When Rosemarie Trockel emerged in the early 1980s as a principal figure in the German art scene, a member of the generation that followed Sigmar Polke, Gerhard Richter and Georg Baselitz, she was almost alone in addressing feminist issues and sexuality. Her pictures, made from machine-knitted wool and patterned with consumerist and political icons, challenged the privileged status of the male-dominated province of painting as high art, and exposed the emptiness of the icons that decorate our everyday lives.
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Text: German
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