Epiphany, 1996
oil and acrylic on canvas
82x131in, 210x333cms
The Logan Collection
San Francisco


 
PETER MURRAY
"HELNWEIN, IRISH AND OTHER LANDSCAPES"
One man show
at the Crawford Municipal Art Gallery, Cork Ireland
catalogue, 01 July 04 - 01 Aug 04

Although born and educated in post-war Vienna, Gottfried Helnwein is very much an international artist, with exhibitions of his work bein held in cities such as San Francisco, Beijing and St Petersburg
find out more >>>
 
CATALOGUE
"IRISH AND OTHER LANDSCAPES"
One man show
at the Crawford Municipal Art Gallery, Cork Ireland
catalogue, 01 July 04 - 01 Aug 04

Contiuing the Crawford Gallery's theme of documenting the landscape, international renowned artist Goffried Helnwein will exhibit a number of large-scale (some are of seven metres in length), photo-realist canvases depicting landscape. Helnwein divides his time between Co. Tipperary and Los Angeles and his paintings
find out more >>>
 
MIC MORONEY
"THE MURMUR OF THE INNOCENTS"
Installation and one-man show
at the Kilkenny Arts Festival 2001
catalogue, 2001

As I write, the Austrian artist, Gottfried Helnwein is wrestling excitedly with his first exhibition in the country which he recently made his home. The work spills out of Butler House, and up onto the festival streets of Kilkenny. These images are huge - in one case as big as six by nine metres, hoisted onto the facade of Kilkenny Castle
find out more >>>
 
HEATHER WHITMORE JAIN
Curatorial Associate,
San Francisco Musum of Modern Art
"THE DARKER SIDE OF PLAYLAND",
Childhood Imagery from the Logan Collection,
San Francisco Musum of Modern Art
Exhibition, 1 Sept 2000 - 2 January 2001
catalogue, 2001

find out more >>>
 
ROBERT FLYNN JOHNSON
Curator in Charge,
Achenbach Foundation for Graphic Arts,
Fine Arts Museums of San Francisco
"HELNWEIN"
The art of Gottfried Helnwein cannot be properly considered without surveying the terrain of modern and contemporary art from which it developed
Robert Sandelson Gallery, London
one-man show, 12 May - 15 June 2000
catalogue, 2000
find out more >>>
   

JOHN HENDRY
"THE SHOCK OF THE REAL"
London, 11th May 2000,
Robert Sandelson Gallery, London
one-man show,

12 May - 15 June 2000
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.
find out more >>>

 
   
PETER ZAWREL
Chief Curator,
Museum of Lower Austria
"AGAINST HARMLESSNESS IN ART",
"Apokalypse", installation and one-man show
Museum of Lower Austria, Dominican Church, Krems, 1999
catalogue, 1999
The enigma of Helnwein's paintings always has to do with guilt and atonement, perpetrators and victims, accusation and remorse. He has never escaped the Christian world of ideas and images of his childhood, but instead has used it for his own artistic purposes.
find out more >>>
 
 
SPECIAL COLLECTIONS
"EUROPEAN DRAWINGS",
Arkansas Art Center,
The Collection, 1999
In addition to over 130 Signac drawings, the Arts Center has amassed a world-renowned collection of fellow Europeans' works on paper.
find out more >>>
 
 

WOLFGANG BAUER
"INSPIRED BY HELNWEIN",
"Apokalypse" installation and one-man show
Museum of Lower Austria, Dominican Church, Krems, 1999
catalogue 1999
As long ago as 1963 a fellow-artist and I imagined the horrible future of free-lance artist. The topic of our discussion was not so much finances as the necessity of letting go and totally abandoning oneself. At the time I had the idea of inventing something like a "fitness training of geniuses". In retrospect I must say that I know very few artists who have persevered in this imaginary training programme. Gottfried Helnwein is one of them.
find out more >>>

 
 

ALEXANDER BOROVSKY
Curator for Contempary Art at the State Russian Museum, St Petersburg
"THE HELNWEIN PASSION",
retrospective one-man show,
State Russian Museum, St Petersburg, June 1998
I'll never forget the sensation I had at the unveiling of Gottfried Helnwein's "Kindskopf" in the Russian Museum. And not just because this enormous canvas (six metres in height, four in breadth), well-known from reproductions, seemed to operate in a whole new way in the real, quasi-monumental space of the museum's "Concrete Hall", originally intended for the demonstration of gigantic sculptural compositions. I realised that I was looking at the inner content of this innovative picture from a whole new point of view.
find out more >>>

 

