Tastes Like Chicken; Columbus, Ohio, October 31, 2000
by Insane Wayne Chingsang
 
These are the images of a man consumed by free will. A man with a gift and a craft and a passion to challenge the mediocrity of what has already been established. A man whose opinions embody everything authority does not want you to believe in. His name is Gottfried Helnwein, and he recently discussed his 30+ year career with Tastes Like Chicken's Insane Wayne Chingsang.Gottfried Helnwein, Interview, 2000 "The Darker Side of Playland" Childhood Imagery from the Logan Collection, exhibition catalogue, September 01, 2000
by Heather Whitmore Jain
Curatorial Associate, San Francisco Museum of Modern Art 
(excerpt) Other works in the exhibition present the dark side of cartoon characters. The prevailing narrative structure of many cartoons is a cycle of one's character's unrelenting attacks on another. Yet the violence of these scenarios is subverted and humor achieved by the lack of any permanent injury to the victim and the gleeful nonchalance of the adversary even during the most aggressive assault. Static representations of wounded or menacing cartoon characters can expose the violence and eliminate the humorous punch line. In Gottfried Helnwein's painting Mickey (plate 24), Mickey Mouse's physical features, which usually contribute to his appeal become a thin veneer of looming attack. Blown up to a monster scale and rendered in an austere gray palette, Mickey's smile is deceptive.Gottfried Helnwein, San Francisco Museum of Modern Art, 2000Omnibucket, US, June 15, 2000
by Cyril Helnwein
Klaus Meine: "Blackout" was an amazing cover, it was so powerful, and it was a real piece of art. We were always interested in having rock n roll and art really close together. "Blackout" became a signature artwork for the Scorpions and it still is a classic to this day all over the world. It stands out as one of the best albums we did and we're very proud of it. Gottfried Helnwein, ScorpionsJewish Chronicle, London, June 02, 2000
by Julia Weiner
London show for Gottfried Helnwein, Artist's haunting Nazi-era ImagesAustrian artist Gottfired Helnwein's powerful and haunting paintings provide a disturbing commentary on Nazism and the Holocaust, regularly provoking outraged reactions from right-wingers in his native land and in Germany. "I was amazed how much pictures could reach into the hearts and minds of people - and how much they would talk to me about it," he told the JC. "For me, art is like a dialogue. My art is not giving answers, it is asking questions." Gottfried Helnwein, One-man show at the Robert Sandelson Gallery, London, 2000REUTERS City, International / Art, June 01, 2000
by John Hendry
A year or so back, an exhibition called Sensations caused a few upsets, first in London and then in New York. Central to the reaction was a large-scale portrait of a child-killer assembled from, if I remember correctly, the palm prints of children. So far, so bland. The shock element in art has been much talked about in the last five years but art that actually shocks has been thin on the ground during the same period.Step forward then, Gottfried Helnwein. By and large, if art is going to shock, it better have something shocking to say,and it's clear that Helnwein has found that. Gottfried Helnwein, One Man Show, Robert Sandelson Gallery, 2000Dazed and Confused, London, May 31, 2000
by Mark Sanders
Helnwein, the controversial Austrian artist whose works is currently on show at the Robert Sandelson gallery in London, has always been a difficult personality to pin down. As a young man in 1969, when most Western teenagers were smoking dope and taking acid, he was busy speaking out against the latent fascism embedded at the heart of Austrian society. A keen believer in the value of expressive freedom, he was expelled from the experimental school of the Higher Graphic Institution in Vienna for painting a portrait of Adolf Hitler in his own blood.Gottfried Helnwein, Dazed and Confused, London, 2000What's On, London, May 17, 2000
by Fisun Güner
A blonde Madonna, dressed as if she were spending an evening at the opera, presents her child to the watchful eyes of Nazi SS Guards, One officer looks as if he were studying the child's genitals, perhaps to see whether he has been circumcised. Dark hair parted severely to one side and fleshy baby cheeks lending a slight and comical hangdog expression, the young child presents something of an eerie resemblance to the Führer. Gottfried Helnwein, Gottfried Helnwein, LONDON, 2000The Guardian, May 16, 2000
by Kate Connolly
Kate Connolly meets Gottfried Helnwein, the Austrian who is still confronting his country's Nazi past. It could have been worse. At least he doesn't look like his self-portraits, in which bandages swathe his head, bent forks pull his mouth into a mocking smile and blood drenches his torso. Helnwein, 52, is a master of the scandalous and the art of shocking. The artist Robert Crumb once said of him: "Helnwein is a very fine artist and one sick motherfucker." "You can get things moving in a very subtle way, you can get even the strong and powerful to slide and totter - anything, actually, if you know the weak points and tap at them ever so gently by aesthetic means."Gottfried Helnwein, One-man show at the Robert Sandelson Gallery, London, 2000i-D Magazine, London, April 30, 2000
by Jo-ann Furniss
The current issue of Camera Austria consists entirely of blank, black pages, with "österreich 2000" written simply in the top right hand corner of each. Nothing demonstrates more effectively the shock of Austria's artistic community at the electoral success of Jörg Haider and his right wing Freedom Party, but this does not apply to Gottfried Helnwein.Gottfried Helnwein, i-D Magazine, London, 2000The Austin Chronicle, April 14, 2000
by Wayne Alan Brenner
This made perfect sense, I thought, considering the visuals attached to their recent album Sehnsucht: portraits of the band by Gottfried Helnwein, the brilliant German artist whose gauze-wrapped and fork-embellished self-portrait had been an album cover for the Scorpions -- you know the one I'm talking about?Helnwein had photographed the Rammstein faces after mangling and compromising them with arcane medical apparatus; and here I was, with my back mangled and compromised, being photographed by arcane medical apparatus! How very synchronistic it all was! Why, Helnwein was probably out there right now, conducting the band in their concerted hammerstrikes, perhaps even forming a mini mosh pit with my wife or discussing the finer points of arcane medical apparatus-based face-mangling with the MRI tech! Of course! And there were streamers, too! Multicolored streamers that descended from the antiseptic rafters and twisted and shimmered like silken snakes dancing in time to the music ... Gottfried Helnwein, The Austin Chronicle, 2000
| ||||||||||||
|
