"Fundamentally, my works are almost always in the nature of a proposal," Thomas Schtte contends, while conceding that "nonetheless, mostly they exist in the form of models." Schtte's notion of models is, consequently, encompassing and complex: at its core lies hypothesis and speculation. This new monograph explores in detail the vast scope of work by this renowned mid-career German artist by documenting a tripartite, eighteen-month exhibition at the Dia Center for the Arts which in effect constitutes a retrospective overview of the artist's oeuvre. Devised in three segments with distinct points of reference, this unusually extended presentation revealed the extraordinary inventiveness and diversity of Schtte's production. Scenewright, the first installment, from September 1998 through January 1999, focuses on issues relating to scenography and theater. Gloria in Memoria, from February through June 1999, explores memorials, monuments, and antiheroes, and includes works ranging from installations and sculpture to drawing. The third and final phase, In Medias Res, from September 1999 through June 2000, concentrated on recent ceramics, shown together with a new series of related monumental steel sculptures. The accompanying catalogue follows the same format as the exhibition, with essays by Dia curator and renowned art scholar Lynne Cooke as well as acclaimed poet and critic Susan Stewart.

Thomas Schutte

Arts & Photography

Cooke, Lynne

Govan, Michael

Sandqvist, Getrud

Schütte, Thomas

Individual Artists

Dia Art Foundation

PENELOPE CURTIS

History & Criticism

Institute

Skizzen und Geschichten, 1990-1995 (German Edition)

Richter

Drawings

Collections, Catalogs & Exhibitions

Snoeck

Astonishing Things Since the early 1980s, Thomas Schütte—three times a participant in the documenta in Kassel, winner of the 2010 Düsseldorf Art Prize, and the Golden Lion as best individual artist at the 2005 Venice Biennale—has worked on architectural model, scenes, and figurative scenarios. Replete with notes on relative dimensions or accompanied by small figures, they correspond to the realisation on a larger scale, with many originally small models having been converted into large-scale works over time. The interplay between the small and the large, between the model and its realisation, and between the notions of art as a model and the models as art recurring themes throughout Thomas Schütte’s oeuvre. So he both instigated the publication of this voluminous book about the show in Bonn and laid down its specific detail. In this way, there is scarcely a single group of works missing from this chronological survey of the past thirty years, in terms of a model or an installation. The model itself is not just the nucleus of both a fantastical oeuvre, but takes on a more seismographic function, and it rediscovered the architectural arts on behalf of fine art.

Thomas Schütte: Big Buildings: Models and Views 1980-2010 (English and German Edition)

Schumacher, Rainald

This new catalogue documents a current exhibition of works by German artist Thomas Schütte at the Goetz Collection in Munich, and features over 60 full-color reproductions of his work. Schütte's work in various media, including sculpture and installation, has gained increasing recognition Stateside over the past few years, after impressing audiences and critics in Europe. In addition to Schütte's works, there are several illuminating essays on the artist's oeuvre: Cay Sophie Rabinowitch focuses on Schütte's work from the past five years, particularly his large-scale sculptures of nude women; Jan Avgikos discusses the reception of Schütte's work in the United States; Robert Fleck places Schütte's work in the context of contemporary European art; and Rainald Schumacher documents the exhibition history of the works presented in the catalogue, and explores their connection to other works by Schütte.

Kothenschulte, Daniel

KELLEY, MIKE

Fleck, Robert

Avgikos, Jan

Rabinowitz, Cay Sohpie

Sammlung Goetz

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