Anton Bruehl
Christine Davis
Stan Douglas
Walker Evans
Geoffrey Farmer
CAO FEI
Greg Girard
Mike Grill
shari hatt
Fred Herzog
J Kuhn
Jacques-Henri Lartigue
Tim Lee
JUDY LINN
Kyla Mallett
LASZLO MOHOLY-NAGY
Dick Oulton
Sergei Prokudin-Gorskii
Danny Singer
John Vanderpant
Johannes Wohnseifer
ANONYMOUS
ANONYMOUS (SPIRIT)

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JOHANNES WOHNSEIFER
UNTITLED

Collage
Image dimensions 28 x 35 cm
Image courtesy the artist and Johann Konig Gallery, Berlin

ESTIMATE $2,200 - $2,800

Johannes Wohnseifer is Cologne based artist whose works are often creative hybrids—or even collisions—of cultural signs, ideas and objects. In one work the artist fashioned a scale model of Mies van der Rohe’s famous Barcelona Pavilion, but as a McDonalds Restaurant. In another, the film Taxi Driver together with the attempted assassination of American President Ronald Reagan are enacted as a puppet show, with marionettes of Jodi Foster, Reagan, John Hinckley, Howard Hughes and Robert de Niro. He has been featured in numerous exhibition around the globe including recent shows at KW, Berlin and the Hara Museum of Contemporary Art, Tokyo. His work is also collected by Saatchi Gallery, London, where he was featured in the Triumph of Painting Part 5, 2006.

The artist has recently been working with contemporary source material and more immediate historical contexts. The phrase “Kleenex Mathematics”, from which these collages form part of a large body of work, is taken from a spam email message, one of thousands Wohnseifer has been collecting. In a series of paintings the artist transcribed the text of these emails directly and unedited onto canvas, restaging and re-appropriating material most of us are bombarded with daily. In an exhibition and publication for Presentation House Gallery, Wohnseifer paired these spam emails with a series of photographs to create a series of photo collages. The project features diverse imagery—themes of travel, transportation and communication proliferate among personal and historical references—highlighted by conjunctions where the idiosyncratically poetic qualities of the email messages play against the photograph’s air of coincidence and happenstance.