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expression: "Somehow Frank's able to express what I want to express. I don't know why. Maybe he looks a little bit like my father, or like me. And he's a kind of actor. It's very strange how he can change from one character to another without appearing to do anything. He's always the man." Fritsch's process in creating human figures is similar to her animal or object creations, except a live human is involved. She takes photographs of the model, trying out ideas and recording the details of the model's position. In the creation of the mold, she and her plaster technicians cover the model in vaseline and create the mold on top. After a dramatic, near death situation in which Frank was covered in too much plaster and turned blue, with his head “lolling forwards” Fritsch has made fully body casts from mannequins. She still uses human models for the face and hands of her figures. After
Fritsch is happy with the plaster mold, she uses silicon to make a negative model and then polyester to create a positive form from the silicon. The different pieces are painstakingly put together because “the surface has to be absolutely perfect.” Fritsch then paints or sprays the sculpture to finish it.
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specifications". She uses these models to create moulds, from which the final sculptures are cast in materials such as plaster, polyester and aluminium. Many are made as editions, meaning that multiple casts are taken from one mould. For the duration of some of her exhibitions, Fritsch has made her multiples available for sale at the respective museums.
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work, as it addresses the ambiguous and difficult relationships between artists and the public and between art and its display—that is, the role of art and exhibitions and of the museum in the late twentieth century.” The special role colour plays in
Fritsch's work has roots in her childhood visits to her grandfather, a salesman for
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When working with human forms, Fritsch often collaborates with a model named Frank
Fenstermacher. One of her muses, he “stands for the generic ‘man’” in works such as her three ‘bad’ men: The Monch, the Doktor and the Handler. Fritsch explains her prolonged working relationship with Frank in terms of
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Gary
Garrels wrote that “One of the remarkable features of Fritsch’s work is its ability both to capture the popular imagination by its immediate appeal and to be a focal point for the specialized discussions of the contemporary art world. This all too infrequent meeting point is at the center of her
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In her working process, Fritsch combines the techniques of traditional sculpture with those of industrial production. While many of her early works were handcrafted, Fritsch now makes only the models for her sculptures and then hands these over to a factory for production, to "near-pathological
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that reinvigorate familiar objects with a jarring and uncanny sensibility. Her works' iconography is drawn from many different sources, including
Christianity, art history and folklore. She attracted international attention for the first time in the mid-1980s with life-size works such as a
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252:(1985). It, outside of a museum, could be seen as an everyday object but it is “strangely symmetrical” and placed in a museum context, changing the viewer's approach to it, much like Duchamp.
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by responding to his ideas and change viewers’ perceptions of them. For example, Fritsch's first major piece in the Museum of Modern Art's collection was
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Fritsch has staged a large number of solo shows and exhibitions at museums and galleries across the world. Her major solo shows include
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true-to-scale elephant along with replicas of everyday objects like a large display stand filled with statues of
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199:(2003), a stoic, monochromatic male figure, made of solid polyester with a smooth, matte black surface;
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Katharina
Fritsch, Cecilia Vicuña Win Venice Biennale’s Golden Lion for Lifetime Achievement
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In 2001, Fritsch was appointed
Professor of Sculpture at the Academy of Fine Arts,
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209:(2010), a 14 ft (4.3m) cockerel in ultramarine blue to be shown on London's
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Storr, Robert (1 January 1997). "The Here and Now That's Here to Stay".
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Fourth plinth at
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82:(born 14 February 1956) is a German sculptor. She lives and works in
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Figure in the Garden: Katharina
Fritsch at The Museum of Modern Art
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2022 – Großer Kulturpreis der Sparkassen-Kulturstiftung Rheinland
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Fritsch has also participated in many group shows, including the
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In her work, Fritsch has been credited in continuing the work of
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191:(1993), a giant circle of black polyester rats, included in the
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1409:"Großer Kulturpreis geht an die Bildhauerin Katharina Fritsch"
693:(San Francisco: San Francisco Museum of Modern Art, 1996), 12.
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art supplies, whose garage was well-stocked with his wares.
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1442:. San Francisco: San Francisco Museum of Modern Art, 1996.
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Gary Garrels, “Katharina Fritsch: An Introduction,” in
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Warengestell mit Madonnen (Display Stand with Madonnas)
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Warengestell mit Madonnen (Display Stand with Madonnas)
106:. Fritsch first studied history and art history at the
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203:(2006-2008), an installation of nine elements; and
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384:Gespenst und Blutlache (Ghost and Pool of Blood)
1448:. Wolfsburg: Stadische Galerie Wolfsburg, 1999.
