.00 Curators Stephan Diederich and Luise Pilz Partners Peter und Irene Ludwig Stiftung, TERRA. Foundation for American Art, Sparkasse KölnBonn, Frankfurter Allgemeine Zeitung GmbH, LAMY Publication The catalogue LUDWIG GOES POP is published by Verlag der Buchhandlung Walther König, 356 pages, €29.80 (museum discount), €38.00 (retail price) Autoren: Brigitte Franzen/Annette Lagler, Eduard Beaucamp, Anna Friedrichson, Rudolf Zwirner im Gespräch mit Regina Wyrwoll, Susanne Neuburger, Walter Grasskamp Essay, Statements und Interviews zu Peter und Irene Ludwigs Pop-Art-Sammlung + Abbildungen der Werke (Bildteil/Bildtafeln) Hrsg.: Stephan Diederich und Luise Pilz Tours Public tours (in German) every Sunday at 3 p.m. and every Thursday at 4 p.m., max. 25 participants Online booking: www.museenkoeln.de/museumsdienst Telephone booking: Museumsdienst Köln +49 (0)221 221 27380 kunst:dialoge Every Sunday 1–3 p.m. and during the Extended Thursday, December 4, 6–9 p.m. Press Service All documents from the press kit, as well as press images, are available for download under the following link: www.museum-ludwig.de/en/press. Here you will also find a detailed timeline concerning Pop Art and its protagonists. Contact: Anne Niermann / Leonie Pfennig Press and Public Relations Heinrich-Böll-Platz, 50667 Köln Tel + 49 - 221 - 221 - 23491 Tel + 49 - 221 - 221 - 23003 [email protected] [email protected] EVENTS PROGRAM LUDWIG GOES POP October 2, 2014–January 11, 2015 Donnerstag, October 2, 2014, 6 p.m. Extended Thursday: POP AROUND THE CLOCK Tuesday October 7, 2014, 7 p.m. 1947: Paolozzi in Paris. Pop Art: A Postwar Phenomenon Prof. Dr. Walter Grasskamp (KunstBewusst, in German) Saturday, October 18, 2014, 4:45 p.m.-9:30 p.m. Maximal. Kultur Trio. Kunst. Kulinarik. Konzert – in cooperation with Kölner Philharmonie Tuesday November 4, 2014, 7 p.m. On the market, the museum, and the collector: Peter Ludwig and the Pop Art Collection Julia Voss (KunstBewusst, in German) Monday November 17, 2014, 7 p.m. High and Low: Pop Art and Mass Culture Prof. Dr. Thomas Hecken (Kunst im Kontext, in German) Tuesday November 25, 2014, 7 p.m. Warhol’s Film “Sleep” or: The Aesthetic and Media-related Boundary between Standstill and Movement Prof. Dr. Michael Diers (KunstBewusst, in German) Tuesday December 2nd, 2014, 7 p.m. Conservation and Pop Art Kathrin Kessler, Head of Conservation, Museum Ludwig (KunstBewusst, in German) Thursday December 4, 2014, 5 p.m.–10 p.m. Extended Thursday: kunst:dialoge bei LUDWIG GOES POP 6 p.m.-9 p.m.: kunst:dialoge, 7:30 p.m.-9:30p.m.: Lindy Hop-Party, Cinema Foyer Thursday December 18, 2014, 7 p.m. About Pop Art Diedrich Diederichsen (KunstBewusst, in German) Contact: Anne Niermann / Leonie Pfennig Press and Public Relations Heinrich-Böll-Platz, 50667 Köln Tel + 49 - 221 - 221 - 23491 Tel + 49 - 221 - 221 - 23003 [email protected] [email protected] LIST OF WORKS LUDWIG GOES POP October 2, 2014–January 11, 2015 Blake, Peter ABC Minors 1955 Oil on hardboard 77,5 x 49 cm Museum Ludwig, Köln Blake, Peter Sinatra Door 1959 Oil, collage, b/w photograph, and objects on wood 77,5 x 47,5 x 3,3 cm Museum moderner Kunst Stiftung Ludwig Wien Blake, Peter Bo Diddley 1963/64 Acrylic and tape on hardboard 122,4 x 76 cm Museum Ludwig, Köln Arcangelo, Allan D' Untitled No. 79 1964 Oil crayon and acrylic on canvas 153,5 x 154 cm Museum moderner Kunst Stiftung Ludwig Wien Andrea, John De Woman on Bed 1974 Oil, fiberglass, and polyester 20 x 197 x 101 cm Museum moderner Kunst Stiftung Ludwig Wien Andrea, John De Untitled 1977 Painted fi berglass, plaster, wooden chair, plastic bucket, and wood base man, height: 185 cm woman, height: 115 cm Museum Ludwig, Köln Dine, Jim Six Big Saws 1962 Oil, nails, and saw on canvas 122,5 x 368 cm Museum Ludwig, Köln Dine, Jim Three Angels for Lorca 1966 Fiberglass and aluminum 3 parts, 185 x 61 cm each Museum Ludwig, Köln Dine, Jim Roman Colour Chart 1968 Oil, screws, and tape on canvas 213 x 416 cm Museum Ludwig, Köln Dine, Jim Pleasure-Palette 1969 Oil, glass, and paper on canvas 152 x 102 cm Museum Ludwig, Köln Fahlström, Oyvind Roulette, Variable Painting 1966 Oil, collage, magnet, and photograph on vinyl and cardboard 152,5 x 166 cm Museum Ludwig, Köln Hamilton, Richard Untitled (Look!) 1956 Collage on paper 21 x 22 cm Museum Ludwig, Köln Hamilton, Richard Towards a Definitive Statement on the Coming Trends in Men's Wear and Accessories (d) 1963 Oil, collage, and newspaper clipping on wood 122,2 x 81,2 cm Museum Ludwig, Köln Hamilton, Richard My Marilyn - Paste up 1964 Oil and photograph on paper 51 x 62 cm At the Hamilton Retrospective in the Museo Nacional Centro de Arte Reina Sofia, Madrid until late October Museum Ludwig, Köln Hamilton, Richard Still Life 1964 Colored print on wood 89 x 91 cm At the Hamilton Retrospective in the Museo Nacional Centro de Arte Reina Sofia, Madrid until late October Museum Ludwig, Köln Hamilton, Richard Landscape 1965 Various materials and photograph on blockboard 82,5 x 246 cm Museum moderner Kunst Stiftung Ludwig Wien Hamilton, Richard Trafalgar Square 1965-1967 Oil and photograph on blockboard 80 x 120 cm At the Hamilton Retrospective in the Museo Nacional Centro de Arte Reina Sofia, Madrid until late October Museum Ludwig, Köln" Hamilton, Richard Bathers I 1966/67 Fabric, photograph, and bathing cap on canvas 84 x 117 cm At the Hamilton Retrospective in the Museo Nacional Centro de Arte Reina Sofia, Madrid until late October Museum Ludwig, Köln Hamilton, Richard I'm Dreaming of a White Christmas 1967/68 Screenprint and oil on canvas 106,5 x 160 cm At the Hamilton Retrospective in the Museo Nacional Centro de Arte Reina Sofia, Madrid until late October Kunstmuseum Basel Hamilton, Richard Swingeing London 67 II 1968 Screenprint and oil on canvas 67 x 85 cm At the Hamilton Retrospective in the Museo Nacional Centro de Arte Reina Sofia, Madrid until late October Museum Ludwig, Köln Hanson, Duane Football Vignette 1969 Fiberglass, polyester, and articles of clothing 170 x 300 x 180 cm Museum moderner Kunst Stiftung Ludwig Wien Hanson, Duane Bowery Derelicts (Bowery Bums) 1969/70 Fiberglass, polyester, and articles of clothing 78 x 123 x 73 cm; 40 x 186 x 75 cm; 32 x 127 x 82 cm Ludwig Forum für Internationale Kunst, Aachen Hanson, Duane Woman with a Purse 1974 Kleidungsstücke / Fiberglass, polyester, synthetic resin, tallow, and articles of clothing Height: 160 cm Museum Ludwig, Köln Hockney, David Atlantic Crossing 1965 Oil on canvas 183 x 183 cm National Art Museum of China, Peking Hockney, David Sunbather 1966 Acrylic on canvas 183 x 183 cm Museum Ludwig, Köln Hockney, David Contre-jour in the French Style – Against the Day dans le style francais 1974 Oil on canvas 183 x 183 cm Ludwig Múzeum – Museum of Contemporary Art, Budapest" Hockney, David Self-Portrait with Blue Guitar 1977 Oil on canvas 152 x 182,8 cm Museum moderner Kunst Stiftung Ludwig Wien Indiana, Robert Zig 1960 Oil, wood, wire, and iron 165 x 45 x 41 cm Museum Ludwig, Köln Indiana, Robert The Big Eight 1961 Acrylic on canvas 220 x 220 cm Museum Ludwig, Köln Indiana, Robert USA 666 (Eat, Die, Err, Hug) II 1966/67 Acrylic on canvas 5 parts, je 91,5 x 91,5 cm Museum Ludwig, Köln Indiana, Robert Love Rising / Black and White Love (For Martin Luther King) 1968 Acrylic on canvas 4 parts, je 184 x 184 x 6 cm Museum moderner Kunst Stiftung Ludwig Wien Indiana, Robert Der Mond - Die Braunschaft 1969 Acrylic on canvas 203 x 178 cm Museum moderner Kunst Stiftung Ludwig Wien Johns, Jasper Figure 1 1955 Encaustic on canvas 43,8 x 34,9 cm Museum Ludwig, Köln Johns, Jasper Tango 1955 Encaustic on canvas 109,2 x 144,3 cm Museum Ludwig, Köln Johns, Jasper Flag on Orange Field 1957 Encaustic on canvas 167,6 x 124,5 cm Museum Ludwig, Köln Johns, Jasper Large White Numbers 1958 Encaustic on canvas 170,5 x 126 cm Museum Ludwig, Köln Johns, Jasper Figure 0 1959 Encaustic on canvas 50 x 37,5 cm Ludwig Museum im Deutschherrenhaus, Koblenz Johns, Jasper Two Flags 1959 Acrylic on canvas 203,5 x 148,5 cm Museum moderner Kunst Stiftung Ludwig Wien Johns, Jasper Zero to Nine / 0 to 9 1959 Encaustic and newsprint on canvas 53,8 x 88,9 cm Museum Ludwig, Köln Johns, Jasper Painted Bronze / Ale Cans 1960 Painted bronze 14 x 20,3 x 12 cm Museum Ludwig, Köln Johns, Jasper 15' Entr'acte 1961 Oil and encaustic on canvas 90 x 65 cm Museum Ludwig, Köln Johns, Jasper Passage 1962 