KLAUS HONNEF
Curator for Photography and Contempory Art,
Rheinisches Landsmuseum, Bonn
"GOTTFRIED HELNWEIN
- A Concept Artist before the Turn of the Millennium"
The Subversive Power of Art,
retrospective one-man show
State Russian Museum, St Petersburg, June 1998
Is it sheer coincidence that Gottfried Helnwein, the Austrian artist, created a portrait of both the German and the American? Coincidence, that he captured Warhol as a disturbing spectre on photograph, but painted Beuys? And that he then photographed the painted portrait of Beuys in the hands of Arno Breker, Adolf Hitler's favourite sculptor? There are weighty reasons for considering Helnwein the legitimate heir to Beuys and Warhol.
f ind out more >>>

 
ROLAND FLAMINI
PASSPORT GERMANY,
World Trade Press, 1997,
"THE BURDEN OF HISTORY"
Your pocket guide to German Business, Customs and Etiquette,
Gottfried Helnwein

German Painter Gottfried Helnwein has gained international renown for his chilling anti-Fascist and anti- militarist canvases
find out more >>>
 
 

PETER SELZ
Professor Emeritus, Department of Art History, University of California, Berkeley
"HELNWEIN THE ARTIST AS PROVOKATEUR"
retrospective one-man show
State Russian Museum, St Petersburg, June 1997
Much like Joseph Beuys, who opened new, unexpected, and far-reaching spheres for art, Gottfried Helnwein has made works that extend beyond the art scene into the social and political realm. Like his predecessor , he has moved beyond the realm of pure aesthetics, engaging his art into the everyday world. Furthermore his principal interest is not to express personal feelings and emotions, but to make statements that go beyond the individual. He wants to see his work not trapped on the walls of museums and galleries, but revealed in the public domain. He expects his work to intervene in the social sphere and to have a direct impact on the life of his time.
find out more >>>

 

GÜNTER ZEHNDER
Curator
Rheinisches Landesmaseum, Bonn
"MADONNA"
one-man show
Museum of Modern Art, Otaru, Japan,
catalogue November 1996
Gottfried Helnwein's artistic and intellectual approach is to aim quite subtly at producing a crucial feeling of insecurity and a concomitant change of consciousness in the viewer, by using seemingly familiar or usual images that have a certain amount of tradition and an apparently well known composition.
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EVGENIJA NICOLAEVNA PETROVA
Chief Curator
State Russian Museum, St Petersburg
"METAPHORICAL PRINCIPLE OF GOTTFRIED HELWNEIN"
one-man show
Museum of Modern Art, Otaru, Japan, November, 1996
catalogue, 1996
Rousing the audience's curiosity, the painting invariably surprised viewers when exhibited as part of Gottfried Helnwein's retrospective exhibition held at the State Russian Museum in St. Petersburg.
find out more >>>
 
 
REINHOLD MISZELBECK
Curator for Photography and New Media,
Museum Ludwig, Cologne
"PHOTOGRAPHIE DES 20. JAHRHUNDERTS",
Photography of the 20th Century, Museum Ludwig
Benedikt Taschen Verlag, 1996/2001, ISBN 3-8228-5514-6
"I do not refer to the choice of objects, although I mean those too; above all, I refer to that expression of uniqueness, of the special quality of time that pictures can be given by artists who know what a record is. But that requires an interest in the things themselves and it is not enough to be interested in the lighting." Bertold Brecht
find out more >>>
 
ANDREAS MÄCKLER
"SELF PORTRAIT"
one-man show,
Museum of Modern Art, Otaru, Japan, 1996
catalogue, 1996
"The reason why I took to doing self-portraits", Gottfried Helnwein said in a 1990 interview, "and why I have been presenting my own persona from the very start, lay in a kind of substitution for the self. There is nothing of an autobiographical or therapeutic nature on show. It tells you nothing about me personally. I don't mean me at all: I just use myself because I am always available as a model. All I mean to present is a human being, pure and simple." The bandaged head became a cliché that was repeatedly misunderstood. Even Mick Jagger once asked, albeit with a laugh: "Will you paint me with bandages?"
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DAVID S. RUBEN
Curator of 20th Century Art,
Phoenix Art Museum
"IT'S ONLY ROCK AND ROLL
Gottfried Helnwein,
Rock and Roll Currents in Contemporary Art, Phoenix Art Museum
Prestel, Munich - New York,
1995
The portraits of Hendrix, Joplin, and Lennon are particulary stirring because their ghostlike treatment translates as a poetic and humble tribute to major creative forces whose lives were tragically cut short. As exemplified by the paintings of Helnwein, the purpose of a contemporary rock and roll portrait may extend well beyond biographical signification to stimulating reflection upon larger issues of social or political consequence.
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REINHOLD MIßELBECK
Curator for Photography and New Media,
Museum Ludwig, Cologne
"HELWEIN FACES",
"faces" one-man show
Rheinisches Landesmuseum, Bonn, 1992
Edition Stemmle, 1992
Looking at Gottfried Helnwein' portraits, we once again experience the shock of the new, of an unprecedented view of the person opposite. I have observed many people confronted with these portraits for the first time and again and again they would show surprise, intensity of experience and fascination. Helnwein's portraits can be seen as counterpoles to the technically sophisticated smoothnes of the portraits of Robert Mapplethorpe.
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ANDREAS MÄCKLER
"GOTTFRIED HELNWEIN - HORROR AND THE TRANSCENDENT"
Gottfried Helnwein, Horror and the Transcendent
Benedikt Taschen Verlag, 1992

