Published by Walther König, Köln. Edited with text by Alexis Lowry, Jessica Morgan. Text by Isabelle Malz, Rita McBride, Charlotte Posenenske, Daniel Spaulding, Catherine Wood.
A handsome overview celebrating the neglected German minimalist sculptor Charlotte Posenenske
Embracing reductive geometry, industrial fabrication and repetitive forms, German artist Charlotte Posenenske (1930–85) developed a form of mass-produced minimalism that addressed the pressing socioeconomic concerns of the 1960s by circumventing the art market and rejecting established formal and cultural hierarchies.
Posenenske exhibited widely during the brief period that she was active as an artist (1956–68), alongside peers such as Hanne Darboven, Donald Judd and Sol LeWitt.
Featuring metallic endpapers that echo her aesthetic, Charlotte Posenenske: Work in Progress traces the evolution of Posenenske's practice from early experiments with mark-making and the transitional aluminum wall reliefs to industrially fabricated modular sculptures produced in unlimited series and assembled or arranged by viewers at will.
Published by Hatje Cantz. Edited by Renate Wiehager. Text by Burkhard Brunn, Renate Wiehager.
This generously illustrated volume places German sculptor Charlotte Posenenske's groundbreaking works from the 1960s firmly within the history of Minimalist sculpture and Conceptual art. A contemporary of Donald Judd, Posenenske is most known for her body of spare, repetitive forms made from industrial materials, corrugated cardboard, pressboard and sheet metal, which she manipulated and bent for public spaces and performative appearances. In the mid-1960s, after producing several series of Abstract Expressionist and Constructivist paintings, Posenenske began the body of work she is most associated with today: the infinitely positionable and site-specific ventilation shaft-like series Square Tubes (1967). She was featured in Documenta 12 in 2007 and her pieces are part of numerous collections, but her work receded from the foreground when she abandoned sculpture in 1968, feeling that art did not have sufficient political impact. Posenenske died in 1985; this monograph secures her legacy.