Encaustic, paper, fragment of yardstick, metal chain, and fork on canvas 138 x 102 cm Museum Ludwig, Köln Johns, Jasper Eddingsville 1965 Oil, ruler, can, model hand, beer can, fork, sponge, glass, and hook on canvas 173 x 311 cm Museum Ludwig, Köln Johns, Jasper Untitled 1972 Acrylic, encaustic, boards, wax, and canvas on wood 182,9 x 487,7 cm Museum Ludwig, Köln Johns, Jasper Target 1967-1969 Oil and transfer on canvas 157 x 157 x 2,5 cm Museum moderner Kunst Stiftung Ludwig Wien Johns, Jasper Target 1974 Encaustic and newsprint on canvas 40,6 x 40,6 cm Museum Ludwig, Köln Johns, Jasper Map 1967-1971 Encaustic, pastel, and collage on canvas 22 pieces, in total 500 x 1000 cm Museum Ludwig, Köln Jones, Allen Figure Falling 1964 Oil on canvas 273 x 244 cm Museum Ludwig, Köln Johns, Jasper Bread 1969 Laminated colored paper and lead 58,4 x 43,1 cm Edition: 60 + 14 Museum Ludwig, Köln Jones, Allen Perfect Match 1966/67 Oil on canvas 280 x 93 cm Museum Ludwig, Köln Johns, Jasper Flag 1969 Lead 58,4 x 43,1 cm Auflage: 60 + 14 Museum Ludwig, Köln Kanovitz, Howard The Opening 1967 Metal, plexiglass, synthetic fabric, photograph and fluorescent tubes 49 x 69,5 x 12,8 cm Museum Ludwig, Köln Johns, Jasper High School Days 1969 Lead and mirror 58,4 x 43,1 cm Edition: 60 + 14 Museum Ludwig, Köln Kanovitz, Howard Journal 1972/73 Acrylic on canvas 273 x 243 cm Museum Ludwig, Köln Johns, Jasper Light Bulb 1969 Lead 99 x 43,1 cm Edition: 60 + 14 Museum Ludwig, Köln Johns, Jasper The Critic Smiles 1969 Lead 58,4 x 43,1 cm Edition: 60 + 14 Museum Ludwig, Köln Kienholz, Edward Night of Nights 1961 Assemblage, stucco head, zinc, and steel wool 77 x 74 x 20 cm Museum Ludwig, Köln Kienholz, Edward The Portable War Memorial 1968 Various materials and objects and audiotape 285 x 950 x 240 cm Museum Ludwig, Köln Kitaj, R.B. Austro-Hungarian Foot Soldier Oil and collage on canvas 152,5 x 91 cm Museum Ludwig, Köln 1961 Kitaj, R.B. Casting 1967 Oil on canvas 250 x 91,5 cm Museum Ludwig, Köln Lichtenstein, Roy Takka Takka 1962 Magna on canvas 173 x 143 cm Museum Ludwig, Köln Lichtenstein, Roy Hopeless 1963 Magna on canvas 111,5 x 111,5 cm Kunstmuseum Basel Lichtenstein, Roy I know how you must feel, Brad… 1963 Oil and magna on canvas 168,6 x 95,8 cm Ludwig Forum für Internationale Kunst, Aachen Lichtenstein, Roy Large Jewels 1963 Magna on canvas 173 x 91,5 cm Museum Ludwig, Köln Lichtenstein, Roy Mad Scientist 1963 Magna on canvas 127 x 151 cm Museum Ludwig, Köln Lichtenstein, Roy Cloud and Sea 1964 Enamel paint on tin 76 x 152,5 cm Museum Ludwig, Köln Lichtenstein, Roy Landscape 1964 Magna on canvas 122 x 172 cm Museum Ludwig, Köln Lichtenstein, Roy Vicky 1964 Enamel paint on tin 106 x 106 cm Ludwig Múzeum – Museum of Contemporary Art, Budapest" Lichtenstein, Roy Explosion No. 1 1965 Lacquered metal 251 x 160 cm Museum Ludwig, Köln Lichtenstein, Roy M-Maybe (A Girl's Picture) 1965 Magna on canvas 152 x 152 cm Museum Ludwig, Köln Lichtenstein, Roy Blonde 1968 Painted ceramic Hight: 40 cm Museum Ludwig, Köln Lichtenstein, Roy Modular Painting with Four Panels No. 1 1969 Magna on canvas 4 pieces, in total 137,3 x 137,3 cm Museum Ludwig, Köln Lichtenstein, Roy Red Barn II 1969 Magna on canvas 112 x 142 cm Museum Ludwig, Köln Lichtenstein, Roy Rouen Cathedral (Seen at Three Different Times of the Day) Set No. 2 1969 Magna on canvas 3 pieces, each 160 x 106,8 cm Museum Ludwig, Köln Lichtenstein, Roy Mirror in Six Panels 1970 Oil and magna on canvas 243,8 x 274,3 cm Museum moderner Kunst Stiftung Ludwig Wien Lichtenstein, Roy Still Life with Net, Shell, Rope and Pulley 1972 Oil and magna on canvas 152 x 243,5 cm Museum Ludwig, Köln Lichtenstein, Roy Still Life with Pitcher and Apple 1972 Magna on canvas 152 x 114 cm Museum Ludwig, Köln Lichtenstein, Roy The Red Horseman 1974 Oil and magna on canvas 213,5 x 284,5 cm Museum moderner Kunst Stiftung Ludwig Wien Lichtenstein, Roy Cubist Still Life with Lemons 1975 Oil and magna on canvas 228,6 x 172,7 cm National Art Museum of China, Peking Lindner, Richard Target No. 1 1962 Oil on canvas 152,4 x 101,5 cm Museum Ludwig, Köln Lindner, Richard Disneyland 1965 Oil on canvas 203 x 127 cm Museum Ludwig, Köln Lindner, Richard Leopard Lilly 1966 Oil on canvas 177,8 x 152,4 cm Museum Ludwig, Köln Lindner, Richard Pillow 1966 Oil on canvas 177,8 x 152,4 cm Museum Ludwig, Köln Lindner, Richard Banner 1968 Stitched synthetic fabric 237 x 127 cm Edition: 20 Museum Ludwig, Köln Marisol La visita 1964 Painted wood, plaster, clothing, photograph, and barrel 152,5 x 226 cm Museum Ludwig, Köln Oldenburg, Claes Sausage 1957 Pantyhose (stuffed and tied) Hight: 88 cm, Width: 9 cm Museum Ludwig, Köln Oldenburg, Claes Street Head - I and the Big Man Object from The Street 1959 Newsprint soaked in paste on wire frame, painted with casein 153 x 160 x 25 cm Will be shown on an iPad station Museum moderner Kunst Stiftung Ludwig Wien Oldenburg, Claes Big Man (Big Guy) 1960 Corrugated cardboard, wood, newsprint, and cord with casein paint Hight: 469 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Car I 1960 Corrugated cardboard and wood with casein and spray paint 34,2 x 77,5 x 19,5 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Car II 1960 Corrugated cardboard and wood with casein and spray paint, and nails 32 x 56 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Fire from a Window (Street Fire) 1960 Paper and wood painted with casein 39,3 x 26,6 x 4 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Lorraine street figure 1960 Corrugated cardboard, wood, cord, wire, and casein paint Height: 250 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Manhole Cover 1960 Painted metal ø 30 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Mug (Hanging figure of the shape of a mug) 1960 Corrugated cardboard on wood with casein and spray paint 193 x 127 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Orphan Annie 1960 Corrugated cardboard, wood, cord, wire, and casein paint Height: 250 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Street Chick 1960 Painted canvas, cardboard, fabric, and cord 88,9 x 26 cm will be presented in conjunction with the iPad station Museum Ludwig, Köln Oldenburg, Claes Street Figure in Grey Planes 1960 Corrugated cardboard, wood, cord, wire, and casein paint Height: 250 cm Will be shown on an iPad station Museum Ludwig, Köln" Oldenburg, Claes Street Head (Profile with Hat) 1960 Sack hung on wall, stuffed with newspaper and painted with casein 193 x 116 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Street Head II (Pear) 1960 Burlap, paper, iron band, and wire 152 x 70 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Street Sign I Objekt aus The Street 1960 Corrugated cardboard painted with casein 269,2 x 104 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Street Sign II 1960 Corrugated cardboard painted with casein 113 x 183 cm Will be shown on an iPad station Museum Ludwig, Köln Oldenburg, Claes Green Legs with Shoes 1961 Enamel paint, plaster, wire, metal, and fabric 137 x 93 x 22 cm Museum Ludwig, Köln Oldenburg, Claes Men's Jacket with Shirt and Tie (Brown Jacket) 1961 Enamel paint, plaster, wire, and fabric 106 x 75 x 30 cm Museum Ludwig, Köln Oldenburg, Claes Success Plant 1961 Oil, paste, burlap, wire, wood, and cans Hight: 95 cm Museum Ludwig, Köln Oldenburg, Claes Big White Shirt with Blue Tie 1961 Emaillack, Gips, Draht und Stoff 119 x 78 x 34 cm Museum Ludwig, Köln Oldenburg, Claes Stove (Assorted Food on Stove) 1962 Stove, pots, muslin and burlap soaked in plaster, and varnish 146 x 72 x 70 cm Kunstmuseum Basel Oldenburg, Claes Restaurant Objects (Ghost Dinner) 1964 Metal, fiberglass, plaster, and cardboard 28 x 73,5 x 36 cm Museum Ludwig, Köln Oldenburg, Claes Soft Washstand (Ghost Version) 1965 Linen, kapok, and wood 137 x 88 x 55 cm Museum Ludwig, Köln Oldenburg, Claes Mouse Museum 1965/1977 Wood, corrugated aluminum, acrylic glass display case with 385 objects, and clay 263 x 960 x 1007cm Will be shown on an iPad station Museum moderner Kunst Stiftung Ludwig Wien Oldenburg, Claes Giant Soft Swedish Light Switch (Ghost Version) 1966 Linen, kapok, and wood ø 130 cm, depth: 30 cm Museum Ludwig, Köln Oldenburg, Claes London Knees 1966 Plastic 2 pieces, height: 37,6 cm Edition: 120 Museum Ludwig, Köln Oldenburg, Claes Proposed Colossal Monument for Coronation Park (Toronto), Drainpipe (Model) 1967 