"Rock music, films and comic strips are the art of the 20th century: basic artforms that make a powerful impact, with elemental potency and intensity. These are the very qualities I have tended to miss in most approved works of high art. In comparison, the latter are generally bloodless and boring, and have little connection with real life and people." When Gottfried Helnwein made this assessment of contemporary art in 1990, he had long since shown in his own art that he was way ahead of his times. Yet again.
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GOTTFRIED HELNWEIN
Gespräch mit Carl Barks
"GOTTFRIED HELNWEIN TALKS WITH CARL BARKS"
11 July 1992, Oregon,
"Wer Ist Carl Barks",
Neff, Verlag, 1993

find out more >>>

 
PETER ZAWREL
Chief Curator
Museum of Lower Austria
"KINDSKOPF",
Helnwein's plea for a different childhood"
Installation at the Niederösterreichisches Landesmuseum in the Minoritenkirche Krems/Stein
Museum of Lower Austria,

catalogue, 1991
The auratic face of a child, six metres high, four metres wide, hanging in the triumphal arch of a medieval church, surrounded by dozens of canvases in the standard size of 200 by 140 cm that are mounted on the church's pillars and walls show heads and fantasy creatures which only on closer inspection may be easily recognized as children's drawings - once more Helnwein upsets traditional structures of perception in a number of ways, including the expectations that visitors have of a Helnwein exhibition. This is signalled already by the title "KINDSKOPF", which in addition to being a reference to the theme depicted (the head of a child) refers to the ironically serious self-representation of the artist (in German "Kindskopf" is a somewhat condescending colloquialism for an adult acting in childish ways), similar to Helnwein's earlier catalogue title "Subhuman" ("Untermensch") of 1988.
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WILLIAM S. BURROUGHS
"HELNWEIN IS A MASTER OF SURPRISED RECOGNITION",
State Russian Museum, St Petersburg, 1997
catalogue, ISBN 3-7231-0447-9, 1992
Stemmle, 3-7231-0447-4, 1992

There is a basic misconception that any given face, at any given time, looks more or less the same, like a statue's face. Actually, the human face is as variable from moment to moment as a screen on which images are reflected, from within and from without. I have seen six pictures of the same subject taken in less than a minute - so different one from the other, as not to be recognizable as the same person.
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SIMON WIESENTHAL
"THOUGHTS - NINTH NOVEMBER NIGHT"
Gottfried Helnwein's fantastic idea to present the consequences of this "Period without mercy" in such an unconventional manner
Installation at the Museum Ludwig, 7 Sept - 30 Nov 1988
Installation at the Museé de L'Elyseé, Lausanne 22 Jun - 30 Aug 1990

catalogue, 1988
catalogue, 1990

Not even the children were spared; they, too, fell victim to the destruction. It was Gottfried Helnwein's fantastic idea to present the consequences to this "period without mercy" in such an unconventional manner. He made no use of photos of heaped corpses; children's portraits force the observer to stop and consider this idea. The fury with which the neo-nazis reacted to these portraits is understandable inasmuch as it is the very same fury with which they have for years been fighting against The Diary of Anne Frank; the murder of children rouses abhorrence and conflict in every human, whether they are motivated by ideology or insanity. The urge to destroy has survived; the portraits bear witness to its rage - an attempt was made to cut them to shreds. "People, please, stop,... look at these children's faces, multiply their number by a few hundred thousand. Only then will you realise or gain an inkling of the extent of this holocaust, of the greatest tragedy in human history!"
find out more >>>
 
 
CHARLES-HENRI FAVROD,
Chief Curator
Museé de l'Elysée, Lausanne,
"NIGHT AND FOG - NINTH NOVEMBER NIGHT"
"In the struggle against the Jew, I defend the acts of God" Those where Hitler's words in Mein Kampf.
Installation at the Museum Ludwig, 7 Sept - 30 Nov 1988
Installation at the Museé de L'Elyseé, Lausanne 22 Jun - 30 Aug 1990

catalogue, 1988
catalogue, 1990

Of all of these pictures, one soon stands out: his own, in a disfiguring getup with bandaging and surgical instruments. For under this grimacing mask, with the eyes covered by operating clamps, and underneath the bandaged head the painter's face is itself put on display by this disguise.
find out more >>>
 
