Conversation digital salon: Haacke and Richter Take New York

A pair of empty green, comfortable chairs sit next to each other. Derivative CC BY-SA 4.0 ilovefurniture

3:00pm EDT


The Goethe-Institut New York welcomes Susan Tallman, art historian; Brinda Kumar, Assistant Curator at the Met Museum; Gary Carrion-Murayari, Kraus Family Curator at the New Museum; and Gregg Horowitz, Professor of Philosophy, for a discussion about Hans Haacke and Gerhard Richter in New York. Brinda Kumar, co-curator of Gerhard Richter: Painting After All at the Met Breuer, and Gary Carrion-Murayari, co-curator of Hans Haacke: All Connected at the New Museum, will present these landmark exhibitions and include multimedia examples of key artworks contained therein.

That these two significant German artists both had major retrospectives dedicated to them in New York this year was a stroke of luck. New York has a fruitful history with both artists. The Guggenheim Museum's notorious decision in 1971 to cancel Haacke’s exhibition because of the political intent of his work 'Shapolsky et. al' now belongs to the annals of art history. Meanwhile, the MOMA's 2002 exhibition Gerhard Richter: Forty Years of Painting helped establish, albeit belatedly, Richter’s reputation within the USA as Germany’s foremost living painter.

In spite of their manifest differences, that Haacke is a radical contemporary artist and proponent of Institutional Critique, and Richter a practitioner in the traditional medium of painting, both have been made central to discussions of German postwar identity. Germany has put two controversial works, Haacke’s ‘'Der Bevölkerung'’ and Richter’s '‘Birkenau’' series, on permanent display in the Reichstag in Berlin, and thus accorded contemporary art a powerful role in giving voice to the nation's postwar self-consciousness. The significance of these artists and the centrality of art and memory to the construction of Germany’s postwar identity will be explored in light of their connections to the USA, particularly New York, and to the present.

digital salon is a new online event series by the Goethe-Institut New York. Taking its impetus from the present moment, digital salon offers a space for thinkers from diverse and vibrant cultural, artistic, and intellectual disciplines to come together for spontaneous and engaging discussions. Its topics are culled from the social, political, and cultural life of contemporary Germany.

This event will also be streamed live on our Facebook page.

Gary Carrion-Murayari is Kraus Family Curator at the New Museum. Since he joined the staff in 2010, Carrion-Murayari has curated monographic exhibitions of a number of artists including Phyllida Barlow, Nathalie Djurberg, Ellen Gallagher, Haroon Mirza and Jim Shaw. He has also co-curated group exhibitions such as Ghosts in the Machine (2012), NYC 1993 (2013) and Here and Elsewhere (2014). Most recently, he curated the exhibition The Equilibrists, a survery of young Greek artists in collaboration with the Deste Foundation and the Benaki Museum in Athens. Carrion-Murayari worked at the Whitney Museum of American Art from 2003 to 2010, where he organized solo exhibitions including Elad Lassry and Karthik Pandian, and co-curated exhibitions such as Television Delivers People (2007) and Progress (2008). He co-curated the 2010 Whitney Biennial with Francesco Bonami. He has contributed numerous exhibitions catalogues and art magazines, and has edited several New Museum catalogues.

Gregg Horowitz is Professor of Philosophy. He writes on aesthetics, the philosophy of art, theories of art history, psychoanalysis, and political theory. His publications include the books Sustaining Loss: Art and Mournful Life (Stanford, 2001) and The Wake of Art: Philosophy, Criticism and the Ends of Taste (Routledge, 1998, with Arthur C. Danto and Tom Huhn) and articles on “Scratching the Surface: Distance and Intimacy in Study of Henrietta Moraes Laughing” (in Ben Ware, ed., Francis Bacon: Painting, Philosophy, Psychoanalysis), “Robert Pippin’s After the Beautiful: Hegel and the Philosophy of Pictorial Modernism" (Platypus Review, 2014).“Tradition” (Art Bulletin, 2013), “A Made-to-Order Witness: Women’s Knowledge in Vertigo” in Katalin Makkai, ed., Vertigo: Philosophers on Film (Routledge, January 2013), and “The Homeopathic Image, or, Trauma, Intimacy and Poetry,” (Critical Horizons, 2010). He is also a past Fellow of the American Academy in Berlin.

Brinda Kumar joined the Met Museum in 2015. She worked on Nasreen Mohamedi (2016), one of the inaugural exhibitions at The Met Breuer, and was also part of the team working on Unfinished: Thoughts Left Visible (2016). Her responsibilities have extended to research on artists, collections, acquisitions, and exhibitions. She was co-curator and catalogue essayist for the exhibition Like Life: Sculpture, Color, and the Body (2018), and has recently worked on Home Is a Foreign Place: Recent Acquisitions in Context (2019–20). She recently worked on the exhibition Gerhard Richter: Painting After All (2020) and its accompanying catalogue. She completed her BFA at the College of Art, New Delhi; MA at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi; and received her PhD from Cornell University.

Susan Tallman is an art historian and Editor-in-Chief of the journal and website Art in Print. She has written extensively on the history and culture of the print, as well as on issues of authenticity. Her books include The Contemporary Print: from Pre-Pop to Postmodern (Thames and Hudson),The Collections of Barbara Bloom (Steidl), and as co-author American Dream: Pop to the Present, and numerous museum catalogues. Her writing has appeared in New York Review of Books, Art in America, Parkett, and Arts Magazine. She lives in Berlin and Chicago, where she teaches in the Department of Art History, Theory and Criticism at the School of the Art Institute of Chicago.