Liquitex and wood 133,5 x 82 x 47 cm Museum Ludwig, Köln Paolozzi, Eduardo The Last of the Idols 1963 Oil and aluminum 244 x 71 x 11 cm Museum Ludwig, Köln Paolozzi, Eduardo Molik I 1967 Chrome-plated steel Height: 111 x 41 x 51 cm Museum Ludwig, Köln Ramos, Mel Batmobile 1962 Oil on canvas 127,5 x 111 cm Museum moderner Kunst Stiftung Ludwig Wien Ramos, Mel Blue Coat 1966 Oil on canvas 145 x 104 cm Ludwig Forum für Internationale Kunst, Aachen Ramos, Mel Hippopotamus 1967 Oil on canvas 180 x 247 cm Ludwig Forum für Internationale Kunst, Aachen Rauschenberg, Robert Blue Print 1949/50 Monotype on blueprint paper, mounted on handmade paper 240 x 91 cm Ludwig Forum für Internationale Kunst, Aachen Rauschenberg, Robert Odalisque 1955-58 Wood, fabric, wire, paper, metal, grass, stuffed rooster, pillow, light bulb, and photograph 205 x 58 x 58 cm Museum Ludwig, Köln Rauschenberg, Robert Hazard 1957 Oil, newspaper cuttings, paper, plaster, and wood on canvas 214,5 x 95,6 cm Ludwig Forum für Internationale Kunst, Aachen Rauschenberg, Robert Double Feature 1959 Oil on canvas 230 x 130,5 cm Kunstmuseum Basel Rauschenberg, Robert Allegory 1959/60 Oil, sheet metal, mirror, and umbrella on canvas 183 x 305 cm Museum Ludwig, Köln Rauschenberg, Robert Diplomat 1960 Oil and various materials on canvas 125 x 67 x 11 cm Museum moderner Kunst Stiftung Ludwig Wien Rauschenberg, Robert Black Market 1961 Oil, wood, and metal on canvas, briefcase 152 x 127 cm (Bild) Museum Ludwig, Köln Rauschenberg, Robert Wall Street 1961 Oil, paper, zinc, and wood on canvas, fire hose 182 x 226 cm Museum Ludwig, Köln Rauschenberg, Robert Axle 1964 Screenprint and oil on canvas 274 x 610 cm Museum Ludwig, Köln Rauschenberg, Robert Tree Frog 1964 Screenprint and oil on canvas 244 x 183 cm Museum Ludwig, Köln Rauschenberg, Robert Revolvers II 1967 Screenprint on five rotating plexiglass panes and metal box 198 x 196 x 62 cm Museum Ludwig, Köln Rauschenberg, Robert Soundings 1968 Screenprint on plexiglass, microphones, lights 244 x 1100 cm Museum Ludwig, Köln Rauschenberg, Robert Radiant White 952 1971 Cardboard and wood 230 x 991 x 36 cm Museum Ludwig, Köln Rauschenberg, Robert Spanish Stuffed Mode Plus 1971 Cardboard and wood 173,8 x 128 x 20,3 cm Museum moderner Kunst Stiftung Ludwig Wien Rosenquist, James Rainbow 1961 Oil, wood, and glass on canvas 121,5 x 153 cm Museum Ludwig, Köln Rosenquist, James Untitled (Joan Crawford Says...) 1964 Oil on canvas 242 x 196 cm Museum Ludwig, Köln Rosenquist, James Forest-Ranger 1967 Cut and painted plastic fi lm Height: 270 cm Walk-in copy of the original installation Museum Ludwig, Köln Rosenquist, James Horse Blinders 1968/69 Oil, fluorescent paint, and aluminum on canvas 23 parts, in total: 275 x 2530 cm Will be shown on an iPad station Museum Ludwig, Köln Segal, George Woman Washing her Feet in a Sink 1964/65 Plaster, wooden chair, and sink Height: 158 cm Museum Ludwig, Köln Segal, George The Restaurant Window I 1967 Plaster, metal, wood, plexiglass, and fluorescent tubes 244 x 340 x 206 cm Museum Ludwig, Köln Thiebaud, Wayne Cake Counter 1963 Oil on canvas 92 x 183 cm Museum Ludwig, Köln Warhol, Andy Saturday's Popeye 1960 Acrylic on canvas 108,5 x 98,7 cm Ludwig Forum für Internationale Kunst, Aachen Warhol, Andy 129 Die in Jet (Plane Crash) 1962 Acrylic on canvas 254,5 x 182,5 cm Museum Ludwig, Köln Warhol, Andy Close Cover before Striking (Pepsi Cola) 1962 Acrylic and sandpaper on canvas 183 x 137 cm Museum Ludwig, Köln Warhol, Andy Do It Yourself (Landscape) 1962 Acrylic and Letraset numbers on canvas 178 x 137 cm Museum Ludwig, Köln Warhol, Andy Two Dollar Bills (Front and Rear) 1962 Screenprint on canvas 210 x 96 cm Museum Ludwig, Köln Warhol, Andy Orange Car Crash 1963 Acrylic and screenprint on canvas 334 x 418 cm Museum moderner Kunst Stiftung Ludwig Wien Warhol, Andy Red Race Riot 1963 Screenprint on canvas 350 x 210 cm Museum Ludwig, Köln Warhol, Andy Texan (Portrait Robert Rauschenberg) 1963 Screenprint on canvas 208 x 208 cm Museum Ludwig, Köln Warhol, Andy Two Elvis 1963 Screenprint on canvas 206 x 148 cm Museum Ludwig, Köln Warhol, Andy Campbell's Boxes 1964 Screenprint on wood 14 pieces, each 25,5 x 48 x 24 cm Museum Ludwig, Köln Warhol, Andy Elvis (Single Elvis) 1964 Screenprint on canvas 210 x 107 cm Ludwig Múzeum – Museum of Contemporary Art, Budapest Warhol, Andy Jackie Triptych (Jackie Triptychon) 1964 Screenprint on canvas 53 x 124 cm Museum Ludwig, Köln Warhol, Andy Most Wanted Man No. 7 (Salvator V.) 1964 Screenprint on canvas 2 pieces, in total: 199 x 99 cm Museum Ludwig, Köln Warhol, Andy White Brillo Boxes 1964 Screenprint on wood 28 pieces, each 44 x 43 x 35,5 cm Museum Ludwig, Köln Warhol, Andy Marilyn (Marilyn Monroe) 1967 Screenprint on paper 10 prints, each 91,5 x 91,5 cm Edition: 250 Museum Ludwig, Köln Warhol, Andy Campbell's Soup Can I 1968 Screenprint on paper 10 prints, each 89 x 58,5 cm Edition: 250" Ludwig Forum für Internationale Kunst, Aachen Warhol, Andy Flowers 1970 10 prints Screenprint (five colors), Paper (Vélin) 91,5 x 91,5 cm Museum Ludwig, Köln Warhol, Andy Mick Jagger 1975 Screenprint and acetate foil on paper 10 prints, each 110 x 73 cm Museum moderner Kunst Stiftung Ludwig Wien Warhol, Andy Skull 1976 Acrylic and screenprint on canvas 183 x 203 x 3,5 cm Museum moderner Kunst Stiftung Ludwig Wien Warhol, Andy Portrait of Peter Ludwig 1980 Screenprint on canvas 3 prints, each 105 x 105 cm Ludwig Forum für Internationale Kunst, Aachen Warhol, Andy Portrait of Peter Ludwig 1980 Screenprint on canvas each 105 x 105 cm Museum Ludwig, Köln Wesselmann, Tom Bathtub No. 3 1963 Oil on canvas, synthetic fabric, and various objects 213 x 270 x 45 cm Museum Ludwig, Köln Wesselmann, Tom Great American Nude No. 54 1964 Oil, acrylic on canvas, various objects, and tape recording of quiet street sounds 214 x 260 x 133 cm Museum moderner Kunst Stiftung Ludwig Wien Wesselmann, Tom Landscape No. 2 1964 Oil, paper, synthetic fabric, and photograph on canvas 193 x 239 cm Museum Ludwig, Köln Wesselmann, Tom Interieur No. 4 1965 Various materials 167 x 138 x 29 cm National Art Museum of China, Peking Wesselmann, Tom Landscape No. 4 1965 Acrylic on hardboard 129 x 159 cm Ludwig Múzeum– Museum of Contemporary Art, Budapest Wesselmann, Tom Seascape No. 18 1966/67 Oil on canvas 244 x 168 cm Museum Ludwig, Köln Wesselmann, Tom Great American Nude No. 98 1967 Oil on canvas 250 x 380 x 130 cm Museum Ludwig, Köln 19 LUDWIG GOES POP – Vorbemerkungen Notes on LUDWIG GOES POP Stephan Diederich / Luise Pilz Stephan Diederich / Luise Pilz Im Februar 1969 eröffnete das Kölner Wallraf-Richartz-Museum die Ausstellung Kunst der sechziger Jahre. Sie stellte eine Zäsur im Sammlerleben von Peter und Irene Ludwig dar. Zum einen war es die erste Präsentation von Gegenwartskunst aus der Sammlung Ludwig in Köln überhaupt. Neben Fluxus und Nouveau Réalisme zeigte sie eine große Vielfalt amerikanischer und europäischer Pop Art. Zum anderen sollten sich die Gespräche, die der Sammler und damalige ChefRestaurator des Wallraf-Richartz-Museum Wolfgang Hahn mit dem Kölner Kulturdezernenten Kurt Hackenberg initiiert hatte, als äußerst fruchtbar erweisen – schließlich führten sie 1976 zur Schenkung eines Großteils der gezeigten Werke an die Stadt Köln und somit zur Gründung des heutigen Museum Ludwig. Als besonders bedeutsam aber erwies sich diese Ausstellung für das Selbstverständnis der Sammler selbst. Bis dahin hatten sich die Ludwigs eher im Hintergrund gehalten. Zur Eröffnung im Wallraf-Richartz-Museum 1969 etwa traten Peter und Irene Ludwig persönlich nicht in Erscheinung, und auf Reden, die den Sammlern für ihre großzügigen Leihgaben dankten, wurde verzichtet. Doch der wachsende Zuspruch vonseiten der Presse und vor allem der Museumsbesucher bestärkte das Paar in seinem Bildungsauftrag sowie darin, als Sammler von nun an deutlich offensiver aufzutreten.1 FRIEDRICHSON, 71–82 Zumal klar geworden war, welches Potenzial sich hier verbarg: Das Sammeln beziehungsweise die Übereignung der Werke ließ sich als mäzenatischer Dienst an der Allgemeinheit begreifen und somit kulturpolitisch wirkungsvoll einsetzen. BEAUCAMP, 55–67 Die Ludwigs – zuvor vorrangig Sammler antiker und mittelalterlicher Kunst – hatten Anfang der 1960er-Jahre begonnen, aktuelle künstlerische Positionen zusammenzutragen. Um die Neuausrichtung des Sammelinteresses zu verstehen, muss man