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Günther Förg (1952-2013)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Günther Förg (1952-2013)


Günther Förg (1952-2013)
each: signed and dated ‘Förg 90’ (on the reverse)
acrylic on lead, in four parts
overall: 39.3/8 x 56¼in. (100 x 142.9cm.)
Executed in 1990
Davis McClain Gallery, Houston.
Acquired from the above by the present owner in 1990.
Günther Förg, exh. cat., Kassel, Museum Fridericianum Kassel, 1990 (illustrated in color, pp. 32-33). This exhibition later travelled to Ghent. Museum van Hedendaagse Kunst Gent; Leipzig, Museum der Bildenden Kunste Leipzig; Tubingen, Kunsthalle Tubingen and Munich, Kunstraum Munchen.
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Post Lot Text
We are most grateful to Mr. Michael Neff from the Estate of Günther Förg for the information he has kindly provided.

Lot Essay

The works conceived by Jannis Kounellis, Günther Förg and Cornelia Parker presented over the following pages interrogate the significant changes which occurred within artistic practices concerning the relationship between the art object and its material form. Finding precedent in a diverse set of twentieth century modernist practices which began to reconceive artistic media as art objects in and of themselves, these artists have borne out this legacy in their own disparate practices.

Kounellis’s Untitled bears witness to the artist’s signature employment of raw materials in his attempt to redefine our experience of daily existence. Part of the artist’s landmark 1994 solo exhibition Cargo Ionion: Jannis Kounellis, held on board a cargo ship, the work’s haunting corporeal quality is achieved through its enigmatic combination of iron and burlap sacking to create an unknowable form that affirms its presence through repetition. In a superb homage to the aesthetics of Arte Povera and the Industrial Age, the work celebrates the power of humble materials to challenge the perceptual relationship between art and everyday reality.

Förg’s striking lead painting Untitled exemplifies the artist’s desire to explore the essence of his materials, aspiring, as he put it, ’to get this feeling of depth, that lead gives the painting a very heavy feeling, it gives colour a different density and weight’ (G. Förg, quoted in D. Ryan, Talking Painting: Dialogues with Twelve Contemporary Abstract Painters, London 2002, p. 77). Executed in 1990, this elegant wall installation is comprised of four sheets of painted lead, edged with green acrylic. Förg’s use of colour in this way provides a searing visual contrast to the heaviness of the metal, and imbues the work with a radiant, back-lit quality. The optical proprieties of the lead itself, which absorbs and captures light, are enhanced by thin oxide layers of paint to obtain infinite modulations of hues. Untitled adeptly illustrates Förg’s aim to expand the painterly field, transforming solid media into evanescent objects with enigmatic spatial properties.

Cornelia Parker, an artist deeply concerned with the nature of objectivity, creates a captivating geological tapestry in A Side Of England. Featuring chalk retrieved from a cliff fall at Beachy Head, the work presents a startling reimagining of this natural edifice, creating a constellation of broken fragments. This gleaming white textured terrain seems to invoke an alternative world, an extra-terrestrial landscape born of base and earth-bound materials.

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