Guenther Uecker Furniture

Günther Uecker has developed a unique and impressive artistic language with his embossed prints. These prints are characterised by a subtle interplay of light, shadow and structure, ...

Wonderful limited edition, framed offset lithography on handmade paper by German sculptor, op artist and installation artist Günther Uecker (born 1930) called ‘Nails and Finger Marks...

Wonderful part two of a set of original screen prints on hand-made Japanese paper by German sculptor, op artist and installation artist Günther Uecker (born 1930) called "Verletzunge...

Bewegung III Year: 1980 Lithograph 19 1/10 × 26 1/10 in 48.5 × 66.3 cm Signed, dated and numbered by hand Edition: 180 Publisher: Erker Presse, St. Gallen, Switzerland Publisher's Bl...

Bewegung II Year: 1980 Lithograph 19 1/10 × 26 1/10 in 48.5 × 66.3 cm Signed, dated and numbered by hand Edition: 180 Publisher: Erker Presse, St. Gallen, Switzerland Publisher's Bli...

Untitled Lithograph Year: 1980 Signed, numbered and dated by hand Edition: 100 Size: 14.4 × 18.3 on 21.8 × 22.0 inches Publisher: Erker Presse, St. Gallen, Switzerland Publisher's Bl...

Medium Print (Sand on Canvas) We have 7 of this series available. All Seven cost € 65.000,00 subject to availabiltiy, price for individual works is € 8.900,00 Signature Hand-...

Günther Uecker (1930) A beautiful original hand signed and dated lithograph on wove paper, 1965. Condition: Very good condition. Framed in extra thick matting and under gallery glass. The beautiful frame was hand silvered by an expert restorer. A note on this beautiful work: Günther Uecker was born in 1930 in Wendorf, Germany. He studied painting at the Kunsthochschule Berlin Weissensee from 1949 to 1953, and further pursued his artistic training in 1955 at the Kunstakademie Düsseldorf. Throughout the 1950s, Uecker cultivated a strong interest in repetitive practices and purification rituals, and became fascinated with the philosophies of Buddhism, Taoism, and Islam. He developed rituals of his own, including the lengthy, repetitive, meditative hammering of nails, and proceeded to translate this into his artistic practice. His nail-relief works exceed the limits of the two-dimensional plane and create a new realm for vision to explore the calculated patterns of light and shadow. Uecker examined this effect further in the 1960s by introducing Kinetic elements into his works through the use of engines, shifting his methodology from using precise, geometric patterns to more organic and irregular arrangements. In 1961, he joined the Zero Group founded by artists Heinz Mack and Otto Piene, who advocated for a new art form a degree zero to erase the destructive, violent forces by which human experience had come to be conditioned during the war, and which were expressed in the then-prevalent Art Informel style. The Zero Group made a large impact in the European postwar milieu, influencing a number of artists with similar ideas. Central to the movement were explorations of light, technology, and an Expansion beyond traditional two-dimensional confines of the canvas, all of which are implicated in Uecker’s work. The present work dates from this influential period. After the dissolution of the Zero Group, Uecker's work took a turn toward body, conceptual, and Land art, and in the 1970s he designed stage sets for several operas. He taught at the Kunstakademie Düsseldorf from 1974-1995, and was promoted to professor in 1976. Uecker has been the recipient of numerous prestigious awards, such as the Staatspreis des Landes Nordrhein-Westfalen in 2015. His work has been exhibited at museums around the world, including the Stedelijk Museum, Amsterdam; the Budapest Museum of Fine Art, Budapest; the Museum of Contemporary Art, Los Angeles; the Solomon R. Guggenheim Museum, New York; Ca’ Pesaro, International Gallery of Modern Art, Venice; and the Belvedere Museum, Vienna. He has also participated in documenta, Kassel in 1964, 1968, and 1977, and the Venice Biennale in 1970. The artist’s work is included in the collections of international institutions such as the Tate Modern, London; the Museum of Modern Art, New York; Los Angeles County Museum of Art, Los Angeles; the Solomon R. Guggenheim Museum, New York; Musée national d’art moderne, Centre Georges Pompidou, Paris; the Hamburger Bahnhof, Berlin; the Peggy Guggenheim collection, Venice; and the Museum Ludwig, Cologne. Recent exhibitions of Uecker’s work include a large-scale retrospective at K20 am Grabbeplatz, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, in 2015; and a solo exhibition, Tribute to Hafez, at the Imam Ali...