 

PETER GORSEN
"THE DIVIDED SELF"
Gottfried Helnwein and his self portraits.
one-man show "Der Untermensch" Museum of Modern Art, Strasbourg,
Edition BRAUS, ISBN 3-925835-07-5, 1988
catalogue, 1988

Helnwein compared the "quietly theatrical" ecstatic attitude of his self-portrait with the heroic pose of the figure of the suffering figure of Sebastian and generalizes both to the stigma of the artist in the 20th century, making him a kind of saviour figure. In addition, its poetic title sets the viewer onto the right track. The visual montage of the modern artist as Man of Sorrows with Friedrich's landscape painting projects the dashed hopes of the romantic rebellion into the present, to the protest thinking of modernity, which has become introverted and masochistic, and its crossing of aesthetic boundaries. Is romanticism making a comeback? No; actually, it had never left modernity. But its rebellion is confining and introverting itself in the "body metaphysics" of contemporary artists to its own flesh and blood.

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ROLAND RECHT
Chief Curator of Museum's, Strasbourg,
"A WORLD OF HORROR IN PICTURES"
The Self Portraits of Gottfried Helnwein,
one-man show "Der Untermensch"
Museum of Modern Art, Strasbourg,
Edition BRAUS, ISBN 3-925835-07-5, 1988
catalogue, 1988

Of all of these pictures, one soon stands out: his own, in a disfiguring getup with bandaging and surgical instruments. For under this grimacing mask, with the eyes covered by operating clamps, and underneath the bandaged head the painter's face is itself put on display by this disguise.
find out more >>>
 
   

HEINER MÜLLER
How does a friendly person like Helnwein, stand making his - excellence - painting into a mirror of the terrors of this century? Or is it that he can't stand not doing it?"
one-man show "Helnwein faces" Rheinisches Landesmuseum, Bonn
one-man show "Helnwein Der Untermensch"
Museum of Modern Art, Strasbourg
Edition Bravs Heidelberg, ISBN 3-925835-07-05, 1988
catalogue, ISBN 3-7231-0447-9, 1988
Edition Stemmle, ISBN 3-7231-0447-4 1992

Black Mirror. A story by Stephen King. An American schoolboy, twelve or thirteen years old, fascinated, in his small-town monotony, by documents on the German concentration camps - the way his classmates are by Superman. The formula for his fascination: THEY JUST DID THOSE THINGS.
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H. C. ARTMANN
"ESSAYS AND POEMS "
"einer erstellt die surmme seiner beobadtungen in dieser welt der patzer und dämonen, er vernimmt die schreie aus den gekachelten schreckträumen abseits einer satten gesellschaft"
about Gottfried Helnwein
Monograph, State Russian Museum, St. Petersburg,
"Helnwein", ORAC-Pietsch, 1981
catalogue "Helnwein", 1997
"Helnwein", Könemann, ISBN 3-8290-1448-1, 1998

find out more >>>

 
   
DAS GROSSE LEXIKON DER GRAPHIK
"KÜNSTLER TECHNIKEN HINWEISE FÜR SAMMLER"
Gottfried Helnwein, Das Grosse Lexikon der Graphik
Tigris, Köln, ISBN 3-14-509079-8, 1989
find out more >>>
 
   
K.H. ROSCHITZ
"MALEREI - ARCHITEKTUR - BILDHAUERKUNST
Lexikon der Kunst, Karl Müller Verlag 1986
Gottfried Helnwein
find out more >>>
 
   

ANDREAS MÄCKLER
"1460 ANTWORTEN AUF DIE FRAGE: WAS IST KUNST"
Kunst ist die einzige Freiheit, die uns geblieben ist.
DuMont Buchverlag, Cologne,
Gottfried Helnwein, about Art
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K.H. ROSCHITZ
"HARENBERG PERSONENLEXIKON 20 JAHRHUNDERT"
Helnwein, Gottfried
österr. Maler, Grafiker und Aktionskünstler * 8. 10. 1948 Wien
Gottfried Helnwein, Harenberg Personenlexikon 20. Jahrhundert
Harenberg Lexikon Verlag, 1981
find out more >>>
 
 

ULRIKE VON HASE-SCHMUNDT & ROBERT DARMSTÄDTER
GOTTFRIED HELNWEIN
Osterr. Maler, Objekt- u.Performance- Künstler, *Wien 8.10.1948
Reclams Künstlerlexikon, 2. neu bearbeitete Auflage, 1995
find out more >>>

 
 

MIC MORONEY
HELNWEIN
Lead White Gallery, Dublin
Helnwein's painting - both cheekily and totally in homage - appropriates the great paintings, "The Polar Sea" (1824) by the leading German Romantic landscape artist Casper David Friedrich. Helnwein here re-render ....
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THE TIMES , 15th August 2004,
Cristin Leach
"...these landscapes"
...these landscapes are undeniably attractive, awe-inspiring, compelling even. They work their magic through scale, vision and painterly skill.
these photo-paintings appear even more real than a photograph: >>>

