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Collections United Enemies

Collections United Enemies

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Image
Courtesy Walker Art Center
Rights
© Artists Rights Society (ARS) New York/VG Bild-Kunst, Bonn

Copyright

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Title
United Enemies
Date
1995
Dimensions
installed 73.75 × 10 × 10 inches
Materials
Fimo clay (plasticine), glass, wood, plastic, fabric wire
Location
On view at the Walker Art Center

Object Details

Type
Sculpture
Accession Number
1997.7.1-.3
Style
Conceptual
Inscriptions
in black ink on bottom of wood base “Th. Schütte 1995”; in black ink on bottom of wood base “(Nr. 8 + 18 + 33)”
Physical Description
wood base has three fimo clay figures with different colored clothing, tied together with brass wire attached; glass dome sits over figures; base fits into plastic tube pedestal
Printer
N.A.
Credit Line
T. B. Walker Acquisition Fund, 1997

object label Thomas Schütte, Untitled (1995) Walker Art Center, 1999

German artist Thomas Schütte’s work varies widely in medium, form, scale, and approach. He incorporates multiple aspects of artistic innovations from the 1960s, such as Arte Povera’s use of conventional materials, Minimalism’s formal aesthetic, and Pop Art’s use of banal images from daily life. Combining an obsessive focus on sculptural technique with an equally intense skepticism of the geopolitical state of the postwar world, Schütte’s sculptures contemplate the tribulations of the contemporary human condition.

This piece is from a body of work entitled United Enemies, in which Schütte manipulated fimo clay into a series of grotesque figures that represent debased archetypes of power. Displayed upon a cardboard packing tube, the emblematic figures are bound together and trapped under a bell jar, invoking specimen inspection.

Label text for Thomas Schütte, Untitled (1995), from the exhibition Art in Our Time: 1950 to the Present, Walker Art Center, Minneapolis, September 5, 1999 to September 2, 2001.

Copyright 1999 Walker Art Center

object label Thomas Schütte, Untitled (1995) Walker Art Center, 1998

German artist Schütte’s work varies widely in medium, form, scale, and approach. A contemporary of Reinhard Mucha, whose work is also on display in this gallery, Schütte incorporates multiple aspects of artistic innovations from the 1960s such as Arte Povera’s use of conventional materials, Minimalism’s formal aesthetic, and Pop Art’s use of banal images from daily life.

Untitled is from a body of work entitled United Enemies in which Schütte manipulated fimo clay into a series of grotesque tableaux that eternally bind debased archetypes of power. Displayed upon a cardboard packing tube, the emblematic figures are trapped under a bell jar, invoking specimen inspection. The series speaks to the disillusionment of the state of Germany and, by extension, the ambiguity of post-Cold War powers as deeply different political and economic structures struggle to coexist.

Label text for Thomas Schütte, Untitled (1995), from the exhibition 100 Years of Sculpture: From the Pedestal to the Pixel, Walker Art Center, Minneapolis, February 22-May 24, 1998.

Copyright 1998 Walker Art Center