vor allem das kulturelle Umfeld in den Blick nehmen: Es war die Zeit des Wirtschaftswunders, zugleich wurden nicht zuletzt in ihrer Heimatstadt Aachen erste avantgardistische Bewegungen sichtbar. Es entstanden progressive Kunstorte wie der 1967 von Klaus Honnef gegründete Kunstverein Gegenverkehr – Zentrum für aktuelle Kunst e.V., und das Ehepaar befand sich im steten Austausch mit den Museen am Ort – wie beispielsweise dem Suermondt-Museum unter der Direktion von Ernst Günther Grimme. Umgekehrt suchten auch die Museen den Kontakt zu den Sammlern und unterstützten deren Wirken. FRANZEN/LAGLER, 31–41 Zu diesem Zeitpunkt sammelten die beiden studierten Kunsthistoriker bereits mit ausgewiesener Expertise und mit dem Anspruch, gesellschaftlich relevante Werke zusammenzutragen und zugänglich zu machen, allerdings ohne die eigene Person in den Vordergrund zu stellen. So zeigte das Suermondt-Museum 1968 mit der Ausstellung Zeitbild – Provokation – Kunst die ersten Ankäufe der Pop Art aus dem Hause Ludwig und im Januar 1969 eine weitere Präsentation der Sammlung Ludwig In February 1969 the Wallraf-Richartz-Museum in Cologne opened the exhibition Kunst der sechziger Jahre [Art of the Sixties]. This marked a caesura in Peter and Irene Ludwig’s collecting career. On the one hand, it was the very first presentation of contemporary art from the Ludwig Collection in Cologne. Alongside Fluxus and Nouveau Réalisme, it showed a broad spectrum of American and European Pop Art. On the other hand, the dialogue that the collector Wolfgang Hahn, then head restorer of the WallrafRichartz-Museum, had initiated with Kurt Hackenberg, Cologne city councilor for cultural affairs, proved extremely fruitful—it ultimately led to a large number of the works shown being donated to the City of Cologne in 1976 and consequently to the establishment of what is now the Museum Ludwig. However, this exhibition was to prove most significant in terms of the way the collectors viewed their role. Up until this time, the Ludwigs had tended to remain in the background. At the opening in the WallrafRichartz-Museum in 1969, for example, Peter and Irene Ludwig were not in attendance and there were no speeches thanking the collectors for their generous loans. However, the groundswell of positive reactions in the press and above all from museum visitors strengthened the couple’s sense of their educational mission and encouraged them to take a significantly more proactive stance as collectors subsequently.1 FRIEDRICHSON, 71—82 That was particularly true as the potential impact of their activities had now become clear; collecting, or rather donating, art could be viewed as an act of patronage to serve the commonweal, and could therefore function as an effective cultural policy instrument. BEAUCAMP, 55—67 In the early 1960s the Ludwigs—who had previously primarily collected art from Antiquity and the Middle Ages—had begun to collect contemporary art. This realignment of their collecting focus can best be grasped within the broader cultural context: it was the era of the Wirtschaftswunder, the German postwar economic boom, and at the same time, initial avant-garde movements were starting to become visible, not least in the Ludwigs’ home town of Aachen. Progressive art venues were launched, such as the Zentrum für aktuelle Kunst e.V.—Gegenverkehr, founded by Klaus Honnef in 1967, and the Ludwigs also maintained ongoing contacts with the museums in Aachen—such as, for example, the Suermondt Museum, directed by Ernst Günther Grimme. Conversely, the museum world also sought contacts with the collectors and supported their activities. FRANZEN/LAGLER, 31—41 At this point, the couple, both qualified art historians, were already collecting with deft expertise, aiming to bring together socially relevant works and make these accessible, yet without placing themselves in the limelight. In this spirit, in 1968 the Suermondt Museum showed the Ludwigs’ first Pop Art acquisitions in the exhibition Zeitbild—Provokation—Kunst [Image of the Times—Provocation—Art], following this in January 1969 with a further presentation of the Ludwig Collection entitled Aktuelle Kunst im 013-024_ML_LGP_Katalog_02_Vorworte_2014-09-03.indd 19 04.09.14 09:19 20 unter dem Titel Aktuelle Kunst im Suermondt-Museum. Die Sammlungspräsentationen in Aachen unterschieden sich wesentlich von der in Köln zur Schau gestellten Kunst der sechziger Jahre 2. So waren in der Kölner Ausstellung unter anderem jüngere künstlerische Positionen wie Op-Art und Minimal Art zu sehen, die im Suermondt-Museum noch fehlten. Zudem waren deutsche Künstler so gut wie gar nicht vertreten. FRANZEN/LAGLER, 31–41 Der Katalog zur Kölner Ausstellung kam bereits im Winter 1968 heraus. Von seinem großen Erfolg zeugt, dass auf die erste Auflage mit dreißigtausend verkauften Exemplaren noch vier weitere folgten.3 Von Wolf Vostell gestaltet, besticht er noch heute durch sein unorthodoxes Konzept: Satz wie Material wirken unverbraucht modern, gelingt es der Publikation doch, den Zeitgeist der 1960er-Jahre gestalterisch in Buchform zu fassen. Dies war zugleich das erste Buch, das Walther König vertrieb, noch bevor er seine Tätigkeit als Buchhändler aufnahm. Mit diesem Katalog hielt eines der ersten Coffee-Table-Bücher Einzug in westdeutsche Wohnzimmer – zudem avancierte es zum Pendant der Sammlung, indem es wie sie von Auflage zu Auflage immer umfangreicher wurde. FRIEDRICHSON, 71–82 Die vorliegende Publikation versteht sich als Hommage an die Pop-Art-Sammlung und den Katalog von 1968 sowie als Komplement zur Ausstellung LUDWIG GOES POP. Wobei sich der Fokus in der aktuellen Publikation eher auf den Sammler und seine Begeisterung für die Pop Art verschoben hat. Den mittlerweile längst historischen Kernbestand an amerikanischer wie englischer Pop Art nun erstmals in einer groß angelegten Übersichtsschau zu präsentieren ist Ziel der Ausstellung sowie des Katalogs. Fragen nach Kontext, Ausrichtung und Motivation spielen dabei eine wesentliche Rolle, nicht zuletzt vor dem Hintergrund des damaligen Zeitgeschmacks und der gesellschaftlichen Strömungen im Zuge der Achtundsechziger-Bewegung.4 So wurde die documenta 4 – für die Ludwigs ein wesentlicher Motor auf dem Weg zu ihrer Pop-Art-Sammlung – im Aufbruchjahr 1968 vielfach als zu unpolitisch, als „documenta der Händler“ und als gesellschaftlich zu wenig relevant kritisiert. Prominente Teilnehmer wie Andy Warhol oder Allen Jones zählten bereits zu den Arrivierten der Avantgarde, Pop war längst gefällig und massenwirksam geworden. Obgleich die Pop Art in den USA wie in Großbritannien den Zenit damals bereits überschritten, ihren avantgardistischen Anspruch zugunsten marktkompatibler Eigenschaften aufgegeben beziehungsweise verloren hatte und auch in Westdeutschland bereits überwiegend mit offenen Armen empfangen wurde, barg sie hierzulande doch immer noch gewissen Zündstoff. Ein Blick auf das Kaufverhalten der Ludwigs ist aufschlussreich im Hinblick auf Pop-Art-spezifische Sammlungsprinzipien und ihren Kaufrausch Ende der 1960er-, Anfang der 1970erJahre:5 Wer fungierte als Berater und welche Galerien waren maßgeblich, an welchen Sammlern orientierten sich die Ludwigs und zu welchen Künstlern suchten sie vergleichsweise engeren Kontakt. Was faszinierte Peter Ludwig6 an der neuen Kunst? WYRWOLL/ZWIRNER, 87–112 013-024_ML_LGP_Katalog_02_Vorworte_2014-09-03.indd 20 Suermondt-Museum [Contemporary Art in the Suermondt Museum]. These exhibitions mainly differed from the Kunst der sechziger Jahre [Art of the Sixties] exhibition shown in Cologne.2 For instance, the show in Cologne presented, among others, recent artistic positions like Op-Art and Minimal Art, which were missing at the Suermondt-Museum. Besides German artists were barely represented. FRANZEN/LAGLER, 31—41 The catalogue of the Cologne exhibition was published in winter 1968. Testifying to its great success, the first edition sold 30,000 copies and was followed by four more editions.3 Designed by Wolf Vostell, the catalogue’s unorthodox concept remains compelling today; the layout and material still look pristinely modern, yet the publication’s design nonetheless manages to capture the 1960s’ zeitgeist in book form. At the same time, this was also the first publication distributed by Walther König, even before he began his career in the book trade. One of the first coffee-table books to find