Günther Uecker ( * 1930) "Serielle Reihung aus Abwicklung von Parallelstrukturen" A beautiful original Hand Signed and Dated Embossing on Wove Paper, 1965. This work is hand signed and dated by the artist "Uecker 65" at the lower right margin. It is also numbered 23/35 from the edition of only 35 at the lower left margin. Sheet 46,5 x 46,5 cm. Frame size 61 x 61 cm Condition: Very good condition. Framed in extra thick matting and under Gallery Glass. The beautiful frame was hand silvered by an expert restorer. A Note on This beautiful work: Günther Uecker was born in 1930 in Wendorf, Germany. He studied painting at the Kunsthochschule Berlin Weissensee from 1949 to 1953, and further pursued his artistic training in 1955 at the Kunstakademie Düsseldorf. Throughout the 1950s, Uecker cultivated a strong interest in repetitive practices and purification rituals, and became fascinated with the philosophies of Buddhism, Taoism, and Islam. He developed rituals of his own, including the lengthy, repetitive, meditative hammering of nails, and proceeded to translate this into his artistic practice. His nail-relief works exceed the limits of the two-dimensional plane and create a new realm for vision to explore the calculated patterns of light and shadow. Uecker examined this effect further in the 1960s by introducing kinetic elements into his works through the use of engines, shifting his methodology from using precise, geometric patterns to more organic and irregular arrangements. In 1961, he joined the Zero Group founded by artists Heinz Mack and Otto Piene, who advocated for a new art form—a degree zero—to erase the destructive, violent forces by which human experience had come to be conditioned during the war, and which were expressed in the then-prevalent Art Informel style. The Zero Group made a large impact in the European postwar milieu, influencing a number of artists with similar ideas. Central to the movement were explorations of light, technology, and an expansion beyond traditional two-dimensional confines of the canvas, all of which are implicated in Uecker’s work. The present work dates from this influential period. After the dissolution of the Zero Group, Uecker's work took a turn toward body, Conceptual, and Land art, and in the 1970s he designed stage sets for several operas. He taught at the Kunstakademie Düsseldorf from 1974 to 1995, and was promoted to professor in 1976. Uecker has been the recipient of numerous prestigious awards, such as the Staatspreis des Landes Nordrhein-Westfalen in 2015. His work has been exhibited at museums around the world, including the Stedelijk Museum, Amsterdam; the Budapest Museum of Fine Art, Budapest; the Museum of Contemporary Art, Los Angeles; the Solomon R. Guggenheim Museum, New York; Ca’ Pesaro, International Gallery of Modern Art, Venice; and the Belvedere Museum, Vienna. He has also participated in documenta, Kassel in 1964, 1968, and 1977, and the Venice Biennale in 1970. The artist’s work is included in the collections of international institutions such as the Tate Modern, London; the Museum of Modern Art, New York; Los Angeles County Museum of Art, Los Angeles; the Solomon R. Guggenheim Museum, New York; Musée national d’art moderne, Centre Georges Pompidou, Paris; the Hamburger Bahnhof, Berlin; the Peggy Guggenheim Collection, Venice; and the Museum Ludwig, Cologne. Recent exhibitions of Uecker’s work include a large-scale retrospective at K20 am Grabbeplatz, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, in 2015; and a solo exhibition, Tribute to Hafez, at the Imam Ali...