IRISH EXAMINER , 13th August 2004,
Alannah Hopkin
"Photo finishes blue reality "
.Visitors to Gottfried Helnwein's show of panoramic lanscapes at the Crawford Municipial Gallery in Cork are having trouble deciding either they are looking at paintings or photogrpahs. Some are up to seven metres in length, by two metres wide: a breathtaking, epic scale. They are extraordinarily beautiful, by any standards, and, yes, they are paintings.
: >>>

Evening Echo , 5th August 2004,
Edel O'Connell
"Austrian artist's extreme realist paintings."
Landscape in the frame at Crawford
A spectacular Exhibition which includes...>>>>

Irish Examiner, 4th August 2004,
Daragh Mac Sweeneyl
"Image only"
...A visitor to Cork's..>>>>>.

IRISH TIMES , 3rd August 2004,
Mark Ewart
"the work is.."
....the work is extremely ambitious, both in terms of scale and rendering - some paintings are seven metres long and all are so realistic that they ar nearly indistinguishable from photographs
>>>

eircom.net, 2nd August 2004,
Anon
"Almost.."
....'autobiographical landscapes' the paintings in this exhibition by Austrian artist Gottfried Helnwein broadly outline the migrations he, and his family, have made from his native Vienna....
>>>

CIRCA, Art Magazine, 1st August 2004,
Anon
"..the.."
...work has to be seen to be believed...
>>>

Irish Examiner, 10th July 2004,
Anonl
"Light on the West."
....Image only >>>>>>>>>>>>>.
IRELAND ON SUNDAY, 26th August 2001,
"PAINTING DAUBED"
A controversial "Nazi" image by artist Gottfried Helnwein was daubed with red paint last week as Kilkenny Arts Festival entered its final days.
find out more >>>
THE IRISH TIMES, 20th August 2001,
Aidan Dunne
"This year’s Kilkenny Arts Festival helped take challenging work out of the gallery and onto the streets"
The point of the images is that they put it up to you as a viewer. Given that, one potential line of criticism is that they are designed solely to be provocative, like Marcus Harvey’s portrait of Myra Hindley. But the abiding strength of Helnwein’s work is that provocation is a means rather than an end; it is – however uncomfortable – morally grounded, if not necessarily in a way that will please all observers.
find out more >>>
THE IRISH TIMES, 13th August 2001,
Judith Crosbie
"KILKENNY ARTS FESTIVAL NOT WITHOUT ITS SHARE OF CONTROVERY"
The canvases showing images from the Nazi era just left them confused, but the throngs who visited Kilkenny during the weekend snapped away with their cameras all the same.
find out more >>>
THE IRISH TIMES, 7th August 2001,
(font page photograph)
"EYE TO EYE WITH THE FACE OF A KILKENNY CHILD"
Workmen finish one of a series of prints measuring 9.3 metres. The prints of the Kilkenny children will hang on buildings in Kilkenny as parts of its arts festival beginning on August 10th.

find out more >>>
THE SUNDAY TIMES, 5th August 2001,
Medb Ruane
"SHOCK ART"
The disturbing Work of Helnwein comes to Ireland. Helnwein is a headline artist who works in tight sound bites on a very large scale. The works brand themselves with proof of his technical know -how in various media and are endorsed by the coolest celebrities of his generation. So much for the cover-story, so what lies within? Headlines lure you into stories that make you want to cry, smile or help to change the world. But when they stop at your own skin, you can get a sinking feeling, a sense of the bigness and badness outside and the impossibility of change.
find out more >>>
THE IRISH TIMES, 1st August 2001,
Aiden Dunne
"CUTTING EDGE"
Artist Gottfried Helnwein does not tread lightly with his art – Nazis, mutilation and surgical instruments regularly crop up In his work. Aiden Dunne warns festival-goers what to expect.
find out more >>>
THE IRISH INDEPENDENT, August 2001,
Patricia Deevy
"CHILDHOOD DEFILED, STARKLY PORTRAYED"
Once an agitated spectator wondered how an apparently nice man could produce such disturbing imagery. Patricia Deevy talks to artist Gottfried Helnwein about his grisly depiction of violence, cruelty and torture.
find out more >>>
THE IRISH TIMES, 26th July 2001,
Chris Dooley,
"DISPUTE OVER NAZI IMAGES IS RESOLVED"
A row over plans by an Austrian artist to put large-scale works with Nazi images on display in Kilkenny has been resolved.
find out more>>>
FRANKFURTER ALLGEMEINE ZEITUNG,
12th June 2001,