its way into West German living rooms, it evolved into a pendant to the collection, becoming more and more voluminous with each edition. FRIEDRICHSON, 71—82 The current publication is conceived as a homage to the Pop Art collection and the 1968 catalogue, but also as a complement to the exhibition LUDWIG GOES POP. However, the focus in this publication is mainly on the collector and his enthusiasm for Pop Art. Both the exhibition and this catalogue showcase the collection’s central works of American and British Pop Art, which have long assumed historic status, in the first large-scale overview presentation. Questions relating to the collection’s context, thrust, and motivation play an essential role in this undertaking, particularly in the light of the tastes of that earlier era and the social developments triggered by the 1968 movement.4 Against that backdrop, documenta 4—a key impetus for the Ludwigs on the path that led to their Pop Art collection—was repeatedly criticized in the revolutionary year of 1968 as being too apolitical, as a “documenta of art dealers,” devoid of societal relevance. Prominent participants such as Andy Warhol or Allen Jones already numbered among the avant-garde artists who had “made it” in the art world; Pop had long become tractable and oozed mass-market appeal. Although Pop Art in both the US and Great Britain had already reached its zenith by this point, neglecting or even entirely discarding its avant-garde ambitions to adopt more market-compatible qualities, and even though it was already on the whole also welcomed with open arms here, it nonetheless did still contain a certain explosive potential in West Germany at the time. Considering the Ludwigs’ purchasing patterns offers revealing insights into their Pop Art–specific collecting principles and their frenzied shopping sprees in the late 1960s and early 1970s: 5 Who advised them and which galleries played a key role? Which collectors influenced the Ludwigs and to which artists did the couple establish relatively close ties? What was it that fascinated Peter Ludwig6 about this new art? WYRWOLL/ZWIRNER, 87—112 Gallerists Rudolf Zwirner in Cologne, along with Leo Castelli and Ileana Sonnabend in New York and Paris, played a key role in these transatlantic art imports. Peter Ludwig did not primarily see himself as a treasure hunter, nor was his supreme goal tracking down intriguing new art practices. Instead, he acted much more on the periphery of the art world, seeking dialogue with gallerists and exhibition 04.09.14 09:19 21 Die Galeristen Rudolf Zwirner in Köln sowie Leo Castelli und Ileana Sonnabend in New York und Paris waren von entscheidender Bedeutung für diesen transatlantischen Kunstimport. Peter Ludwig verstand sich nicht primär als Goldgräber, der die Entdeckung spannender neuer Positionen als höchstes Ziel für sich deklarierte. Er agierte vielmehr vom Rand der Kunstwelt aus, suchte den Dialog mit Galeristen und Ausstellungsmachern und kaufte an, was bereits von Galerien oder anderen, vor allem amerikanischen Kunstsammlern, für gut befunden worden war.7 WYRWOLL/ZWIRNER, 87–112 Die Frage nach der Provenienz der Werke war den Ludwigs stets wichtig: Castelli wie Zwirner waren angehalten, diese möglichst lückenlos nachzuweisen. Der promovierte Kunsthistoriker Peter Ludwig machte keinen Hehl daraus, dass er der Pop Art, die er alsbald geradezu besessen kaufte, wenige Jahre zuvor noch ablehnend gegenübergestanden hatte. Werke wie der gipserne Bus-Chauffeur von George Segal hatten ihn bei seinen Besuchen im Museum of Modern Art, New York, Mitte der 1960er-Jahre nach eigener Aussage eher „schockiert“. BEAUCAMP, 55–67 Forciert wurde sein Interesse 1968 nicht zuletzt durch die gesteigerte Aufmerksamkeit, die der Pop Art hierzulande im Vorfeld der documenta 4 sowie der Präsentation der Sammlung von Wolfgang Hahn im Wallraf-Richartz-Museum8 NEUBURGER, 115–124 zuteil wurde, durch den beharrlichen Austausch mit Hahn und Klaus Honnef sowie den medienträchtigen Ankauf der PopArt-Sammlung des New Yorker Versicherungsmaklers Leon Kraushar durch den Wella-Fabrikanten Karl Ströher. Die Begeisterung, mit der die Ludwigs diese Werke erwarben, lag nicht zuletzt in deren Direktheit, der Frische ihres Realitätsbezuges und ihrem (oftmals banalen) Oberflächenreiz begründet. Auch mag dem Geschäftsmann und Kunsthistoriker Peter Ludwig die Verquickung künstlerischer Strategien mit Versatzstücken wirtschaftsrelevanter Phänomene wie Werbung, Konsum und Markt durchaus sympathisch gewesen sein, NEUBURGER, 115–124 wenngleich Ludwig sich der Frage von Objekt, Kunstmarkt und Ausstellungsbetrieb nur sekundär, durch seine Ankäufe, widmete. WYRWOLL/ZWIRNER, 87–112 Überspitzt könnte man die Pop-Art-Sammlung sogar als ästhetische Paraphrase der Arbeits- und Lebenswelt Peter (und Irene) Ludwigs lesen. GRASSKAMP, 127–158 Künstler wie Roy Lichtenstein, Andy Warhol, Claes Oldenburg, James Rosenquist, Robert Rauschenberg und Jasper Johns9 gehörten außerdem der gleichen Generation wie die Ludwigs an. Ihre Werke verkörperten ein modernes Lebensgefühl, vermittelten Jetztzeitigkeit. Das unterschied sie etwa von der zeitlosen Gültigkeit des Œuvres Picassos, dessen Werke das Paar mit vergleichbarer Intensität sammelte. Beiden Sammlungssträngen gemein war der unmittelbare Bezug zur Figur, zum Gegenstand, zur sichtbaren Welt – ein Grundzug großer Teile des schier gigantischen wie facettenreichen Ludwig’schen Sammlungskosmos. Während die Ludwigs Picasso selbst nie kennenlernten, verband sie mit einigen der jungen Amerikaner bald doch ein persönlicher Kontakt – durchaus nicht selbstverständlich für jemanden wie Peter Ludwig, für den die Werke stets wichtiger zu sein schienen als ihre Schöpfer und der befürchtete, durch allzu persönliche Beziehungen Begehrlichkeiten 013-024_ML_LGP_Katalog_02_Vorworte_2014-09-03.indd 21 makers, and he purchased work that had already been well-received by galleries or others, particularly by American art collectors.7 WYRWOLL/ZWIRNER, 87—112 The question of the provenance of the pieces was always important for the Ludwigs: both Castelli and Zwirner were required to supply as full a provenance as possible for each artwork. Trained art historian Peter Ludwig made no secret of the fact that he had previously been opposed to the Pop Art that he soon began purchasing as if obsessed. As he himself said, in the mid-1960s, he had found works such as George Segal’s plaster bus driver figure rather “shocking” during his visits to the Museum of Modern Art, New York. BEAUCAMP, 55—67 His interest flourished rapidly in 1968, influenced in particular by the heightened attention Pop Art enjoyed in West Germany in the run-up to documenta 4 and as a result of the Wallraf-Richartz-Museum’s presentation of Wolfgang Hahn’s collection.8 NEUBURGER, 115—124 Further key factors included his enduring dialogue with Hahn and Klaus Honnef, and Wella manufacturer Karl Ströher’s headline-hitting purchase of New York insurance broker Leon Kraushar’s collection. The great relish with which the Ludwigs purchased this art stemmed to a large extent from the directness and crisp freshness of the work, with its references to reality and (often banal) surface charms. The intermingling of artistic strategies with scenarios related to economic phenomena, such as advertising, consumerism, and the market, may also have appealed to Peter Ludwig as a businessman and art historian, NEUBURGER, 115—124 although Ludwig only engaged with the question of the object, the art market, and the exhibition business indirectly, through his purchases. WYRWOLL/ZWIRNER, 87—112 With only slight exaggeration, the Pop Art collection might be dubbed an aesthetic paraphrase of Peter (and Irene) Ludwigs’ professional and private lifeworlds. GRASSKAMP, 127—158 Furthermore, artists such as Roy Lichtenstein, Andy Warhol, Claes Oldenburg, James Rosenquist, Robert Rauschenberg, and Jasper Johns9 were part of the same generation as the Ludwigs. Their works embodied a modern spirit and conveyed a sense of the here-and-now. That distinguished them from, for example, the timeless validity of an artist such as Picasso, whose works the couple collected with a similarly intense focus. A common thread in both collecting strands was the direct reference to the figure, the object, the visible world—a fundamental hallmark of the gigantic and multifaceted collecting