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In 1985, Georg Herold presented his Kunstraub [Art Theftology] series in the exhibition Unschärferelation [Uncertainty Principle] at the Realismusstudio of the Neue Gesellschaft für Bildende Kunst (nGbK) in Berlin. At the core of the group are three roof-batten frames of roughly equal size, more or less crudely nailed together and covered with black fabric panels of varying dimensions. In Kunstraub I (1985), the fabric is draped in elegant folds, leaving ample openings that allow the viewer to see through large parts of the frame – a nonchalant undoing of Suprematist transcendence. Kunstraub II (1985) appears as a literal enactment of Sigmar Polke’s famous directive, Higher Beings Command: Paint the Upper Right Corner Black! – just as a dutiful student might carry it out (Herold studied under Polke from 1977 to 1981 at the Hochschule für bildende Künste Hamburg). In Kunstraub III (1985), only the upper right corner of the frame is wrapped in black fabric like a gauze bandage – if you…
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In 1985, Georg Herold presented his Kunstraub [Art Theftology] series in the exhibition Unschärferelation [Uncertainty Principle] at the Realismusstudio of the Neue Gesellschaft für Bildende Kunst (nGbK) in Berlin. At the core of the group are three roof-batten frames of roughly equal size, more or less crudely nailed together and covered with black fabric panels of varying dimensions. In Kunstraub I (1985), the fabric is draped in elegant folds, leaving ample openings that allow the viewer to see through large parts of the frame – a nonchalant undoing of Suprematist transcendence. Kunstraub II (1985) appears as a literal enactment of Sigmar Polke’s famous directive, Higher Beings Command: Paint the Upper Right Corner Black! – just as a dutiful student might carry it out (Herold studied under Polke from 1977 to 1981 at the Hochschule für bildende Künste Hamburg). In Kunstraub III (1985), only the upper right corner of the frame is wrapped in black fabric like a gauze bandage – if you…
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