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== Field of art ==
== Field of art ==
Schult uses trash as an artistic material. The artist calls himself a "Macher", a German word that can mean a "maker" or "worker." Schult's public extravaganzas have sometimes been compared with those of [[Christo]].<ref>[http://www.inspiredminds.de/detail.php?id=28 "HA Schult: Beautiful Trash."], ''[[Deutsche Welle]]: Inspired Minds''.</ref><ref name=artnews/> A pioneer of environmental awareness, he is an ardent proponent of the new ecological consciousness.<ref>Rachel Beckman calls the artist "an eco-art pioneer". See "Throwaway Art: Don't Trash it", ''Washington Post'', 12 April 2008.</ref> Art historian Jens Christian Jensen wrote about Schult: "I do not know another German artist who grasps his tasks so comprehensively, no one who has such a sense of feeling for that what matters in our times. In HA Schult the gap has been closed that has been for 200 years between art and the public."<ref>Translated from Jensens' German essay, "Kunst und Leben" (1974), cited in Eugen Thiemann, Christel Denecke, Dieter Treeck and Hans Rudolf Hartung (eds.), ''HA Schult der Macher'' (Cologne: Rheinland Verlag, 1978), p. 380: "Ich kenne keinen deutschen Künstler, der seine Aufgabe dermaßen umfassend begreift, keinen, der die Witterung für das besitzt, was unsere Gegenwart umtreibt. Bei Schult ist die Kluft geschlossen, die seit fast zweihundert Jahren zwischen Kunst und Öffentlichkeit klafft."</ref>{{verify source}}
Schult uses trash as an artistic material. The artist calls himself a "Macher", a German word that can mean a "maker" or "worker." Schult's public extravaganzas have sometimes been compared with those of [[Christo]].<ref>[http://www.inspiredminds.de/detail.php?id=28 "HA Schult: Beautiful Trash."], ''[[Deutsche Welle]]: Inspired Minds''.</ref><ref name=artnews/> Schult describes himself as an ardent proponent of the "new ecological consciousness" and was referred to as an "eco-art pioneer" by [[Washington Post]] writer Rachel Beckman <ref>"Throwaway Art: Don't Trash it", ''Washington Post'', 12 April 2008.</ref> Art historian Jens Christian Jensen wrote about Schult: "I do not know another German artist who grasps his tasks so comprehensively, no one who has such a sense of feeling for that what matters in our times. In HA Schult the gap has been closed that has been for 200 years between art and the public."<ref>Translated from Jensens' German essay, "Kunst und Leben" (1974), cited in Eugen Thiemann, Christel Denecke, Dieter Treeck and Hans Rudolf Hartung (eds.), ''HA Schult der Macher'' (Cologne: Rheinland Verlag, 1978), p. 380: "Ich kenne keinen deutschen Künstler, der seine Aufgabe dermaßen umfassend begreift, keinen, der die Witterung für das besitzt, was unsere Gegenwart umtreibt. Bei Schult ist die Kluft geschlossen, die seit fast zweihundert Jahren zwischen Kunst und Öffentlichkeit klafft."</ref>{{verify source}}


== Works ==
== Works ==

Revision as of 03:01, 14 August 2012

HA Schult
File:Foto Schult.jpg
HA Schult
Born(1939-06-24)24 June 1939
Parchim, Germany
NationalityGerman
Known forobject and performance art

HA Schult, born Hans-Jürgen Schult on June 24, 1939 in Parchim, Mecklenburg is a German installation, happening and conceptual artist known primarily for his object and performance art and more specifically his work with garbage.

Life

HA Schult studied art at the Kunstakademie Düsseldorf from 1958 to 1961, where he was a student of Georg Meistermann, Joseph Fassbender, Karl Otto Götz and Joseph Beuys. At that time, he was mainly inspired by three artists: Yves Klein, Georges Mathieu and Jackson Pollock.

From 1962 to 1967 he worked as an art director for a German bank and some industrial companies. From 1967 to 1978 he lived as an artist in Munich and has also performed a range of diversified jobs over time, including a spell as a taxi driver. During the late 1970s Schult lived in Cologne and from 1981 to 1986 chiefly in New York City.[1]

Schult has been situated in Cologne since 1990. He was married to Elke Koska for 25 years, who Schult considers his muse - she was also (and still is) his manager. Their son is the German film director, Kolin Schult. He has been married since 2010 to violinist Anna Zlotovskaya.