Julia Spinola
"BEFREIUNG INS SCHWARZE NICHTS"
Aus dem Reich der Verstümmelten und der bandagierten Köpfe: Strawinskys "Rakes Progress" an der Hamburgischen Staatsoper. Das letzte Bild in William Hogarths Kupferstichserie "A Rake’s Progress" war es, das Strawinsky 1947 im Chicago Arts Insitute besonders beindruckte: Des Wüstlings grausiges Ende im Londoner Irrenhaus Bedlam, wo der halbnackt am Boden Sitzende gerade in Ketten gelegt wird, umringt von weiteren Insassen, beweint von einer Frau: Von dieser Schlusszene aus sei alles erfunden worden. Der bildenden Kunst haben die Torturen des Wahnsinns immer wieder als abgründiges, finsteres Motiv gedient: moderne Höllenqualen, denen Goya oder Otto Dix zunehmend realere Züge verliehen. Das schlechthin Böse, Graussame und Sadistische harrt nicht langer in einem Jenseits hinter dem Fegefeuer, sondern wird immer stärker als soziale Realität erkannt, es wütet mitten unter uns.
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WELT AM SONNTAG, 3rd June 2001,
Katja Engler
"STRAWINSKYS TEUFELSWERK AN DER OPER"
Das Haus an der Dammtorstrasse zeigt einen Klassiker der Moderne: Jürgen Flimm inszeniert "The Rake’s Progress", Ingo Metzmacher dirigiert, und Gottfried Helnwein schuf das aussergewöhnliche Bühnenbild. Der Maler, Fotograf, Bildhauer und B
ühnenbildner Gottfried Helnwein gestaltet Bühne, Kostüme und Masken – nach Jörg Immendorff ist er der zweite Maler, der sich an die Strawinsky Oper wagt. Im Gegensatz zu dem Düsseldorfer Neuen Wilden geht Helnwein allerdings mit dem fotografischen Auge eines Kameramannes und mit grossem Feingefühl als Kostüm- und Maskenerfinder zu Werke. Das Baseball-cap tief in die Stirn und ò ber den Rand der grossen Brillengläser gezogen, die schwarze Bomberjacke hoch gescholossen, schleicht er zum Regiepult, wo sich Assistenten und Techniker, Schneider und Maskenbildner drängen.
find out more >>>
TANK MAGAZINE, November 2000,
Gottfried Helnwein
"THE AMERICAN PAINTINGS,

The paintings are about America, I guess from a very European point of view"
"Gottfried Helnwein about his Exhibition "The American Paintings, Modernism Gallery,
San Francisco, 2000""
find out more >>>

TASTES LIKE CHICKEN, November 2000, Columbus, Ohio
Insane Wayne Chingsang,
"HELNWEIN"
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.
find out more >>>

ART NEWSROOM.COM, 12th June 2000,
Joanna Hayman-Bolt
"HELNWEIN"
Any artist who sites Donald Duck and Jesus Christ as the most important influences in their art must be worth taking a look at.
find out more >>>

JEWISH CHRONICLE, 2nd June 2000, London
Julia Weiner
"ARTIST'S HAUNTING NAZI-ERA IMAGES"
Austrian 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 quesitons."
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DAZED AND CONFUSED, June 2000, London
Mark Sanders
"GOTTFRIED"
. . .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.
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WHAT'S ON, LONDON, 17th May 2000,
Fisun Güner
"NEW KIDS OUT TO SHOCK"
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.

find out more>>>
THE GUARDIAN, 16th May 2000,
Kate Connolly
"THE MAN WHO USED HIS OWN BLOOD TO PAINT HITLER"
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.
find out more >>>
THE DAILY TELEGRAPH, 16th May 2000
"THE LATE SHOW"
A perfect stay: gallery opened specially for Lou Reed
The 24-hour city . Reed was dining with a friend - the Austrian artist Gottfried Helnwein - on Sunday night, when he decided he wanted to see Helnwein's new show at the Robert Sandelson Gallery.
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I-D MAGAZINE, LONDON, May 2000
Jo-Ann Furniss,
"REGENERATE ART"
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.
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THE IRISH TIMES, 16th February 2000,
Mic Moroney
"THE BLOODSTAINED FÜHRER"
The controversial work of Austrian artist Gottfried Helnwein, now resident in Ireland, explores the lingering Austrian loyalty to Nazism.
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AUSTRIA TODAY, 8th June, 1999,
AS,
"PROPHECIES ALONG THE DANUBE"
Apokalypse is also the title of a show which brings one of Austria's most controversial figures back to his home country. Gottfried Helnwein's work will be featured in his first solo exhibit in Austria in the past ten years.
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KLEINE ZEITUNG, GRAZ, 13th June 1999,
Von Frido Hütter,
"MAGIE DES ZÖLLNERS"
Gottfried Helnwein, der Meister des Grauens auf den zweiten Blick, zeigt bei einer Personale in Krems verstörend intensive Grossformate. Erstmals wieder seit fast zehn Jahren.
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SAN FRANCISCO CHRONICLE, 31st October 1998,
"SHOCK TROOPER"

