Georg Herold

Parisienne, 2012

Bronze Sculpture

360 x 280 x 230 cm


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Artwork
Description

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Georg Herold’s beguiling and visceral sculptures defy any singular interpretation of the artist’s meaning. Central to his practice is an anti-traditional rebelliousness that is reflected in his choice of building materials as a medium for expression; the basic materials, though used masterfully, keep the works as free as possible from existing associations.

‘Parisienne’ is made of bronze, an ideal medium to explore sprawling, contorted shapes that cut through the air aggressively. Herold’s sculpture is eerily dehumanised, an anthropomorphic figure that bristles with a dangerous energy as if ready to spring at the viewer. The ‘parisienne’ – reminiscent of a praying mantis, and therefore of another femme fatale – appears to hold two sticks, or weapons, above her head, emphasising that she is poised for combat against her audience, or against any attempts by the viewer to ‘read’ the sculpture in a narrow, limiting way.

Herold gives his chimerical being spider-like legs, a nod to non-human strength and power. But despite the tension inherent in the pose of the figure, the overall effect is one of extreme grace. The blue-green patina of the bronze lends a sense of calm to the figure, and highlights the sensitive manipulation of the material; for Herold, aesthetics and physical presence are the fundamental elements of sculpture.

About
the artist

Georg Herold (b. 1947) was born in Jena, East Germany. He now lives and works in Cologne. He studied at the Academy of Fine Arts in Munich (1974-1976) and the Academy of Fine Arts in Hamburg (1977-1978). Herold has shown throughout Europe and the US since 1977: he has had solo and two person exhibitions at institutions including the Museum of Modern Art, New York, the Stedelijk Museum in Amsterdam, Museum Brandhorst, München, the Kunstverein, Freiburg and at galleries such as Max Hetzler, Berlin, Sadie Coles, London and The Modern Institute, Glasgow. Herold holds professorships in Amsterdam and Dusseldorf, where he continues to teach.

One of the most acclaimed German artists of the last thirty years, Herold has had a profound influence on younger generations throughout Europe. His multifaceted practice has involved working across sculpture, photography, installation, video and painting, but a central preoccupation with rejecting ‘sublime’ concepts of art and embracing a multiplicity of meaning unite the works.

Herold’s distrust of bourgeois traditions and the conspicuously symbolic was a result of time spent studying with Sigmar Polke in the late 1970s, which led to him becoming associated with radical young German artists of the time such as Albert Oehlen and Martin Kippenberger. Together, they favoured a rebelliously anti-traditional approach to art that embraced basic materials more commonly associated with building as vehicles for expression, an influence evident in Herold’s work to this day. His use of anything from wood and bronze to aluminium, mattresses and vodka bottles in his work denies any singular analysis of the artist’s meaning; ‘I intend to reach a state that is ambiguous and allows all sorts of interpretations’, he has said.

Herold’s art is often political in nature, referencing contemporary issues that draw from the fields of art, science, politics and technology. Titles and text often feature in his works, working as more overt references to world events or concerns than the art provides itself; in this way Herold’s work challenges the viewer’s expectations on every level, collapsing conventional ideas of the artist’s role in making a work of art significant. His sculptures often bristle with tension, and Herold has spoken of his figures fighting back as he sculpts them; this aggressive, almost dangerous energy is an inextricable part of his practice. It results in art that shirks the pedestal and knowingly eludes definition, providing an uncanny experience for its audience.


One of the most acclaimed German artists of the last thirty years, Herold has had a profound influence on younger generations throughout Europe. His multifaceted practice has involved working across sculpture, photography, installation, video and painting, but a central preoccupation with rejecting ‘sublime’ concepts of art and embracing a multiplicity of meaning unite the works.

Herold’s art is often political in nature, referencing contemporary issues that draw from the fields of art, science, politics and technology. Titles and text often feature in his works, working as more overt references to world events or concerns than the art provides itself; in this way Herold’s work challenges the viewer’s expectations on every level, collapsing conventional ideas of the artist’s role in making a work of art significant.


Georg Herold
on Artuner

Part of the
exhibition

November 10th, 2016 until
February 11th, 2017
Curated by ARTUNER