cosmos of the Ludwigs. Although the couple never met Picasso, they did soon have personal contact with some of the young Americans—which was not at all self-evident for someone like Peter Ludwig; for him, the works always seemed to be more important than their creators, particularly given his concerns that excessively close ties to the artists might encourage them to grow too demanding. LOHR/LUDWIG, 45—52 / WYRWOLL/ZWIRNER, 87—112 However, the art was always purchased through the gallerists, even if Ludwig had checked the quality of the work in the studio beforehand. Looking back, Peter Ludwig admitted self-critically that he had been a late starter in this sphere of collecting. He had let valuable years slip by before he recognized Pop Art’s significance. The avantgarde shock effect of Pop Art’s headline-hitting European debut at the Venice Biennale in 1964, where Robert Rauschenberg, just thirty-eight at the 04.09.14 09:19 22 zu wecken. LOHR/LUDWIG, 45–52 / WYRWOLL/ZWIRNER, 87–112 Gekauft wurde allerdings immer über die Galeristen, auch wenn Ludwig sich zuvor persönlich im Atelier von der Qualität der Arbeiten überzeugt hatte. Rückblickend gestand Peter Ludwig selbstkritisch, auf diesem Sammlungsgebiet ein Spätzünder gewesen zu sein. Wertvolle Jahre hatte er verstreichen lassen, bevor er die Bedeutung der Pop Art erkannte. Auch der erste medienwirksame Auftritt der Pop Art in Europa auf der Venedig-Biennale 1964, bei der der Internationale Große Preis für Malerei überraschend an den damals 38-jährigen Robert Rauschenberg ging, hatte mit seiner avantgardistischen Schockwirkung noch keinen direkten Einfluss auf das Sammlerehepaar Ludwig gehabt. Der New Yorker Taxiunternehmer Robert C. Scull und seine Frau Ethel hatten hingegen bereits in den späten 1950erJahren begonnen, eine der wohl wichtigsten und umfangreichsten Pop-Art-Sammlungen anzulegen. BEAUCAMP, 55–67 1968 über die Leo Castelli Gallery sollte das Aachener Sammlerpaar dann Jasper Johns’ Large White Numbers (1958) sowie 1973 die Ale Cans (1960) über Rudolf Zwirner aus der bereits in Teilen wieder veräußerten Scull-Sammlung erwerben.10 NEUBURGER, 115–124 Schon wenige Jahre später war es der Name Ludwig, der neben Panza di Biumo in Norditalien und Karl Ströher in Darmstadt für eine der drei wesentlichen europäischen Privatsammlungen stand, die sich in der zweiten Hälfte der 1960er-Jahre intensiv mit amerikanischer Pop Art beschäftigten.11 Aus heutiger Perspektive ermöglicht die Sammlung Ludwig nunmehr vor allem mit dem Bestand des Museum Ludwig in Köln einen bedeutenden Überblick zur Ära der Pop Art. Ikonen wie Johns’ Ale Cans oder Rauschenbergs Black Market (1961) haben die Kölner Pop-Art-Sammlung quasi zur Erkennungsmelodie des Hauses werden lassen. Daneben wurden gemäß des universellen Anspruchs und Sendungsbewusstseins des Sammlerpaars international weitere Museen aus ihrer Pop-Sammlung gespeist, so vor allem das Museum moderner Kunst Stiftung Ludwig Wien, das Ludwig Forum für Internationale Kunst in Aachen, aber auch Museen in Basel, Budapest, Koblenz, Peking und St. Petersburg. Ganz im Unterschied zum Typus des Spekulationssammlers wie wir ihn heute kennen – wie ihn zum Beispiel François Pinault, Victor Pinchuk und Charles Saatchi verkörpern –, der durch Wiederverkauf Gewinn erzielt oder zumindest einen permanenten Wandel des Sammlungsbildes forciert,12 lag für Peter und Irene Ludwig der Mehrwert ihrer Sammlung stets in deren bleibend musealer Platzierung, GRASSKAMP, 127–158 wobei Peter Ludwig bestrebt war, im kulturellen Leben eine ähnlich einflussreiche Position einzunehmen wie im ökonomischen. Ludwig überließ den Galerien, Museen und Kulturdezernenten keineswegs das Feld. So könnte man ihm lediglich ein allzu exzessives Sendungsbewusstsein vorwerfen, doch schwebte Ludwig nie die Repräsentanz (oder gar Dominanz) in Form eines Privatmuseums vor – im Gegensatz zu den bereits genannten Privatsammlern. Zwar war das Verhältnis zu den mit Stiftungen bedachten Museen nicht immer unproblematisch. Nicht zuletzt seine vermeintlich spontanen Ankäufe und Schenkungen, die so manchen Museumsdirektor 013-024_ML_LGP_Katalog_02_Vorworte_2014-09-03.indd 22 time, was unexpectedly awarded the International Grand Prize for Painting, had no direct impact on the couple’s collecting. In contrast in the late 1950s New York taxi entrepreneur Robert C. Scull and his wife, Ethel, had already begun to assemble probably one of the most important and large collections of Pop Art. BEAUCAMP, 55—67 Not long after this, the Aachen-based collector couple would purchase artwork from the Scull Collection, some of which had in the meantime already been resold at auction:10 Jasper Johns’s Large White Numbers (1958) in 1968 through the Leo Castelli Gallery and in 1973 Painted Bronze / Ale Cans (1960) through Rudolf Zwirner. NEUBURGER, 115—124 A few years later, Ludwig had become a name that symbolized one of the three crucial European private collections intensively involved with American Pop Art from the second half of the 1960s, along with Panza di Biumo in northern Italy and Karl Ströher in Darmstadt.11 From today’s vantage point, the Ludwig Collection, above all with the works in the Museum Ludwig in Cologne, now affords us a significant overview of the Pop Art era. Iconic works such as Johns’s Painted Bronze / Ale Cans (1960) or Rauschenberg’s Black Market (1961) have virtually turned the Cologne Pop Art collection into the museum’s theme tune. In keeping with the collector couple’s universal ambitions and their missionary zeal about art, they have also nourished other museums around the world from their Pop collection, primarily the Museum moderner Kunst Stiftung Ludwig Wien and the Ludwig Forum für Internationale Kunst in Aachen, but also museums in Basel, Budapest, Koblenz, Beijing, and St. Petersburg. Their approach stands in stark contrast to the now-familiar typos of the speculative collector—as embodied by, for example, François Pinault, Victor Pinchuk, and Charles Saatchi—out to make a profit or at least to drive permanent shifts in the profile of their collections by reselling artworks.12 For Peter and Irene Ludwig, the added value of their collection always lay in positioning it within the museum context on an enduring basis, GRASSKAMP, 127—158 while Peter Ludwig also endeavored to become as influential in the cultural sphere as he already was in the business world. Ludwig did not by any manner of means sit back and leave decisions to galleries, museums, or municipal cultural policy departments. One might therefore accuse him of excessively acute missionary ardor, yet Ludwig never gave precedence to prestige (or even dominance) in the form of a private museum—in contrast to the aforementioned private collectors, although his relationship with the museums he bestowed endowments upon was not always entirely without difficulties. His repeatedly spontaneous purchases and gifts of works were a contributing factor, for they caught some museum directors on the hop and displaced the focus of collections, as well as disrupting planned exhibitions, repeatedly confronting those involved with tricky power struggles. BEAUCAMP, 55—67 Looking back however, Peter and Irene Ludwig remained committed as private collectors to the idea of the public museum, for they did not compete with or even try to abolish this institution. The Ludwigs were therefore aware of the important role played by a public museum, capable of representing societal interests independently of collectors’ subjective predilections. Their donations of entire ensembles from their collections—above all Pop Art as well as works by 04.09.14 09:19 überrumpelten und Sammlungsschwerpunkte sowie Ausstellungsvorhaben verschoben, stellten die Betreffenden immer wieder vor heikle Machtproben. BEAUCAMP, 55–67 Rückblickend blieben Peter und Irene Ludwig als Privatsammler aber stets der Idee des öffentlichen Museums verhaftet, begaben sich nicht in Konkurrenz dazu oder versuchten gar, es abzulösen. Dabei waren sich die Ludwigs der Bedeutung eines öffentlichen Hauses bewusst, welches unabhängig von subjektiven Sammlervorlieben gesellschaftliche Interessen abbildet. Die Stiftung von ganzen Sammlungskomplexen – allen voran der Pop Art sowie der Werke Picassos und der russischen Avantgarde – macht ihr Verständnis dafür deutlich, dass Museen und ihre Sammlungen erst dann relevant werden, wenn sie ein eigenes kunsthistorisches Profil entwickeln.13 So bauten Peter und Irene Ludwig zwar nicht als Helden der ersten Stunde, jedoch umso konsequenter und nachhaltiger, mit einer Mischung aus erstaunlichem Gespür und guter Beratung binnen weniger Jahre eine Sammlung amerikanischer und europäischer Kunst der späten 1950er- bis 70er-Jahre auf. Dass sie damit Künstlerkarrieren, den Markt und das öffentliche Interesse beeinflussten, steht außer Frage. Zweifelsohne sicherten sie wesentliche künstlerische Positionen der Zeit bleibend für die Öffentlichkeit und die kunsthistorische Rezeption, zu der dieser Katalog einen Beitrag leistet. 