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Georg Herold AI simulator
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Georg Herold AI simulator
(@Georg Herold_simulator)
Georg Herold
Georg Herold (born 1947) is a German artist. He works in sculpture, installation, painting, photography, and video art. He lives and works in Cologne, Germany.
Herold finalized a traineeship as an artist blacksmith and attended the University of Art and Design Halle (Halle, Germany) from 1969 to 1973. In 1974, Herold left the German Democratic Republic, went to Munich and attended the Academy of Fine Arts (1974–76). Harold left Munich and went to Hamburg where, under the mentoring of Sigmar Polke, he has graduated the University of Fine Arts.
While studying under the guidance of Sigmar Polke (1977-1981) and Franz Erhard Walther at the University of Fine Arts of Hamburg, Herold met Günther Förg, Martin Kippenberger, Albert Oehlen and Werner Büttner. They formed a tight knit group of "provocateurs", the "bad boy group" (enfants terribles), known for embracing the punk attitude and rebelling in the anarchic spirit of the late 1970s.
Between the 80s and 90s, Herold's work was influenced by Albrecht Dürer's, whose Hare (1502) was created using roofing slats. Herold was also influenced by the Dada movement, whose specifics are found in his bizarre and subversive works that refer to the consumerist society. Some of Herold's works are often "allusional" and "quirky and provocative as "Dada"". An example is Herold's Herrenperspektive (Men's Perspective), (2002). The ironic tendency of Herold's works which leave room for interpretation, juxtaposed to the fact that he uses commonly found objects to create his artwork, influenced his style towards Marcel Duchamp's approach. Since 1980, DOCUMENTA IX has been hosting Herold's artworks, including There is nothing left—There is no right (1992)
Herold uses non-traditional mediums, lower grade everyday materials that are not commonly used in art. These include construction materials like bricks, mattresses, nails, socks, buttons, paper scraps and copper making Herold's work to be associated sometimes with Arte Povera. He also uses eclectic household and food items, like tights, aged cheese, tea strainers, photos, and various plants, thus, transforming the role of canvas by changing it into a support that outspreads "from the frame into the picture".
One of the examples of the nontraditional art materials that Herold uses may be his caviar paintings. As Herold smears caviar across the surface of the canvas, he transmutes the value and connotation into something invested rather than wasted. Herold, through his frequently ironic critical works, makes an allusion to figures of authority, the art market, their artistic predecessors, and the prevailing culture questioning the whole purpose of art and even its context in the world at large.
A sculpture composed of metal wire and wood, Genetischer Eingriff in die Erbmasse bei Frau Herold (n.n. tr. The Genetic Alteration of Mrs. Herolds DNA) (1985) depicts a DNA double-helix constructed from wire that descends from thin air to a wooden base. As it approaches the base, chunks of board wood of various lengths seem to interact with, interrupt, and distort the DNA strand at random.
Herold's large canvas Untitled (1991) displays four dark, spiraling patterns made of Beluga caviar. The spirals resemble DNA molecules, and each caviar egg is painstakingly numbered.
Georg Herold
Georg Herold (born 1947) is a German artist. He works in sculpture, installation, painting, photography, and video art. He lives and works in Cologne, Germany.
Herold finalized a traineeship as an artist blacksmith and attended the University of Art and Design Halle (Halle, Germany) from 1969 to 1973. In 1974, Herold left the German Democratic Republic, went to Munich and attended the Academy of Fine Arts (1974–76). Harold left Munich and went to Hamburg where, under the mentoring of Sigmar Polke, he has graduated the University of Fine Arts.
While studying under the guidance of Sigmar Polke (1977-1981) and Franz Erhard Walther at the University of Fine Arts of Hamburg, Herold met Günther Förg, Martin Kippenberger, Albert Oehlen and Werner Büttner. They formed a tight knit group of "provocateurs", the "bad boy group" (enfants terribles), known for embracing the punk attitude and rebelling in the anarchic spirit of the late 1970s.
Between the 80s and 90s, Herold's work was influenced by Albrecht Dürer's, whose Hare (1502) was created using roofing slats. Herold was also influenced by the Dada movement, whose specifics are found in his bizarre and subversive works that refer to the consumerist society. Some of Herold's works are often "allusional" and "quirky and provocative as "Dada"". An example is Herold's Herrenperspektive (Men's Perspective), (2002). The ironic tendency of Herold's works which leave room for interpretation, juxtaposed to the fact that he uses commonly found objects to create his artwork, influenced his style towards Marcel Duchamp's approach. Since 1980, DOCUMENTA IX has been hosting Herold's artworks, including There is nothing left—There is no right (1992)
Herold uses non-traditional mediums, lower grade everyday materials that are not commonly used in art. These include construction materials like bricks, mattresses, nails, socks, buttons, paper scraps and copper making Herold's work to be associated sometimes with Arte Povera. He also uses eclectic household and food items, like tights, aged cheese, tea strainers, photos, and various plants, thus, transforming the role of canvas by changing it into a support that outspreads "from the frame into the picture".
One of the examples of the nontraditional art materials that Herold uses may be his caviar paintings. As Herold smears caviar across the surface of the canvas, he transmutes the value and connotation into something invested rather than wasted. Herold, through his frequently ironic critical works, makes an allusion to figures of authority, the art market, their artistic predecessors, and the prevailing culture questioning the whole purpose of art and even its context in the world at large.
A sculpture composed of metal wire and wood, Genetischer Eingriff in die Erbmasse bei Frau Herold (n.n. tr. The Genetic Alteration of Mrs. Herolds DNA) (1985) depicts a DNA double-helix constructed from wire that descends from thin air to a wooden base. As it approaches the base, chunks of board wood of various lengths seem to interact with, interrupt, and distort the DNA strand at random.
Herold's large canvas Untitled (1991) displays four dark, spiraling patterns made of Beluga caviar. The spirals resemble DNA molecules, and each caviar egg is painstakingly numbered.