Field of art

Schult uses trash as an artistic material. The artist calls himself a "Macher", a German word that can mean a "maker" or "worker." Schult's public extravaganzas have sometimes been compared with those of Christo.[2][3] Schult describes himself as an ardent proponent of the "new ecological consciousness" and was referred to as an "eco-art pioneer" by Washington Post writer Rachel Beckman [4] Art historian Jens Christian Jensen wrote about Schult: "I do not know another German artist who grasps his tasks so comprehensively, no one who has such a sense of feeling for that what matters in our times. In HA Schult the gap has been closed that has been for 200 years between art and the public."[5][verification needed]

Works

In 1969, Schult was arrested for covering a street in Munich with trash and paper, a happening he called "Situation Schackstrasse".[6][7][8] In the same year and during the early and mid-1970s, he produced Biokinetic Situations, exhibited at the Museum Morsbroich in Leverkusen and the documenta V in Kassel, installed either on the floors of the museums or within large vitreous display cases.[9][7] Many of these "situations" shown in over-dimensional glass show cabinets are miniature landscapes consisting of trash, small children’s playthings and bacteria, thereby promoting the archeology of an anticipated future. As these works were both inspired by the romantic painting of Caspar David Friedrich and the modern age of consumption and waste, German critics such as Siegfried Salzmann[10] bestowed Schult the title "Caspar David Friedrich of the consumption age."[11] In a TV interview, the artist himself confirmed that he is "a Romantic of the consumption age and a great moralist".[12]

Der Müll des Franz Beckenbauer: In 1974, Schult stole the contents of the waste containers of the famous footballer, Franz Beckenbauer and presented what he had found in the Lenbachhaus, Munich.[13][7]

Venezia vive: In 1976, the artist filled St. Mark's Square in Venice with old newspapers in an overnight action that surprised the Venetian people and authorities. He called this happening Venezia vive.[7][14][15]

Flügelauto (winged car)

Crash: As his contribution to the 1977 documenta VI, he hired a stunt pilot to crash a Cessna into the garbage dump on Staten Island, New York. This happening, which was sent via satellite to the screens in Kassel, he called Crash.[16][7] >

Zeughaus, Cologne

Now!: In 1983, he created a paper river in downtown New York, using old issues of the New York Times and called this happening Now![17][18][19]

The Flügelauto (winged car) is a car as a golden bird. Created in 1991 as part of the performance “Fetisch Auto” (Fetish Car) in Cologne, this work of art is now displayed on the roof of the Kölnische Stadtmuseum (Museum of the City of Cologne). Citing the protection of historic monuments, Franz-Josef Antwerpes, the former District President of Cologne, demanded the removal of the car but the competent ministry decided that the artwork could stay in place “temporarily” - it has remained there to this day.[20][21]

Trash People, shown in Cologne

Trash People (Schrottarmee): Since 1996, Schult has installed one thousand life sized "Trash People" made from crushed cans, electronic waste and other rubbish as his critical commentary on constant human consumption. They travelled to major tourist sites such as Moscow's Red Square (1999), the Great Wall of China (2001),[22] and the Pyramids of Giza (2002).[3] The value of each individual statue is approx. EUR 2 when burnt, according to GEW, a provider of gas and electricity services.[23][24]

Hotel Europe: In 1999, at Cologne-Bonn airport autobahn, Schult realized "Hotel Europe," an empty multistory building covered with 130 oversize portraits of celebrities. It was referred to as the world's largest sculpture until it was blown up on May 13, 2001.[25]

Love Letters Building: In 2001, the artist created his "Love Letters Building" in Berlin-Mitte by covering the front of the old Berlin Postfuhramt (post office) with hundreds of thousands of love letters.[26][27]

Trees for Peace (“Friedensbäume”): In 2003, HA Schult decorated the birch trees on the premises of the Zollverein coal mine in Essen with thousands of painted, written and photographic wishes for peace.[28]

AutoDom: In 2006, Schult created the "AutoDom" sculpture, using parts from Ford Fiesta and Ford Fusion cars to build a symbolic bridge between Cologne and New York City.[29]

Save the Beach: In 2010, Schult created a hotel made of garbage in order to raise awareness of the amount of waste being washed up on Euopean shores. According to the artist, “The philosophy of this hotel is to expose the damage we are causing to the sea and the coastline. We live in the era of trash and we are running the risk of becoming trash ourselves. Do we really want this world?”[30]

HA Schult Museum and ÖkoGlobe-Institut

In 1986, the artist founded the HA Schult Museum für Aktionskunst in Essen. In 1992, this museum was moved to Cologne. In 2009, Schult was the founder of the ÖkoGlobe-Institut, established at the University Duisburg-Essen. He is also one of the directors of this eco institute.[31]