Art viewers who consider themselves shockproof should take a look at German painter Gottfried Helnwein’s show, which ends today at Modernism.
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TURUN YLIOPPILASLEHTI, Finland, 9th October 1998,
Vesa Kataisto,
"SLAUGHTERING THE PUBLIC ANIMALS"
The eyes are plucked out because they are no longer needed, is the first thought the Gottfried Helnwein exhibition creates. Helnwein's most widely known work is probably the self-portrait made for the 1982 Scorpions record cover. In it recurs the same subject matter which Helnwein had put to use in dozens of works.
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TURUN SANOMAT, 2nd October 1998,
Kimmo Lilja,
"GOTTFRIED HELNWEIN IN TURKU,

- "I ask, I do not answer.""
"I ask, I do not answer."
- My works are questions, not answers, says the Austrian, Gottfried Helnwein,
time and time again focusing on the most sore points of contemporary, general and private history.
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ABO UNDERRÄTTEISER, Finland, October 1998,
"THE POWER OF IMAGES AND EVIL"
The child has grown into a world famous artist.
But he has carried his questions with him. Today opens a large retrospective exhibition of Helnwein's art in Waino Aaltonen Museum of Art in Turku. The exhibition contains aquarels, oil paintings, drawings and photographs. They have often caused controversies by dealing with subjects that are all too sensitive
.
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ART NEWS, July 1998,
Penelope Rowlands,
"THE SAN FRANCISCO BEAT"
Logan, a 53-year-old investment banker, leads a tour of his house in the Marin County town of Tiburon, perched above the San Francisco Bay. The eclectically furnished, art-packed living room sets the tone. On one side of the room, Untitled (Venus/The Great Circle) by Jean-Michel Basquiat hangs catercorner to David Park's brooding canvas The Bathers. Across the way, Andy Warhol's Double Jackie faces off against The Room, a whimsical Philip Guston. There's a ravishing, newly purchased early Hockney, Seated Woman Being Served Tea, in the dining room, and looming above a stairwell is Gottfried Helnwein's powerful Untitled (Child).
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TAIDE, Finland, May 1998,
Hannu Rinne,
"THE WORLD IS EVIL"
The exhibition in the WA Museum of Art by the Austrian artist Gottfried Helnwein does not make you happy, but it does feel good - in a masochistic way. With his works Helnwein proves that under a sophisticated facade this world is a wretched place to live in. In an interview he says: "I know that individuals are poorly treated on this planet. They are being harmed and subdued. And all this is covered by optimistic propaganda. Far before I began painting I felt that humanity was in a dire state. The pain reaches out to everyone, even though it is rarely spoken of. Nonetheless everyone wants to overcome the pain, to transcend it."
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THE NEW YORK TIMES MAGAZINE, 26th October 1997,
Amei Wallach,
"THE CONTEMPORY COLLECTOR'S ART"
Kent Logan, a San Francisco collector, amasses his art in true corporate fashion: with flow charts mapping what he has and what he doesn’t. His most extensive acquisitions include, Francesco Clemente’s "Self-Portrait" (1984), Mark Tansey’s "Occupation" (1984), Cindy Sherman’s "Film Still #6" (1977), Gottfried Helnwein’s "Untitled (Child)" (1996) and Anselm Kiefer’s "Operation Sea Lion" (1975).
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FLASH ART 1997,
Reena Jana,
"GOTTFRIED HELNWEIN"
Austrian-bon artist Gottfried Helnwein is a brave, often overlooked, and unfairly compared virtuoso of versatility. In his work, he forces us to confront, via his visual wit, brio, and candor, the human face of violence and angst.
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FLASH ART, 1997,
Reena Jana,
"GOTTFRIED HELNWEIN / NAOMI KREMER, MODERNISM, SAN FRANCISCO"

