DENVER, CO.- The Denver Art Museum (DAM) today announced a major reinstallation of its Modern & Contemporary Art galleries with an eye toward the human form. Focus: The Figure includes works from the DAM’s collection that have never been seen before, as well as known visitor favorites. The installation presents a dialogue on art and politics with many works offering insight into universal social issues. The rotation, which officially opens on August 23, was curated by Christoph Heinrich, DAM’s Polly and Mark Addison curator of Modern & Contemporary Art, who joined the Museum in 2007. ...

The Armory Show – Modern is a new section dedicated to international dealers specializing in historically significant Modern and contemporary art. This new program is being held on Pier 92 concurrent with The Armory Show, The International Fair of New Art on Pier 94. With one admission ticket, visitors to The Armory Show on March 5 - 8 will now have access not only to the newest developments in the art world, but also to the masterpieces that heralded them. ...

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Modernism Inc, San Francisco, Barry Friedman, New York ...

''Art Miami has done a really good job,'' said Miami collector Dennis Scholl, echoing an oft-heard sentiment at Tuesday's VIP opening, a charity event for Lotus House.
Among works for sale: Gottfried Helnwein's photographs of Marilyn Mason at Barry Friedman gallery; Roy Lichtenstein's Water Lily at Galerie Terminus and an eye-catching photo of President-elect Barack Obama by Martin Scholler at Hasted Hunt Gallery. ...

Again and again, he has painted children in brutal, violent settings. He has used Chris­tian iconography to depict Nazi officers, and juxtaposed rampaging soldiers with Images of childhood innocence. Visceral reactions come with the territory: one Installation in Cologne was physically attacked by neo Nazis. And yet, he says, he does not set out to shock. "Shock is a useless effect," he says. "Somebody in shock is completely useless. I want to make somebody think."
Instead, Helnwein's work speaks of a deep psychological need for meaning, even as it takes the form of violence and confrontation. Such an approach is rooted in the uneasy silences of growing up in post-war Austria and the shattered illusions of his early adult life, yet is still infused with an uneasy ideal­ism.
His art has brought him material rewards. Over the past 30 years, he has become an art superstar. His paintings and photographs command large prices. As he talks in his Co Tipperary castle, garbed in black clothes and dark glasses, Helnwein has the air of a vet­eran rock star and the lifestyle to match it.
The Sunday Times, Gerry McCarthy ...

Meet Gottfried Helnwein and 'The Last Child' in our new Volume 5 of TRUCE Magazine.
An exclusive 34 page cover about this amazing artist and his current exhibition in Ireland, might thrill you a bit. At bookstores and newsstands around December. Are you ready for this? ...

Von der Wiederbelebung der Wiener Kunstschau 1908 im Wiener Belvedere bis zur Eröffnung der neuen Ausstellungsräumlichkeiten für Gegenwartskunst in der Albertina - dieser Herbst bietet eine wunderbare Gelegenheit, sich auf die Spuren österreichischen Kunstschaffens zu heften. Zumindest von Klimt bis Nitsch und von Emilie Flöge zur Helnwein-Version der Micky Mouse. ...

Gottfried Helnwein - ein künstlerischer Anarchist aus Prinzip. Seine Bilder erzählen von apokalyptischen Visionen. Seine Themen sind Schmerz, Gewalt, Religion und Politik. Der österreichische Maler, Grafiker und Fotokünstler Gottfried Helnwein provoziert seit mehr als 30 Jahren mit seiner Schock-Ästhetik. Schon seit Beginn seiner Karriere war Helnwein umstritten. Mit rotzig-radikalen Sätzen wie "von Walt Disney hab ich mehr gelernt, als von Leonardo da Vinci" stellt er den Kulturbetrieb in Frage. 3sat zeigt das Porträt anlässlich der musealen Werkschau des österreichischen Künstlers im Museum Lentos in Linz vom 10. März bis zum 12. Juni 2006. ...