References

  1. ^ For more details on Schult's personal life and influences, see "HA Schult: Aktionskünstler, im Gespräch mit Sabine Reeh." Alpha-Forum, BR-Online, 3 January, 2003.
  2. ^ "HA Schult: Beautiful Trash.", Deutsche Welle: Inspired Minds.
  3. ^ a b Levin, Kim (2011). "92-93". ARTnews. 6. New York: 92–93. {{cite journal}}: |access-date= requires |url= (help); Check date values in: |accessdate= (help)
  4. ^ "Throwaway Art: Don't Trash it", Washington Post, 12 April 2008.
  5. ^ Translated from Jensens' German essay, "Kunst und Leben" (1974), cited in Eugen Thiemann, Christel Denecke, Dieter Treeck and Hans Rudolf Hartung (eds.), HA Schult der Macher (Cologne: Rheinland Verlag, 1978), p. 380: "Ich kenne keinen deutschen Künstler, der seine Aufgabe dermaßen umfassend begreift, keinen, der die Witterung für das besitzt, was unsere Gegenwart umtreibt. Bei Schult ist die Kluft geschlossen, die seit fast zweihundert Jahren zwischen Kunst und Öffentlichkeit klafft."
  6. ^ Ludwig Leiss, Kunst im Konflikt: Kunst und Künstler im Widerstreit mit der 'Obrigkeit' (Berlin: Walter de Gruyter, 1971), pp. 467-68.
  7. ^ a b c d e Thiemann E, Denecke C, Treeck D, Hartung HR, ed. (1978). HA Schult der Macher. Cologne. {{cite book}}: |access-date= requires |url= (help); Check date values in: |accessdate= (help)CS1 maint: location missing publisher (link) CS1 maint: multiple names: editors list (link)
  8. ^ Internationale Biennale der Papierkunst. Exh. cat., Leopold-Hoesch-Museum der Stadt Düren, 1988, p. 32.
  9. ^ Rolf Wedewer, HA Schult: biokinetische Situationen, exh. cat., Städtisches Museum Morsbroich, 1969.
  10. ^ Siegfried Salzmann, Mythos Europa: Europa und der Stier im Zeitalter der industriellen Zivilisation, exh. cat., Kunsthalle Bremen, 1988, pp. 93, 316.
  11. ^ For a discussion of the influence of 19th-century German Romantic landscape painting on Schult, see, for instance, Karlheinz Nowald, "Die Welt, in der wir atmen" (1974). Cited in Thiemann, Denecke, Treeck and Hartung (eds.), HA Schult der Macher (Cologne: Rheinland Verlag, 1978), p. 384.
  12. ^ Barbara Sichtermann, "Nichts zu sagen", Die Zeit, 11 (1990).
  13. ^ Hans-Jürgen Jendral, "Epochale Müll-Entdeckung", Süddeutsche Zeitung, 10 December 1974.
  14. ^ Gregory Battcock and Robert Nickas, The Art of Performance: A Critical Anthology (Boston, MA: E.P. Dutton, 1984), pp. 330-31.
  15. ^ James Wines, De-Architecture (New York: Rizzoli International, 1987), p. 184.
  16. ^ Edward Lucie-Smith, Art in the Seventies (Cornell University Press, 1980), p. 88.
  17. ^ HA Schult and Thomas Höpker, Now! Überdosis New York (Munich and Lucerne: Bucher Verlag, 1984).
  18. ^ "Papering the Streets", New York Times, 31 October 1983, B4.
  19. ^ Kim Levin, "My Weekend as an Artwork", Village Voice, 15 November 1983, p. 103.
  20. ^ Thomas Höpker, Klaus Honnef and Eva Windmöller, Ha Schult, Fetisch Auto (Düsseldorf 1989), p. 125.
  21. ^ Horst Johannes Tümmers, Der Rhein: Ein europäischer Fluss und seine Geschichte (Munich: C. H. Beck, second edition, 1999), pp. 279-80.
  22. ^ Carlos Rojas, The Great Wall: A Cultural History (Harvard University Press, 2010), pp. 163-64.
  23. ^ Rachel Beckman, "Throwaway Art: Don't Trash it", Washington Post, 12 April 2008.
  24. ^ "HA Schult: The Long Breath: The Journey of the Trash People", in Ina-Maria Greverus and Ute Ritschel, eds., Aesthetics and Anthropology: Performing Life, Performed Lives (Berlin: LIT Verlag, 2009), pp. 97–109.
  25. ^ Ina-Maria Greverus and Ute Ritschel, eds., Aesthetics and Anthropology: Performing Life, Performed Lives (Berlin: LIT Verlag, 2009), p. 109.
  26. ^ Birgit Zamulo, HA Schult: LoveLetters (Düsseldorf, 2002).
  27. ^ Nico Schröter, Kai Giesler and Philipp Kohde, Love Letters Building - Postfuhramt Berlin Mitte - ein Denkmal im Sog von Werbung und Marketing (Technische Universität Cottbus, 2002).
  28. ^ Wulf Mämpel, Trees for Peace (Essen: Klartext Verlagsgesellschaft, 2003).
  29. ^ HA Schult: "AutoDom" Made From Car Parts From Ford Models Fiesta and Fusion Builds a Bridge From Cologne to New York.
  30. ^ Save the Beach 2010.
  31. ^ "Initiiert wurde der ÖkoGlobe im Jahr 2007 vom Aktionskünstler HA Schult." Universität Duisburg-Essen: ÖkoGlobe: ÖkoGlobe-Institut.

Further reading

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