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703:Colour Chart: Reinventing Colour, 1950 to Today
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370:in New York since 1994, and has exhibited with
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459:(1997-1999), Art Institute of Chicago and
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275:(1985), Galerie Johnen & Schöttle,
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1051:"Kind mit Pudeln (Child with Poodles)"
608:"Katharina Fritsch: Artist Biography"'
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442:(1998), Art Institute of Chicago and
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472:(2001), Glenstone, Potomac, Maryland
431:Kind mit Pudeln (Child with Poodles)
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656:O’Grady, Megan (12 February 2020).
378:Notable works in public collections
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418:Eight Paintings with Eight Colors
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366:Fritsch has been represented by
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201:Figurengruppe / Group of Figures
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1467:. Cologne: Walther König, 2013.
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635:. Phaidon Press. p. 145.
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187:Her most recognized works are
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958:"Display Stand With Madonnas"
848:"Katharina Fritsch Biography"
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476:St. Katharina (St. Catherine)
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195:in 1999. Other works include
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584:List of German women artists
560:2014 – Kunstpreis Düsseldorf
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987:"Warengestell mit Madonnen"
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289:Katharina Fritsch: Rat-King
250:Black Table with Table Ware
114:where she was a student of
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932:Philadelphia Museum of Art
392:Philadelphia Museum of Art
1488:Katharina Fritsch website
854:. Matthew Marks Gallery.
631:Morrill, Rebecca (2019).
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141:Fritsch is known for her
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1085:"Rat King (Rattenkönig)"
924:"Gespenst und Blutlache"
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890:"Gespenst und Blutlache"
794:"The rodent that roared"
613:6 September 2015 at the
545:1996 – Kunstpreis Aachen
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261:Kunstakademie Düsseldorf
112:Kunstakademie Düsseldorf
94:Early life and education
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440:Rattenkönig (Rat King)
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1461:. London: Tate, 2002.
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344:48th Venice Biennale
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189:Rattenkönig/Rat King
1186:"Katharina Fritsch"
1095:. 14 October 1998.
900:. 14 October 1988.
633:Great women artists
133:(1987-1989) at the
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336:Biennale of Sydney
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1356:"Sarg (Cercueil)"
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118:until 1984.
104:West Germany
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49:West Germany
15:
1513:1956 births
1322:"Hahn/Cock"
1288:"Hahn/Cock"
928:PhilaMuseum
675:25 December
484:Minneapolis
452:Switzerland
374:in London.
329:Minneapolis
293:Dia Chelsea
267:Exhibitions
1502:Categories
1421:8 November
1224:Walker Art
1123:Schaulager
733:White Cube
590:References
444:Schaulager
372:White Cube
362:Art market
143:sculptures
84:Düsseldorf
37:1956-02-14
1326:WalkerArt
1194:Glenstone
1190:Glenstone
962:Hirshhorn
735:, London.
670:0362-4331
496:Hahn/Cock
461:Glenstone
321:Multiples
225:Hahn/Cock
206:Hahn/Cock
73:Sculpture
56:Education
1374:2 August
1368:Archived
1340:2 August
1334:Archived
1306:2 August
1300:Archived
1272:2 August
1266:Archived
1238:2 August
1232:Archived
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995:Archived
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942:2 August
936:Archived
908:2 August
902:Archived
862:2 August
856:Archived
803:11 March
611:Archived
578:See also
542:, London
509:(2016),
478:(2004),
426:New York
386:(1988),
358:(2022).
323:(2017),
315:(2012),
303:(2001),
297:New York
291:(1993),
283:(1988),
1395:ARTnews
831:4381368
563:2022 –
554:2008 –
538:1994 –
277:Cologne
257:Münster
232:in 2013
152:Madonna
137:in 2022
88:Germany
1392:
1055:SFMoMA
829:
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668:
639:
521:Awards
319:; and
309:London
175:(2001)
164:(1993)
1153:ArtIC
1089:ArtIC
894:ArtIC
827:JSTOR
705:Moma.
515:Paris
100:Essen
45:Essen
1423:2022
1376:2022
1342:2022
1308:2022
1274:2022
1258:MoMA
1240:2022
1206:2022
1169:2022
1135:2022
1105:2022
1071:2022
1037:2022
1021:MoMA
1003:2022
973:2022
944:2022
910:2022
864:2022
823:MoMA
805:2017
773:ISBN
677:2022
666:ISSN
637:ISBN
411:and
390:and
305:Tate
145:and
122:Work
31:Born
1292:NGA
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