23 1 Vgl. Jochen Link, Pop Art in Deutschland. Die Rezeption der amerikanischen und englischen Pop Art durch deutsche Museen, Galerien, Sammler und ausgewählte Zeitungen in der Zeit von 1959 bis 1972, Stuttgart 2000. 2 Vgl. Brigitte Franzen, Annette Lagler, Myriam Kroll (Hg.), Nie wieder störungsfrei! Aachen Avantgarde seit 1964, Ausst.-Kat. Ludwig Forum für Internationale Kunst, Aachen, Bielefeld 2011. 3 Vgl. Gert von der Osten, Horst Keller (Hg.), Kunst der sechziger Jahre. Sammlung Ludwig im Wallraf-Richartz-Museum, Köln 1969. 4 Vgl. Wulf Herzogenrath, Gabriele Lueg (Hg.), Die 60er Jahre: Kölns Weg zur Kunstmetropole. Vom Happening zum Kunstmarkt, Köln 1986. 5 Wobei hier bedacht werden muss, dass sich LUDWIG GOES POP in der Ausstellung wie im Katalog auf die US-amerikanischen und englischen Positionen bezieht und dabei den „kontinentaleuropäischen“ Pop völlig ausspart. Der Pop-Art-Bestand ist trotz dieser vermeintlichen Reduktion – Grafik wie Multiples werden nur partiell präsentiert, die Fotorealisten finden sich ebenfalls nicht wieder – von solch immensem Umfang und beeindruckender Qualität, dass eine Fokussierung auf diese Hauptwerke der Pop Art angebracht erscheint. 6 Im Kontext der Pop-Art-Sammlung steht vor allem Peter Ludwig im Fokus, während Irene Ludwig hinsichtlich des Spätwerks Picassos Entdeckergeist bewies und ihren Mann auf die Bedeutung dieser Schaffensphase aufmerksam machte sowie Triebfeder für eine große Anzahl von Ankäufen war. Vgl. das von Regina Wyrwoll geführte Interview mit Rudolf Zwirner in der vorliegenden Publikation, S. 87–112. 7 So sind die englischen Pop-Art-Künstler wie beispielsweise Patrick Caulfield in der Sammlung Ludwig deutlich unterrepräsentiert – Ludwig fehlte ein vertrauenswürdiger Satellit in London. Auch die Sammlung der US-amerikanischen Pop Art weist Lücken auf. Das Museum Ludwig in Köln hat in den letzten Jahren, vor allem unter der Direktion von Kasper König, mit dem Ankauf von Werken von Ed Ruscha, William Copley, Peter Saul und John Wesley gezielt versucht, diese zu schließen. 8 Auch wenn Hahns Sammlung neben der Pop Art hauptsächlich verschiedene Positionen des Nouveau Réalisme vereinte, bleiben vor allem die poppigen Positionen im Gedächtnis der Museumsbesucher. 9 Der Begriff Pop Art findet erstmals in einer deutschen Zeitung Erwähnung in Lil Picards Artikel „Was malen die bösen Buben?“ (DIE WELT, 1. August 1962, S. 5) über eine neue Kunstrichtung aus den USA: „[…] die Namen der neuen Helden klingen wie von Christian Morgenstern erfunden: Roy Lichtenstein, James Rosenquist, Jim Dine, Claes Oldenburg, [Robert] Indiana, Peter Saul und das jüngste Kind, Wayne Thiebaud.“ 10 1973 kam es in diesem Zusammenhang zu der wohl „ertragreichsten“ sowie skandalträchtigsten Auktion von Werken aus der Sammlung Scull. Die durch das Haus Sotheby Parke Bernet & Co. New York, auktionierten fünfzig Werke brachten einen Erlös von zirka 2,2 Millionen Dollar ein; siehe das von Regina Wyrwoll geführte Interview mit Rudolf Zwirner in der vorliegenden Publikation, S. 87–112. vgl. Judith Goldman (Hg.), Robert & Ethel Scull. Portrait of a Collection, New York 2010. 11 Während Panza di Biumo sich Ende der 1960er-Jahre bereits neuen avantgardistischen Tendenzen wie der Earth Art zuwandte und große Teile seiner Pop-Sammlung veräußerte – ein großes Konvolut an Werken befindet sich heute im MOCA Los Angeles –, versuchte Ströher vergeblich, seine Sammlung en bloc einem öffentlichen Haus zu vermachen, wobei das Museum für Moderne Kunst in Frankfurt Ende der 1980er-Jahre zumindest einen Kernbestand erwerben konnte. Vgl. Katrin Sauerländer (Hg.), Karl Ströher. Eine Sammler-Geschichte, Frankfurt am Main 2005; Panza. The Legacy of a Collector. The Panza die Biumo Collection at The Museum of Contemporary Art, Los Angeles, Los Angeles 1999/2000. 12 Vgl. Susanne Schreiber, „Sammler und ihr Verhalten im aktuellen Kunstmarkt“, in: Bettina Paust, Hans Peter Thurn (Hg.), Sammelarten – Aspekte der Aneignung in Kunst und Kultur, Oberhausen 2009, S. 67–81. 13 Vgl. Niklas Maak, „Zwischen Pinault und Pinchuk. Netzwerk und Rituale eines neuen transnationalen Sammlersystems“, in: Texte zur Kunst. The Collectors, Heft 83, September 2011. Vgl. Bernhard Schulz, „Der Sammler geht voran“, siehe online: www.kulturstiftung.de/ aufgaben/kulturpolitische-themen/kulturerbe-bewahren/der-sammler-geht-voran/ [13.08.2014]. 013-024_ML_LGP_Katalog_02_Vorworte_2014-09-03.indd 23 Picassos and the Russian Avant-garde—reveals an awareness that museums and their collections only become relevant when they develop their own art-historical profile.13 While they were not groundbreaking first-wave heroes, Peter and Irene Ludwig’s collecting was all the more consistent and sustainable for that, allowing them within just a few years, with a mixture of astonishing flair and good advice, to build up a collection of American and European art from the late 1950s to the 1970s. In the process they indubitably influenced artists’ careers, the market, and public interest. There is likewise no question that they secured crucial examples of artistic practice from that era, making these available to the general public (and to art-historical reception, as also exemplified in this catalogue). 1 See Jochen Link, “Pop Art in Deutschland. Die Rezeption der amerikanischen und englischen Pop Art durch deutsche Museen, Galerien, Sammler und ausgewählte Zeitungen in der Zeit von 1959 bis 1972,” diss. Universität Stuttgart, 2000. 2 See Brigitte Franzen, Annette Lagler, and Myriam Kroll (eds.), Nie wieder störungsfrei! Aachen Avantgarde seit 1964, exh. cat. Ludwig Forum für Internationale Kunst, Aachen, Bielefeld 2011. 3 See Gert von der Osten and Horst Keller (eds.), Kunst der sechziger Jahre. Sammlung Ludwig im Wallraf-Richartz-Museum, Cologne 1969. 4 See Wulf Herzogenrath and Gabriele Lueg (eds.), Die 60er Jahre: Kölns Weg zur Kunstmetropole. Vom Happening zum Kunstmarkt, Cologne 1986. 5 Although here we must bear in mind that LUDWIG GOES POP refers both in the exhibition and in the catalogue to American and British positions, in the process leaving “Continental European” Pop Art out of the picture. Despite this seemingly reduced scope—works on paper and Multiples are only partially represented, and the Photorealists are not included either—the Pop Art holdings are so immense and of such impressive quality that it seemed appropriate to focus on these central Pop Art works. 6 It was above all Peter Ludwig who played the leading role in the context of the Pop Art collection, while Irene Ludwig demonstrated a real spirit of discovery in respect to Picasso’s late works; she drew her husband’s attention to the significance of this phase of Picasso’s oeuvre, and was also the driving force behind a large number of acquisitions; see Regina Wyrwoll’s interview with Rudolf Zwirner in this publication, pp. 87—112. 7 British Pop Art artists, such as Patrick Caulfield, are markedly underrepresented in the Ludwig Collection—Ludwig did not have a reliable partner outpost in London. There are also gaps in the American Pop Art collection. In the last few years, particularly during Kasper König’s period as director, the Museum Ludwig in Cologne has pursued a targeted policy with a view to filling these gaps and has purchased works by Ed Ruscha, William Copley, Peter Saul, and John Wesley. 8 Even if Hahn’s collection contains various examples of Nouveau Réalisme positions, it is above all the Pop-style works that museum visitors remember. 9 The term Pop Art is first mentioned in an article in a German newspaper in Lil Picard’s article “Was malen die bösen Buben?” (Die Welt [1 August 1962], p. 5) on a new art movement from the USA: “[…] the names of the new heroes sound as if they were invented by Christian Morgenstern: Roy Lichtenstein, James Rosenquist, Jim Dine, Claes Oldenburg, [Robert] Indiana, Peter Saul, and the youngest child, Wayne Thiebaud.” 