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Gunther Uecker

Germany (Wendorf 1930 ) Wikipedia® : Gunther Uecker
UECKER Gunther Zum Schweigen Der Schrift

Villa Grisebach /Jun 3, 2016
60,000.00 - 80,000.00
106,250.00

Find artworks, auction results, sale prices and pictures of Gunther Uecker at auctions worldwide.
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Variants on Artist's name :

Uecker Guenther

Uecker Günther

Uecker, Günther

 

Artworks in Arcadja
1165

Some works of Gunther Uecker

Extracted between 1,165 works in the catalog of Arcadja
Gunther Uecker - Kite

Gunther Uecker - Kite

Original 1967
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Lot number: 25
Other WORKS AT AUCTION
Description:
Lot 25: Günther Uecker, Kite, Serigraph, 1967 Description: Serigraph on transparent PVC-foil, stretched on wooden struts Germany, 1967 Günther Uecker (b. 1930) – German painter and object artist; member of the artist group ZERO Signed and dated ‘Uecker 67’’’’’’’’ One of 100 copies Dimensions: 117 x 83 cm Good condition
Gunther Uecker - Kite

Gunther Uecker - Kite

Original 1967
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Price:

Lot number: 41
Other WORKS AT AUCTION
Description:
Description: Serigraph on transparent PVC-foil, stretched on wooden struts Germany, 1967 Günther Uecker (b. 1930) – German painter and object artist; member of the artist group ZERO Signed and dated ‘Uecker 67’’’’’’’’ One of 100 copies Dimensions: 117 x 83 cm Good condition
Gunther Uecker - Edition Original I

Gunther Uecker - Edition Original I

Original 1962
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Lot number: 761
Other WORKS AT AUCTION
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Description: Signed.Edition Hans Möller, Hofhaus Presse, Düsseldorf. Numbered 58/100. From the series: Edition Original I. Condition Report: Traces of studio and minor traces of age. Notes: Droit de suite according to conditions of sale Dimensions: 41.5 x 36.5 cm Artist or Maker: Günther Uecker Medium: Perforated cardboard Framed under glass
Gunther Uecker - Zum Schweigen Der Schrift

Gunther Uecker - Zum Schweigen Der Schrift

Original 1978
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Lot number: 720
Other WORKS AT AUCTION
Description:
Description: Günther Uecker, „Zum Schweigen der Schrift – Handverstümmelung“, On the reverse inscribed with a directional arrow, titled, signed and dated in pencil: Zum Schweigen der Schrift Uecker 78 Handverstümmelung, Nails, black paint on canvas on panel, 15 3/4 × 15 3/4 × 5 1/2 in.
Gunther Uecker - Reihung

Gunther Uecker - Reihung

Original 1970
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Gross Price
Lot number: 609
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Description:
Günther Uecker * (born in Wendorf in 1930) Reihung (Row), 1970, pencil, nails, lacquer, wooden panel, signed, dedicated on the reverse Uecker Günther “für Tünn und Eva” and with a directional arrow pointing to “lenk mack pfahler uecker - 35. biennale di venezia padiglione tedesco” on an adhesive note, 78 x 78 cm, in plexiglass box 79.5 x 79.5 x 5 cm, (PS) Photo certificate issued by the artist. Provenance: Galerie m, Bochum European Private Collection “My attempt to activate a real space through structuring rows, to allow the observer to experience it as a condition of pure objective aesthetics, leads me to new design materials. When I use nails as structural elements I don’’’’’’’’t want them to be understood as nails. What I’’’’’’’’m trying to do is to create vibrations by using these materials in an ordered relationship to one another, one that disturbs the geometric order and may even irritate.“ Die Schönheit der Bewegung, 1961, in: Günther Uecker, Schriften, 1979, p.105 “To render the development of a movement visible as a dynamic state is a significant action. It is not a matter of routine but fertile in its repetition, in its very monotony, like the experience of prayer. My objects constitute a spatial reality, a zone of light. I use the means of technology to overcome the personal gesture, to objectify, to create the conditions for freedom.“ Günther Uecker, in: ZERO 3, Düsseldorf 1961; Reprint ZERO 1-3, Heinz Mack und Otto Piene, Cologne 1973, p. 220 Together with Thomas Lenk, Heinz Mack and Georg Karl Pfahler, Günther Uecker participated in the exhibition, curated by Dieter Honisch, of the German Pavilion at the 35th Venice Biennale. The exhibition catalogue for the German Pavilion was created in collaboration with the photographer and friend of Uecker, Tünn Konerding. Günther Uecker dedicated the work “Reihung“ to him and his wife Eva. Graphics by the four artists were attached to the exhibition catalogue, while the embossed printing of Günther Uecker again takes up the motif of the serial sequence and the type of the planar nailing. The works of Günther Uecker exhibited at the Biennale convey more clearly than those of the other artists the awareness of a radical change between the 1960s and the 1970s. Already in 1970 Uecker was the only one to take a stance against the formalism of the 1960s, a stance which declared art to be a field of free, human activity. The goal was not the work of art in itself, but rather the acting, self-realising artist. The newly won freedom from formal or visual constraints also clearly manifested itself in the spontaneously agitated fields of nails and nail-objects which were created after 1970. The “Reihung“ is one of the numerous ideas of this period which Günther Uecker realised; in so doing, he in no way went over the already developed basic forms only to vary them, but instead he introduced completely new and fresh impulses into his work. The realisation of his ideas demanded a lot from Günther Uecker, and in his friends Tünn Konerding and Peter Dibke he found active supporters, not only with regard to the solution of technical problems but also in their artisanal execution. The “Reihung“ is evidently a work which was constructed with the greatest attention to detail. Günther Uecker applies a geometric linear grid to the white-painted canvas; at the grid‘s intersections, 528 nails of completely identical length are hammered in and bent at right angles. In this work, the picture surface extends only minimally into the three-dimensional space via the bent nails. The exact, rhythmic alternation of nails and open areas structures the entire image surface down to the last detail, whereby, according to the incidence of light and the position of the viewer, new perspectives are opened up, which seemingly cause the picture to vibrate, although in fact everything remains static.
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