The Städel Museum shows tile Negro: the painting as a provocation

Moral issues overlap currently aesthetic. And before it comes to a dispute, the Verdicts pronounced. What's more, many believe, to know exactly. And calling fo

The Städel Museum shows tile Negro: the painting as a provocation

Moral issues overlap currently aesthetic. And before it comes to a dispute, the Verdicts pronounced. What's more, many believe, to know exactly. And calling for bans, the stigma of poets and thinkers, the Mucking out of the cultural Tradition. Or more specifically, the Slopes of certain images. The latest target: The in 1981 the resulting painting, "tile Negro" by Georg Herold, issued recently in the contemporary art reserved for the basement of the Städel-Museum, called the garden halls.

Michael Holzer

culture editor of the Rhein-Main-Zeitung.

F. A. Z.

the original Instagram-Post-a terrified visitor to the Städel replied to, it would injured anyone's feelings. Since the plant is a through-and-through anti-racist. And "ever". The theme draws its circles. The Städel allowed to do this? A picture show of a black man from an angry mob a brick to the head is thrown? And a traffic light that is Green, wherein the green light is lit, however, where usually the red has its place? A black head at the top, yellow in the middle and a police officer are seen at the bottom of this light signal system. You are the character, which is the group of persons can turn to hate right now?

Now we have to go, unfortunately something. Georg Herold, belonged to the young and Wild who dared to 1980, which would have previously led to be in the main stream of the avant-garde is not taken seriously. They painted. With expressionist gesture. Not only Joseph Beuys was horrified. The 1968 ground-world enhancement-Elite saw this as a step backwards. A lack of reflection. A non-political Celebration of the artist's life. But the market was happy. And all that Modern after 1945 was always too complicated. Welcome to the post-modern!

alleged The painter, it means nothing

swastikas, dirty underpants, bricks were thrown on the canvas, it was Anti-Hippie, Anti-avant-garde, Anti-moralism. The painters were suddenly back in representational and figurative. But they claimed that it meant nothing. No Narration. No political Statements. But it is also not a criticism. It was only a painting. Without reference to any reality. This was of course provocative. Turned against prohibitions on Thinking, the had late sixties and Nachachtundsechziger built. Against a mass of theories that had built up in front of the art.

Date Of Update: 01 July 2020, 10:20

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