September 28, 2018–January 6, 2019
Neo Rauch: Aus dem Boden/From the Floor is the first exhibition specially focusing on the artist’s works on paper in the United States. Opening at Des Moines Art Center in Iowa, the show has been organized by Des Moines director Jeff Fleming and Brett Littman, former executive director of The Drawing Center in New York, where the exhibition will travel in April 2019.
Aus dem Boden/From the Floor includes some 180 large and small-scale works on paper, a majority of which have not been shown before. Like Rauch’s paintings, these works are characterized by a distinctive combination of figurative imagery and surrealist abstraction. His enigmatic compositions feature an eccentric cast of human characters, animals, and hybrids within familiar-looking but imaginary settings in which scale is often arbitrary, seeming to allude to different time zones or planes of existence. While some of the drawings are finished works in their own right, others are sketches that help to reveal the artist’s process or record an idea.
Composed using a mixture of media including paint, pen, and marker, many of Rauch’s drawings contain notes in the margins from meetings with collectors, curators, and friends. For Peter Schjeldahl, who reviewed the artist’s work in Drawing Now: Eight Propositions at MoMA QNS (The Museum of Modern Art, New York) in 2002, Rauch’s works evoke "a double sense of the verb ‘to draw’: to limn and to pull forth"—not only appropriating history and the work of other artists, but bringing them to "fractious life."
Cover Image: Neo Rauch, Der Stammbaum, 2017 (detail) © Neo Rauch / VG Bild-Kunst, Bonn. Courtesy the artist.
January 21–June 3, 2018
Neo Rauch Dromos Painting 1993-2017 presented more than 60 works tracing the artist's career from his first solo exhibition in Leipzig in 1993 up to the present day. The exhibition also included works by other artists from the private collection of Neo Rauch and his wife, Rosa Loy.
A publication accompanying the exhibition features texts by Ralph Keuning, Harald Kunde, Ulf Küster, Norman Rosenthal, and Klaus Werner.
Coinciding with Neo Rauch's 2014 exhibition at the New York gallery, David Zwirner Books published At the Well. The catalogue features a text by historian and curator Norman Rosenthal, as well as a reprint of the classic Brothers Grimm fairy tale The Young Giant, which Rosenthal specifically chose to further expand his analysis of the relationship between fairy tales and Rauch's work.
In 2010, Museum der bildenden Künste, Leipzig and Pinakothek der Moderne, Munich presented Begleiter, a two-venue retrospective of Neo Rauch's work. The exhibition featured 120 predominantly large-scale works from 1993 to 2010. This was the artist's first major museum survey.
Hatje Cantz published the accompanying exhibition catalogue. The two-sided book was designed to reflect the exhibition's two parts and venues, and included contributions by Rauch's long-time colleagues, including fellow artists Michaël Borremans and Luc Tuymans.
Pictured below: Installation view of Begleiter at the Pinakothek der Moderne, Munich (2010)
May 22–October 14, 2007
Neo Rauch created 14 new works specifically for the exhibition para at The Metropolitan Museum of Art in New York. His solo exhibition was one in a series focused on mid-career artists, following exhibitions featuring Tony Oursler in 2005 and Kara Walker in 2006.
The title para refers to Rauch's consideration of painting's as an extension of dreaming, a parallel world to reality. On this subject, Rauch has said "For me, painting means the continuation of a dream with other means."
A bilingual catalogue in German and English accompanied the exhibition, published by DuMont Buchverlag.
11 7/8 x 15 3/4 inches (30 x 40 cm)
Framed: 13 1/2 x 17 1/4 inches (34.3 x 43.8 cm)
15 3/4 x 11 7/8 inches (40 x 30 cm)
Framed: 17 3/8 x 13 3/8 inches (44.1 x 34 cm)
78 3/4 x 98 1/2 inches (200 x 250 cm)
Oil on canvas
78 3 /4 × 98 1 /2 inches (200 × 250 cm)
Neo Rauch's (b. 1960) paintings are characterized by their distinctive combination of figurative imagery and surrealist abstraction. His enigmatic compositions employ an eccentric iconography of human characters, animals, and hybrid forms within familiar-looking but imaginary settings. While each work is started without a preconceived idea of the finished result, there is a uniquely recognizable, visual coherence to Rauch's overall oeuvre. Paintings often display palettes of strong, complementary colors, and recurrent subjects include the seamless integration of organic and non-organic elements as well as references to the creative process, music, and manual labor. The artist's treatment of scale is deliberately arbitrary and non-perspectival, and often seems to allude to different temporalities or planes of existence.
The title of the present work translates to "June day." As Rauch notes about the importance of language in his practice, "occasionally a word can trigger a painting. It can happen that a word develops an incredible atmospheric undertow in the direction of a painting that produces itself where my only duty is to assist. Such moments are precious and they bring me even closer to my mother tongue, for it is only here that such experiences can occur."1
1 Neo Rauch, in Alison M. Gingeras, "Neo Rauch," Flash Art (November/December 2002), p. 277
Framed: 120 1/8 x 88 1/2 inches (305.1 x 224.8 cm)
16 x 12 5/8 inches (40.5 x 32 cm)
Edition of 35, 10 AP
13 9/16 x 9 13/16 inches (34.5 x 25 cm)
Edition of 35
16 x 12 5/8 inches (40.5 x 32 cm)
Edition of 35, 10 AP
16 5/8 x 12 inches (42 x 30.5 cm)
Edition of 40
Framed: 20 7/8 x 16 7/8 inches (53 x 42.9 cm)
Edition 2 of 35, 1 AP. Signed, titled, and dated recto