Peter Roehr (born 1 September 1944 in Lauenburg in Pommern; died 15 August 1968 in Frankfurt am Main) was a German Pop Art minimalist artist.[1]
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PETER ROEHR. POP ART MADE IN FRANKFURT | SCHIRN
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peter roehr # ach was wissen sie denn
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MMK Talks – Thomas Bayrle und Paul Maenz über das Werk von Peter Roehr
Transcription
For most people, Pop Art is first and foremost: Campbell’s Tomato Soup, Andy Warhol, New York and colorful silkscreen portraits. German Pop Art was somewhat different. One might say, for example: incense sticks, the “Peking Review,” Frankfurt, and a dessert that wiggles and billows and ultimately explodes. But let’s start at the beginning. Let’s turn back the clock a couple of years. Peter Roehr is born in 1944 in Lemberg, the only child of the Roehrs. After a brief stopover in Leipzig, Peter Roehr settles permanently in the apple-wine metropolis on the Main River and trains as a neon sign and sign maker, studies at the School of Applied Arts in Wiesbaden, produces his first textural works using rice and paper, and edits together short excerpts from American advertising films to create endless loops. In 1967, Peter Roehr and his friend Paul Maenz organize the first exhibition with other artist friends of theirs. The title of the show itself, “Serial Formations,” suggests its affinity with American Pop Art, which deals with the same questions concerning mass production. Like a madman he processes price tags, cardboard beer coasters, and snippets from illustrated magazine advertisements and pieces them together to produce mostly square panels. Within just a few years he manages to create a body of work that consists of a whopping 600 pictures. There is only one other place that he loves as fervently as he does his studio: his store. In 1968, he and Paul Maenz open their own business in Frankfurt’s Holzgraben: Pudding Explosion. It becomes an important venue for subculture and alternative movements, which can stock up there with a ragbag of Chinese dailies, incense sticks, or beer coasters and napkins with political slogans. Merchandise with a total value of 5,000 deutschmarks, which was actually supposed to be enough for the first one and a half months, was already sold out within several days. And yes, books were also on sale at the Pudding Explosion —“books with naked men in them” that were apparently “immediately out of stock.” And hash pipes. Simply everything that one needed for the counterrevolution. By the way, an icon of American Pop Art also turns up in Peter Roehr’s Pudding Explosion: Mao. The down-to-earth price for his liking costs just four deutschmarks, half the price of Twiggy’s. Andy Warhol’s silkscreen prints are not produced until a couple of years later —and now sell for tens of millions of dollars.
Life
Roehr was the only child of Kurt and Eleonora Röhr. After their divorce the mother moved with her child first to Leipzig and then to Frankfurt am Main. After visiting the Volksschule he completed an apprenticeship as producer for electronic signage in Frankfurt am Main.[2] Afterward he studied from 1962 to 1966 at the Werkkunstschule (today RheinMain University of Applied Sciences) in Wiesbaden. He studied in the class of Vincent Weber and graduated in 1966. His early works were made in 1962 and 1963. In 1964 Roehr met Paul Maenz, who later became an important art dealer. Roehr was in close contact with the artists Charlotte Posenenske and Thomas Bayrle, who lived in Frankfurt as well.
In May 1967 Roehr and Paul Maenz organized in the Studio Galerie of the Goethe University Frankfurt a groundbreaking exhibition entitled Serielle Formationen where works by Carl Andre, Jan Dibbets, Hans Haacke, Donald Judd, Piero Manzoni and Jan Schoonhoven were shown.
