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(Hi)stories

Using pictures to tell a story? This technique has a long tradition in art history! Contemporary artists also tell stories in their works. Which historical or fictional events, myths, literary texts, or indeed personal stories are processed in artworks? And can materials also reveal or conceal stories?

Do you sometimes wish for a different ending?

There are countless ways to tell the same story using different images. Historical events, myths, fairy tales, cultural history—they all accompany us throughout our lives. They tell stories and history, often in different ways. Can you think of an historical event that you believe was crucial to your life today? Would you dare to illustrate it? What would you put in the foreground? Does your imagination sometimes continue your favorite stories, or even alter them?

Artist Factory

Artist Nicole Eisenman

was born in Verdun, France, in 1965. They live and work in Brooklyn.

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Artist Laura Owens

was born in Euclid, Ohio, USA, in 1970. She lives and works in Los Angeles.

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Artwork Laura Owens, Untitled, 2015

The untitled diptych by Laura Owens in the Brandhorst collection is based on layouts from the “Los Angeles Times” from 1942. Sometimes impasto brushstrokes overlay the texts and delicate drawings. The shadows of some brushstrokes are printed, newspaper articles and pictures have been edited and partly replaced by information of a more recent date.

Which stories remain particularly vivid?

When someone tells a story, it doesn’t necessarily need to be important for many people, or remembered for a long time. Personal stories based on one’s own experiences, or pretending to be, often have greater effectiveness or reach. They touch us more, arouse more empathy and compassion in us. Sometimes we can identify with them. Some open our eyes to social structures and inequalities, to the perspectives of others.

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Artist Nicole Eisenman

was born in Verdun, France, in 1965. They live and work in Brooklyn.

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Artwork Arthur Jafa, Monster, 1988/2019

Arthur Jafa points the camera directly at his mirror image. He stares at us with his penetrating gaze. The artist developed the photo at human scale, thus confronting the self-portrait even more directly with the person viewing it. What is notable for his photography is his work on developing sensitive techniques for representing black and dark tones on film. Throughout the image, black and white flow into one another.

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Artwork Laura Owens, Untitled, 2015

The untitled diptych by Laura Owens in the Brandhorst collection is based on layouts from the “Los Angeles Times” from 1942. Sometimes impasto brushstrokes overlay the texts and delicate drawings. The shadows of some brushstrokes are printed, newspaper articles and pictures have been edited and partly replaced by information of a more recent date.

Who is telling what to whom? And how?

When stories are told about others, storytellers have a lot of power. As storytellers, we influence the perception of the listeners or viewers. Some artworks from the Brandhorst Collection deal with the way history and stories are told in the media. Do they belong there? Have you noticed the kind of languages and images that keep popping up in the news or on social media?

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Artwork Andy Warhol, Ladies and Gentlemen (Wilhelmina Ross), 1975

The work on paper is composed of several layers of images: the print based on a portrait photo, a transparency, colored paper and tape. Andy Warhol assembles the portrait of an unknown person using a so-called collage technique. The figure looks at us with captivating eyes in a strong pose.

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Artwork David LaChapelle, Recollections in America, VI: Kahlua and Milk, 2006

The photograph is part of the series “Recollections in America” by the US- American artist David LaChapelle. In this photo, a lively party seems to be in progress. But the celebration gets out of hand: a child is given the coffee liquor Kahlua in a flask. A gun and a grenade are lying on the dresser. Is the photo staged or did the photographer take a snapshot of a bizarre party?

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Artwork Cady Noland, Tanya as a Bandit, 1989

Almost life-size, the artist Cady Noland transfers a photo of a young woman onto an aluminum display by means of silkscreen. Holding a machine gun in her hands, the figure stands in our way. The photo comes from a newspaper, the caption becomes a pedestal.

Does history tell us more about past events or about ourselves?

Historiography wants to record the past as accurately as possible. But history can also tell or contain made-up things. Therefore, there is often no such thing as one, single history. It is not uncommon for fantasies and actual events to be mixed. There are often large gaps in our knowledge about past times and the history changes with this knowledge. Or even depending on who is examining and narrating it, and what goals that person has. That is even more the case with social or personal events. Is it possible, therefore, to speak of a true story or history, or does it necessarily depend on the voice that tells it? What artistic techniques do artists use to tell a story?

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Artwork Cady Noland, Deep Social Space, 1989

Numerous objects are arranged around three metal scaffolding poles: kettle grill, beer cans, burger buns, American flag, chips and a Marlboro garbage can, plus some insignia of rural America, such as horse saddles and blankets. But the scaffolding poles that frame everything create an unsettling, even aggressive mood and seem to prevent any free movement.

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Artist Jutta Koether

was born in Cologne in 1958.

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Artwork Cy Twombly, Lepanto Cycle, 2001

The “Lepanto” cycle is one of Cy Twombly’s major works and consists of twelve paintings that are exhibited permanently in a separate room at Museum Brandhorst. Vibrant hues in a broad palette of yellows, reds, turquoise and aquamarine define the drama of the monumental paintings. The action on the canvases intensifies, all the artist’s painting tools and painterly gestures are used expressively.