Günther Uecker ( * 1930) "Serielle Reihung aus Abwicklung von Parallelstrukturen" A beautiful original Hand Signed and Dated Embossing on Wove Paper, 1965. This work is hand signed and dated by the artist "Uecker 65" at the lower right margin. It is also numbered 17/35 from the edition of only 35 at the lower left margin. Sheet 46,5 x 46,5 cm. Frame size 61 x 61 cm Condition: Very good condition. Framed in extra thick matting and under Gallery Glass. A Note on This beautiful work: Günther Uecker was born in 1930 in Wendorf, Germany. He studied painting at the Kunsthochschule Berlin Weissensee from 1949 to 1953, and further pursued his artistic training in 1955 at the Kunstakademie Düsseldorf. Throughout the 1950s, Uecker cultivated a strong interest in repetitive practices and purification rituals, and became fascinated with the philosophies of Buddhism, Taoism, and Islam. He developed rituals of his own, including the lengthy, repetitive, meditative hammering of nails, and proceeded to translate this into his artistic practice. His nail-relief works exceed the limits of the two-dimensional plane and create a new realm for vision to explore the calculated patterns of light and shadow. Uecker examined this effect further in the 1960s by introducing kinetic elements into his works through the use of engines, shifting his methodology from using precise, geometric patterns to more organic and irregular arrangements. In 1961, he joined the Zero Group founded by artists Heinz Mack and Otto Piene, who advocated for a new art form—a degree zero—to erase the destructive, violent forces by which human experience had come to be conditioned during the war, and which were expressed in the then-prevalent Art Informel style. The Zero Group made a large impact in the European postwar milieu, influencing a number of artists with similar ideas. Central to the movement were explorations of light, technology, and an expansion beyond traditional two-dimensional confines of the canvas, all of which are implicated in Uecker’s work. The present work dates from this influential period. After the dissolution of the Zero Group, Uecker's work took a turn toward body, Conceptual, and Land art, and in the 1970s he designed stage sets for several operas. He taught at the Kunstakademie Düsseldorf from 1974 to 1995, and was promoted to professor in 1976. Uecker has been the recipient of numerous prestigious awards, such as the Staatspreis des Landes Nordrhein-Westfalen in 2015. His work has been exhibited at museums around the world, including the Stedelijk Museum, Amsterdam; the Budapest Museum of Fine Art, Budapest; the Museum of Contemporary Art, Los Angeles; the Solomon R. Guggenheim Museum, New York; Ca’ Pesaro, International Gallery of Modern Art, Venice; and the Belvedere Museum, Vienna. He has also participated in documenta, Kassel in 1964, 1968, and 1977, and the Venice Biennale in 1970. The artist’s work is included in the collections of international institutions such as the Tate Modern, London; the Museum of Modern Art, New York; Los Angeles County Museum of Art, Los Angeles; the Solomon R. Guggenheim Museum, New York; Musée national d’art moderne, Centre Georges Pompidou, Paris; the Hamburger Bahnhof, Berlin; the Peggy Guggenheim Collection, Venice; and the Museum Ludwig, Cologne. Recent exhibitions of Uecker’s work include a large-scale retrospective at K20 am Grabbeplatz, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, in 2015; and a solo exhibition, Tribute to Hafez, at the Imam Ali...

GÜNTHER UECKER b. 1930 Born in Wendorf 1930 (German) Title: Untitled [Ranking] Ohne Titel [Reihung], 1968 Technique: Original Hand Signed, Titled and Dated Embossing on Wove Paper...

“Manuelle Strukturen VII” Lithograph, Year: 1975 Signed by hand, dated and inscribed (H.C.) Size: 19.9 × 19.7 on 35.1 × 25.0 inches Guenther Uecker: German painter, sculptor and kinetic artist, most of whose works incorporate nails and are painted white. Worked first with regular mathematical sequences of nails, then from 1960 introduced organic structures, and made his first revolving disc-shaped structures and his first light boxes. Experimented with oscillation patterns, with nailed chairs...