Peter Roehr died in 1968 at the age of 23 from cancer.[3][4][5]
Work
During a period of five years Roehr produced more than 600 works. They can be categorized in ten groups. Each group is defined by the material the regarded work is made of. Roehrs Oeuvre can be labelled as conceptual art because he aligned each work to the conception of the unvaried repetition.[6]
Montages
His most famous work, Film-Montages I-III (1965),[7][8][9] was edited on 16mm film (and would later be digitized)[10][11] from fragments of TV commercials[12] to create an aesthetic film and illustrating his concept of a time structure related to principles of serial music.[13][14] He would do the same thing with radio adverts on his 1966 piece Tonmontagen (Sound Montages).[15]
Legacy
Video artist William E. Jones paid tribute with his 2006 piece Film Montages (for Peter Roehr) featuring fragments from pre-AIDS gay porn films.[16][17][18]
Quotations
"I alter material by organizing it unchanged. Each work is an organized area of identical elements. Neither successive nor additive, there is no result or sum." (1964)
"I assemble available things of the same kind together. These might, for example, be: objects, photographs, freestanding forms such as letters, texts, tones and sounds, film-material, etc. The results I call montages" (1965)[19]
Exhibitions (selection)
- 1965: Adam Seide, Frankfurt am Main, Abendausstellung II (auch 1967)
- 1967: Galerie Dorothea Loehr, Frankfurt am Main
- 1971: Morsbroich Museum, Leverkusen
- 1971: Galerie Paul Maenz, Cologne (also in 1972, 1973, 1974, 1976, 1981, 1985, 1988)
- 1972: Galleria Sperone, Turin; documenta 5, Kassel
- 1977: Kunsthalle Tübingen; documenta 6, Kassel
- 1977: Van Abbemuseum, Eindhoven; Frankfurter Kunstverein, Frankfurt am Main; Kunsthalle Tübingen
- 1978: Museum of Modern Art, Oxford
- 2000: Neues Museum Weimar, Weimar
- 2004: Museum für Moderne Kunst, Frankfurt am Main
- 2009: Städel Museum and Museum für Moderne Kunst, Frankfurt am Main: Peter Roehr. Werke aus Frankfurter Sammlungen[20]
- 2010: Haus Konstruktiv, Zürich: Visionäre Sammlung Vol.12: Peter Roehr
- 2012: Kunsthaus Wiesbaden: dasselbe anders / immer dasselbe: Charlotte Posenenske und Peter Roehr
See also
- Andy Warhol
- Vaporwave - similar in content
- Criticism of capitalism
- Minimalist film
- Roy Lichtenstein
References
- ^ Tate
- ^ Peter Roehr, 1944–1968, exhibition catalogue, Städtisches Museum Leverkusen, Morsbroich Museum, 1972, p. 72
- ^ Jeffrey Kastner on Petr Roehr - Artfourm International
- ^ THE REVOLUTION WILL NOT DIEOF LEAD POSOINING - SCHIRN MAG
- ^ Peter Roehr: Film Montages (City Gallery Wellington 16 March — 27 June 27
- ^ Peter Roehr, Frieze Magazine, Issue 60, June–August 2001 Archived June 26, 2015, at the Wayback Machine
- ^ Filmmontagen I + II + III, Peter Roehr 1965-66 - Daimer Art Collection
- ^ Peter Roehr : Film-Montagen I-III (1965) (DVD video, 2009) - WorldCat.org
- ^ International Pop Cinema|Dallas Museum of Art
- ^ Oneohtrix Point Never: Visual Cues and Eccojams|Hammer Museum
- ^ The World Goes Pop - Google Books (pg.259)
- ^ Institute of Modern Art
- ^ Pioneers in film: the art-house films that shaped popular culture|The Independent
- ^ Filmmontagen I-III (1965)|MUBI
- ^ Radio as Art - Google Books (pg.296)
- ^ Film Montages (for Peter Roehr), 2006 - William E. Jones - The Modern Institute
- ^ Extracted: Recent Films by William E. Jones|Walker Art Center
- ^ The Music and Sound of Experimental Film - Google Books (pg.251)
- ^ Peter Roehr, exhibition catalogue, Kunsthalle Tübingen, 1972, book cover ISBN 3-7701-955-4
- ^ Fünf Jahre und kein bisschen mehr, Frankfurter Allgemeine Zeitung, 08/1968, February 19, 1968, p. 76
External links
- Light Industry: We Dig Repetition - Peter Roehr on Experimental Cinema
- The Cold and Crystalline Poetry of Minimal Pop Artist Peter Roehr
- Teaser trailer for German Pop Exhibition (with material from Peter Roehr) on Vimeo
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This page was last edited on 6 March 2024, at 15:21