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Kiki KogelnikExhibition Poster from Galerie Nächste St.Stephan, 1967
About the Item
Kiki Kogelnik wurde 1935 in Graz geboren und wuchs in Bleiburg, Kärnten auf. Nach ihrem Studium an der Akademie der bildenden Künste in Wien wurde sie Teil der Avantgarde rund um Otto Mauer, der ihr 1950er-Jahren ihre erste Einzelausstellung ermöglichte. Ihre frühen Werke waren abstrakt, entwickelten sich aber bald hin zu einer expressiven Malweise mit figürlichen Elementen.
1961 zog Kogelnik nach New York, blieb jedoch eng mit Wien und Bleiburg verbunden. In den USA beeinflussten sie technologische Entwicklungen und die Pop Art stark. Sie wandte sich der „Space Art“ zu, arbeitete mit Materialien wie Vinyl und Plastik und schuf collageartige Werke. Ab den 1970er-Jahren setzte sie sich kritisch mit Frauenbildern und Schönheitsidealen auseinander. Ihre „Women“-Serie zeigte Frauen in übertriebenen Posen mit maskenhaften Gesichtern – ein Motiv, das sich durch ihr gesamtes Werk zieht.
Kiki Kogelnik starb 1997 in Wien und gilt heute als bedeutende Vertreterin der österreichischen Pop Art.
- Creator:Kiki Kogelnik (1935-1997, Austrian)
- Dimensions:Height: 23.23 in (59 cm)Width: 9.45 in (24 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Ripp (4cm) in the top right as well as kinks in the top right corner.
- Gallery Location:Wien, AT
- Reference Number:1stDibs: LU1782216173972
Kiki Kogelnik
Austrian artist Kiki Kogelnik moved to New York in the 1960s to get closer to the action and quickly fell in with the Pop art scene. Although she remains less well known than some of her contemporaries in that fiercely male arena, Kogelnik was radically creative and carved out a truly original body of work.
Kogelnik staged happenings, incorporated dystopian futuristic imagery in her paintings and prints, and experimented with materials like vinyl, all while retaining serious aesthetic appeal.
In the 1970s, Kogelnik began critiquing the representation of women in popular culture and turned her eye on fashion magazines, creating images of model-esque women with features slightly awry. The bathing beauty’s face in Bathing in Green, for example, is strangely cyborg-like.
“She was on the cutting edge in her time and just under-recognized — that’s changing,” says RoGallery's Jaime Villamarín, who notes that the National Gallery of Art in Washington, DC, just bought a major Kogelnik painting. “Her graphic work is still accessible, but there will be a time when it’s not.”
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