This is a show that confronts and haunts. Streamlined and elegant, San Francisco's Modernism Gallery has established itself as a forum for intriguing, complex juxtapositions of work by two equally strong and yet widely divergent contemporary artists.
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THE JAPAN TIMES, 9th November 1996,
Loren Edelson,
"PROVOCATIVE EMOTIONS IN YOUR FACE"
The Gottfried Helnwein seen on the poster advertising his show and the Gottfried Helnwein viewed in person seem to be a study in contradictions. With his head bandaged and eyes literally pierced by two forks, the poster Helnwein shatters glass with his seemingly torturous cries. In person, Helnwein’s taut skin is unblemished; his personality, approachable and warm. But as he begins to talk, it becomes clear that he is indeed the creator of the madman
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THE GAZETTE, Montreal, 1994,
Ann Dunkan,
"CENT JOURS BEGINS NINTH SEASON"
To inaugurate the new exhibition space, which has to be one of the most dramatic in the city, Gosselin chose a powerful show of black-and-white photos by the Viennese-born German artist Gottfried Helnwein. Helnwein's work is everything that Annie Leibovitz's, shown last spring at the Montreal Museum of Fine Arts, is not. While both shoot celebrities - Helnwein's subjects include Keith Richards, Michael Jackson, Mick Jagger, William S.Burroughs, and an extremly wasted Andy Warhol - Helnwein's work is concentrated on the Psychological rather than on the gimmicky and the theatrical.
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CAMERA INTERNATIONAL, October 1992,
Gabriel Bauret,
"GOTTFRIED HELNWEIN"
In fact Gottfried Helnwein made his name by spectacular performances, among them are self mutilations or simulacra of violence inflicted on himself.
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LE FIGARO, 28th October 1992,
Gabriel Bauret,
"GOTTFRIED HELNWEIN" .
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SAN FRANCISCO CHRONICLE, 9th July 1992,
Barnaby Conrad III,
"GERMAN PORTRAITS OF PAIN"
Frankfurt, Germany. It was night on the Autobahn and I was going to see Gottfried Helnwein, an artist known as "The Razor-Blade Rembrandt." The artist's assistant, Heinz, was pushing the new Mercedes to 100 miles an hour. This unnerving high-speed delivery, on a highway built by Hitler, seemed an appropriate prelude to meeting an Austrian whose art is a biopsy of post-war Germany, with references to resurgent fascism, mass insanity, suicidal depression and childhood trauma. .
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CHICAGO TRIBUNE, 11th May 1992,
"Star Tracks"
Marlene Dietrich's last years were very lonely, according to Gottfried Helnwein, a German painter and photographer. She trusted very few people. But she still had her sharp, sarcastic sense of humor....
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THE HOLLYWOOD REPORTER, 7th May 1992,
Kirk Honeycutt,
"BLUE ANGEL" DIETRICH DIES"
Last Years 'very lonely' for film star. The last years of Marlene Dietrich's life "were very lonely and secluded in Paris," said German painter and photographer Gottfried Helnwein, who collaborated with the legendary actress on a book published last year.
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MIZUE, TOKYO, JAPAN, 1989
Toshiharu Ito
"THE BLACK MIRROR, The world of Gottfried Helnwein"
Artist of inner Turmoil. Gottfried Helnwein's works from the 1980's are represented by the self-portraits in his "Black Mirror" series. However, these works reach far beyond the boundaries of the ordinary self-portrait. They reflect the inner wants and desperation which lies within the viewer's own self. Helnwein points out the new form of the modern self-portrait which involves the creator and viewer alike.
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DIE WELT, 30th May 1984,
Alexander Schmitz
"KRITIK - TRIVALITÄT IST TRIUMPF"
Kinder delektieren sich am Entsetzen: Enten, noch eben im Donald-Duck-Kleid, wandeln sich zu Bestien; Gabelklemmen schützen Augen, halten Kopfverbände von Sängerknaben; Jazz macht dem "Dritten Mann" den Garaus, als ein Bild einen schmerzverzerrten Kopf an eingedelltem Autokühler zeigt.
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OMNI, NEW YORK, August 1983,
Douglas Stein,
"UNEASY PASSIONS"
Master of the grotesque, this shock artist has convulsed European society with his portraits of emotional violence.
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TIME MAGAZINE, 6th June 1983,
Maryanne Russell,
"WHY ARE THESE MEN GRIMACING?"
Viennese painter Gottfried Helnwein, who specializes in exaggerated expressions, was brought to the U.S. to photograph "the typically American look" Hoglund desired. Hoglund’s assistants Dorothy Chapman and Charlotte Quiggle rounded up a dozen TIME staffers to pose for preliminary photographs. "The final painting was a composite based mainly on Associate Editor Jim Kelly," Hoglund says. Kelly thinks the honor "dubious".
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THE WASHINGTON POST, 1981,
Jo-Ann Lewis,
CONUNDRUMS,
Baumgartner Galleries, 2016 R St. NW, is introducing the work of Gottfried Helnwein, a young Viennese artist who shares what seems to be an Austrian obsession with highly detailed realism – with a surrealistic edge. Trained at the Austrian Academy, and now in the process of moving to New York, Helnwein makes figurative drawings and watercolors that are occasionally gruesome, sometimes haunting and always ambiguous. Spatial and narrative ambiguity are, in fact, the central expressive devices in Helnwein’s art. find out more >>>

 

 

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