10 In this context, the most profitable and most scandal-ridden auction of works from the Scull collection was held in 1973. The fifty works auctioned through Sotheby Parke Bernet & Co, New York, sold for ca. 2.2 million dollars; see Regina Wyrwoll’s interview with Rudolf Zwirner in this publication, pp. 87—112. See also Judith Goldman (ed.), Robert & Ethel Scull: Portrait of a Collection, New York 2010. 11 While Panza di Biumo had already begun to turn his attention to new avant-garde developments such as Land Art by the late 1960s and sold much of this Pop Art collection—a large nexus of works is now in MOCA Los Angeles—Ströher tried in vain to make over his collection en bloc to a public institution, although the Museum für Moderne Kunst in Frankfurt did succeed in buying at least one core segment of the collection in the late 1980s. See also Katrin Sauerländer (ed.), Karl Ströher. Eine Sammler-Geschichte, Frankfurt am Main 2005; and Panza: The Legacy of a Collector: The Panza die Biumo Collection at The Museum of Contemporary Art, Los Angeles 1999/2000. 12 See Susanne Schreiber, “Sammler und ihr Verhalten im aktuellen Kunstmarkt,” in Bettina Paust and Hans Peter Thurn (eds.), Sammelarten—Aspekte der Aneignung in Kunst und Kultur, Oberhausen 2009, pp. 67–81. 13 See Niklas Maak, “Zwischen Pinault und Pinchuk. Netzwerk und Rituale eines neuen transnationalen Sammlersystems,” Texte zur Kunst. The Collectors no. 83, September 2011. See also Bernhard Schulz, “Der Sammler geht voran,” www.kulturstiftung.de/aufgaben/kulturpolitische-themen/kulturerbebewahren/ der-sammler-geht-voran/, accessed 13 August 2014. 04.09.14 09:19 Founded in 1978, the Terra Foundation for American Art is dedicated to fostering exploration, understanding, and enjoyment of the visual arts of the United States for national and international audiences. Recognizing the importance of experiencing original works of art, the foundation provides opportunities for interaction and study, beginning with the presentation and growth of its own art collection in Chicago. To further cross-cultural dialogue on American art, the foundation supports and collaborates on innovative exhibitions, research, and educational programs. Implicit in such activities is the belief that art has the potential both to distinguish cultures and to unite them. History The Terra Foundation for American Art was established in 1978 by businessman, art collector and United States Ambassador-at-Large for Cultural Affairs Daniel J. Terra (1911–1996), who believed American art was a dynamic and powerful expression of the nation’s history and identity. He also held that engagement with original works of art could be a transformative experience, and throughout his lifetime he worked to share his collection of American art through the Terra Museum of American Art in Chicago, Illinois (operated from 1980 to 2004), and the Musée d´Art Américain in Giverny, France (operated from 1992 to 2008). In 2005 the foundation expanded its grant programs (outlined below) to advance its global mission. Today, under the leadership of president and chief executive officer Elizabeth Glassman, the Terra Foundation is one of the major supporters of American art internationally. Funding Headquartered in Chicago, with a satellite office in Paris, which serves as its centralized European hub, the Terra Foundation for American Art is a private operating foundation with more than $500 million in total assets, including investments, an art collection, and real estate. With an endowment of more than $350 million, it is one of the leading foundations dedicated to American art, supporting art exhibitions, projects, and research worldwide. In fiscal year 2014 (July 1, 2013–June 30, 2014), nearly $7.7 million was dedicated to grant programs, and this figure will increase to approximately $8 million within the next few years. Grant Programs The grant programs of the Terra Foundation offer support for exhibitions of American art and academic programs worldwide. In addition, the foundation supports public and school programs in Chicago. Since 2005 the foundation has provided more than $50 million for nearly 500 exhibitions and scholarly programs in more than 30 countries, including Australia, Brazil, China, France, Germany, Japan, Mexico, The Netherlands, Peru, Russia, Spain, Sweden, and the United Kingdom. Collection The Terra Foundation’s collection of American art comprises nearly 750 paintings, works on paper, and sculptures dating from the late eighteenth century to 1945 by artists such as John Singleton Copley, James McNeill Whistler, Mary Cassatt, Winslow Homer, Marsden Hartley, and Edward Hopper. The foundation works to ensure its collection is accessible, lending artworks to exhibitions worldwide, creating focused shows of its collection for public exhibition, and maintaining a comprehensive database of the collection on its website. • Since 2005 more than 400 Terra Foundation objects have been loaned to 100 projects at 100 venues worldwide. 1 • • A selection of Terra Foundation paintings remains on long-term loan to the Art Institute of Chicago. The Art Institute also houses the foundation’s works on paper, which may be viewed by appointment through the Department of Prints and Drawings. On average, 20% of the Terra Foundation’s collection is on view around the world, compared to the general average of 5% for most museums. Partnerships The Terra Foundation collaborates with institutions worldwide to create new and exciting ways to connect people with American art. For example, long-term partnerships with the Musée du Louvre in Paris and The National Gallery in London have introduced American art to European audiences, as well as placed works of historical art from the United States in dialogue with two pre-eminent collections. Ongoing collaborations with these institutions will enable presentations of American art over the next several years. Additionally: • A collaboration with the Solomon R. Guggenheim Foundation rendered the first survey of American art to travel to Beijing, Shanghai, Moscow, and Bilbao. • The foundation’s partnership with the Philadelphia Museum of Art, the Museum of Fine Arts Houston, and the Los Angeles County Museum of Art was the impetus behind Art Across America, the first survey of historical American art to travel to Korea. The exhibition drew upon the distinctive strengths of major museum collections in the United States to explore American history and art from the American Revolution to World War II. • For 2015 the Terra Foundation is organizing a travelling exhibition of landscape paintings from the whole of the Americas, from Hudson Bay to Tierra del Fuego. Developed in partnership with the Pinacoteca do Estado in São Paulo, Brazil, and the Art Gallery of Ontario in Toronto, Canada, the exhibition will focus on the nineteenth and early twentieth centuries, and is curated by a team of specialists from Canada, the US, Mexico, Peru, Argentina, and Brazil. Beyond a simple survey of landscape paintings, the exhibition will adopt a comparative framework to illuminate how a nation can express its identity through its visual culture. A number of Terra Foundation paintings will be featured, including Alfred Thompson Bricher’s Lake George from Bolton’s Landing (1867). Paris Center & Library In 2009 the Terra Foundation for American Art opened its Paris Center, a resource that supports the Foundation’s grant programs in Europe, fosters international connections, and provides access to resources on American art. Located in the heart of the city, the Paris Center offers regular public programs on current topics in American art and visual culture with an emphasis on cross-cultural and interdisciplinary perspectives. The Paris Center also houses the only research library in Europe devoted exclusively to American art and transatlantic artistic exchange, with approximately 9,500 titles covering pre-1980 American Francesca Rose Head of Publications and Communications 29 rue des Pyramides 75001 Paris, France [email protected] +33 (0)1 43 20 32 06 Charles Mutscheller Communications Manager 120 East Erie Street Chicago, IL 60611, USA [email protected] 312-654-2259art history. 2