Mit der Ausstellung «Nach 1970 - Österreichische Kunst aus der Albertina» setzt die Albertina eine Reihe fort, die sie im Vorjahr mit «Kunst nach 1970» begonnen hat. Diesmal liegt das besondere Augenmerk auf Österreich. Gezeigt werden rund 220 Werke, die einen weiteren Einblick in die insgesamt über 20'000 Arbeiten umfassende Sammlung an Gegenwartskunst der Albertina geben.
Mit dieser Präsentation werden auch die neu errichteten Ausstellungsräume der Albertina im zweiten Obergeschoss eröffnet. Erstmals werden dabei zum Großteil jüngere Sammlungszuwächse der Öffentlichkeit vorgestellt. In der um 2'000 m² erweiterten Ausstellungsfläche werden Werke von über 33 Künstlerinnen und ...

Der begnadete Künstler rechnet im NEWS-Interview mit der Politik, dem Kapitalismus und den Regeln des Kunstmarkts ab. ...

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Artists are the visual, verbal, and audio guardians of our collective consciousness. For example, few can remember the politics or history of 18th century Europe, but the music of Mozart and the paintings of Watteau continue to be a source of inspiration. We might not always like the message, but it is artists that distil the essence of an era. They serve as thoughtful messengers to a sometimes unperceptive present but an often receptive future.

— Robert Flynn Johnson
Gottfried Helnwein Catalogue for Fine Arts Museums of San Francisco ...

Helnwein: Ich bin trotz allem gerne in Los Angeles, muss ich sagen. Ich geniesse es, wenn ich früh in der Morgensonne durch die ausgestorbenen Strassen Downtowns ins Atelier gehe, vorbei all den Graffiti-Kunstwerken an den Fassaden der heruntergekommenen Industriebauten und dem Abfall auf der Strasse. Bis Mittag lebe ich in einer Ghost-Town, da hier vorher kaum einer auf ist. Es ist ein bisschen wie in einem Film. Es hat was von "Blade-Runner", der ja auch hier gedreht wurde. Verfall hat seine eigene Faszination und Ästhetik. ...

Again and again, he has painted children in brutal, violent settings. He has used Chris­tian iconography to depict Nazi officers, and juxtaposed rampaging soldiers with Images of childhood innocence. Visceral reactions come with the territory: one Installation in Cologne was physically attacked by neo Nazis. And yet, he says, he does not set out to shock. "Shock is a useless effect," he says. "Somebody in shock is completely useless. I want to make somebody think."
Instead, Helnwein's work speaks of a deep psychological need for meaning, even as it takes the form of violence and confrontation. Such an approach is rooted in the uneasy silences of growing up in post-war Austria and the shattered illusions of his early adult life, yet is still infused with an uneasy ideal­ism.
His art has brought him material rewards. Over the past 30 years, he has become an art superstar. His paintings and photographs command large prices. As he talks in his Co Tipperary castle, garbed in black clothes and dark glasses, Helnwein has the air of a vet­eran rock star and the lifestyle to match it. ...

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LARGE-scale art installations dotted around Waterford’s city centre depicting war images are causing controversy because of their graphic content.
The exhibition, The Last Child, by Austrian-born and Waterford-based artist Gottfried Helnwein, is part of the Waterford Fringe Festival and includes a variety of work placed at strategic locations in the city, such as the Quays, the Clock Tower, City Hall and John Roberts Square. Among the material featured in the images are depictions of children with guns and a child lying down, covered with blood, as well as various shots of children with their eyes closed, as if dead. ...

“All a poet can do today is warn”, World War 1 soldier poet, Wilfred Owen, wrote in a draft Preface for a book of anti-war poems he would never see published. He was killed on the eve of Armistice Day 1918. World War One, The Great War, The War to End All Wars . . . within twenty summers, Europe was engulfed again in the even greater catastrophies of the fascist era. The work of Gottfried Helnwein has its genesis in these years. They obsess him as a creative artist. As a kind of guardian angel, he grapples with them on our behalf. That such a nightmare would never visit us again. Or our children. Or our children’s children. Or “. . .all those still to come”. ...

“For me, the reaction so far in Waterford is very good because people are talking about the theme of war and exploitation. For a child to grow up now, it’s the toughest time ever because children are flooded with violence in the media and internet and computer games where the only thing to do is kill people and they are very graphic. Entertainment is very violent but as long as it’s entertainment, it’s fine, but as soon as you do it as art, people get very sensitive. In my art I’m only reflecting the world and I wanted to raise awareness and make people think.” ...