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September 9, 2015


Filed under: Hans-Peter Feldman — Tags: — jherzlinger @ 7:27 am

I, from the time I was a small child, have been totally in love with installation art, and installation artists.  Their philosophy regarding being part of the art as opposed to the art being one

dimensional has always fascinated me.  I am very much drawn to philosophy and find that this expression of art goes very well with my philosophy towards interior design.  In interior design,

I create spaces that you participate in, in other words, you control how the space functions, as opposed to being given the space and expected to live as the space given you dictates.  I know, a lot, right!

You will enjoy this post, this artist is fascinating and his work is highly collectible if you are interested in adding a new artist to your collection.  I have posted a link for a gallery that represents his work!

Düsseldorf-based Hans-Peter Feldmann is a passionate collector of images and stories, an original thinker and one of the first conceptual artists.

NEW YORK — The first thing you might have thought  when you walked  into the gallery where Hans-Peter Feldmann had pinned 100,000 $1 bills to the wall is,

“$100,000 here and $100,000 there, and it’s still a pretty long time before you start talking about real money.”

Which just may be Feldmann’s point. Well, definitely maybe. Feldmann is the eighth winner of the Hugo Boss Prize, set up in partnership between the German clothier and the Guggenheim Museum in 1996 to promote contemporary art,

and his reward for being selected by an international committee is this one-man show in New York and a $100,000 honorarium. Feldmann, a native of Dusseldorf who at 69 is by far the oldest winner yet of the prize, decided that he would cash

out the award and pin it in overlapping sequence on the walls, using only old bills that had been in circulation for some time.

This conforms to Feldmann’s past practice, at least in part. Feldmann is an installation conceptualist and maker of artist’s books, with a penchant for rearranging found photographs or dutifully snapping his own of boring,

everyday subjects (one of his books is called “Photos Taken from Hotel Room Windows While Traveling,” and consists mostly of shots of parking lots). He has also assembled tableaux of old toys and household implements,

all used, and spotlit them to cast looming shadows on the gallery walls.

Feldmann entered the art world in the late 1960s when he began to construct and exhibit editions of small booklets containing found images such as postcards, magazine clippings, and posters. These images constituted part

of Feldmann’s massive “picture archive,” an assortment of images categorized according to the artist’s own system. In the event that a part of the archive was incomplete (an image was missing), Feldmann would capture this

image via his own photography. Using image reproduction, photography or otherwise, as a means to illuminate the mysteries of daily life, he consistently gives credence to under-recognized art forms such as the photo album,

never underestimating the power of the most “common” aesthetic strategies.

Hans-Peter Feldmann lives and works in Düsseldorf, Germany.





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