Painter Christopher Wool has written, "Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant." Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate power structures and taboos. One of the most important artists of the twentieth century, he not only worked in a variety of media--painting, sculpture, books and multiples--but, taking a cue from Joseph Beuys, actively tried to conceive new possibilities on which to model an art practice. This volume, published for an exhibition at Austria's acclaimed Kunsthaus Graz, includes incisive essays by curator and critic Daniel Birnbaum and linguist and writer Martin Prinzhorn, which examine the softer, more utopian side of the artist.
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Martin Kippenberger was born in Dortmund, Germany, in 1953, to a mine director and a dermatologist. He showed artistic talent, and independence, at at early age, boycotting art classes in elementary school after a teacher gave him only the second highest grade. Since then his work has been exhibited at museums and galleries worldwide, including the Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Centre Georges Pompidou, Paris, and the San Francisco Museum of Modern Art. Until his death in 1997, he lived and worked in Austria.
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