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Hans Haacke
Born August 12, 1936 (1936-08-12) (age 73)
Cologne, Germany
Nationality American
Field Conceptual art
Training Tyler School of Art, Temple University in Philadelphia.

Hans Haacke (born August 12, 1936) is a German American conceptual artist, who lives and works in New York.

Contents

Study and work

Haacke was born in Cologne, Germany. He studied at the Staatliche Werkakademie in Kassel, Germany, from 1956 to 1960. From 1961 to 1962 he studied on a Fulbright grant at the Tyler School of Art at Temple University in Philadelphia.

Haacke's early work as a conceptual artist focused on systems and processes. Some of the themes in his early works from the 1960s, such as Condensation Cube (1963-65), include the interactions of physical and biological systems, living animals, plants, and the states of water and the wind. He also made forays into Land Art. His later works have dealt more with socio-political structures and the politics of art. Haacke has been outspoken throughout his career about his belief that museums and galleries are often used by the wealthy to seduce public opinion. From 1967 to 2002 Haacke was a professor at the Cooper Union in New York City.

Condensation Cube, begun 1965, completed 2008; plexiglass and water; Hirshhorn Museum and Sculpture Garden

One of his best-known works, Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971 exposed the questionable transactions of Harry Shapolsky's real-estate business between 1951 and 1971. Haacke's 1971 one-artist show at the Solomon R. Guggenheim Museum, which was to include this work and which also made an issue of the business and personal connections of the museum's trustees, was cancelled by the museum's director six weeks before the opening. An exhibition at the Wallraf-Richartz museum was also cancelled due to the inclusion by Haacke of the PROJEKT '74 celebration in Cologne, a history of the ownership of a painting in the collection in which the Third Reich activities of its donor were revealed.(Provenance issue)

Photograph of MoMA Poll in the Museum of Modern Art (MoMA).

In 1970, Haacke created an installation commissioned for the MoMA in New York entitled MoMA Poll. The work was a query that asked "Would the fact that Governor Rockefeller has not denounced President Nixon's Indochina Policy be a reason for you not voting for him in November?" with two ballot boxes (made of plexi-glass). The end result at the end of the exhibition was approximately twice as many Yes ballots as No ballots.[1] The installation is an early example of Institutional Critique and criticized a board trustee and the institution (MoMA).

In 1978 Haacke had a solo exhibition at the Museum of Modern Art in Oxford for which he created the work "A Breed Apart", which made explicit criticism of the state owned British Leyland exporting vehicles for police and military use to apartheid South Africa. In 1979 he had a solo exhibition at The Renaissance Society, featuring highly political paintings which reproduced and altered print ads for Mobil, Allied Chemical, and Tiffany & Co. In the later 1980s Haacke moved towards using paintings and larger scale sculptural installation. In 1988 he was given an exhibition at the Tate Gallery in London for which he did a portrait of Margaret Thatcher featuring cameos of Maurice and Charles Saatchi.

Haacke's 1990 controversial painting Cowboy with Cigarette turned Picasso's Man with a Hat (1912-13) into a cigarette advertisement. The work was a reaction to the Phillip Morris company's sponsorship of a 1989-90 exhibition about Cubism at the Museum of Modern Art. Hans Haacke published a book about the ideas and processes behind his and other conceptual art called Framing and Being Framed.

Haacke has since had solo exhibitions at the New Museum of Contemporary Art, New York; the Van Abbemuseum, Eindhoven; and the Centre Georges Pompidou, Paris.

In 1993 Haacke shared, with Nam June Paik, the Golden Lion for the German Pavilion at the Venice Biennale. Haacke's installation Germania made explicit reference to the pavilion's roots in the politics of Nazi Germany.

Two years later Haacke teamed with Pierre Bourdieu and published Free Exchange, a volume of their conversations. Haacke and Bourdieu expressed a shared interest in the relationship between art and politics.

Further reading

  • Luke Skrebowski, "All Systems Go: Recovering Hans Haacke's Systems Art", in Grey Room, Winter 2008, No. 30, Pages 54-83.
  • Flügge, Matthias, and Fleck, Robert (ed.). 2007. "Hans Haacke - Wirklich. Werke 1959-2006". Düsseldorf: Richter. (catalogue to a retrospective exhibition at Deichtorhallen Hamburg 17.11.2006 - 4.2.2007 and Akademie der Künste, Berlin 18.11.2006 - 14.1.2007)
  • Grasskamp, Walter, Hans Haacke, and Benjamin Buchloh. "Obra social": Hans Haacke. Barcelona: Fundació Antoni Tàpies, 1995. ISBN 84-88786-08-5 Text in Catalan, English and Castilian.
  • Bourdieu, P. and H. Haacke. 1995. Free Exchange. Stanford: Stanford Univ Press. ISBN 0-8047-2495-4
  • Wallis, B. (ed). 1986. Hans Haacke: Unfinished Business. New York and Cambridge: New Museum of Contemporary Art and MIT Press.
  • Jean-Hubert Martin, Valerie Hilling, Catherine Millet and Mattijs Visser. “ZERO, Internationale Künstler Avantgarde“, exhibition catalog published by Museum Kunst Palast and Cantz, Düsseldorf/Ostfildern 2006, ISBN 3-9809060-4-3

See also

References

https://www.watkins.edu/sites/all/files/imagecache/gallery_full/portfolios/images/05.jpg

External links

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