Haacke, Hans

Hans Haacke (Contemporary Artists (Phaidon))

Born in Cologne in 1936 and based in New York since 1965, Haacke's strong political, cultural and social concerns are reflected in his installations, texts and sculptures.Throughout his fifty-year career Haacke has frequently changed the presentation of his art to get his message across. Often borrowing from non-art sources such as corporate advertising, questionnaires or scientific experimentation, Haacke is probably the most successful and best-known late twentieth-century artist to create a political art that manages to hit its mark with succinct elegance.Haacke sometimes works almost as a sleuth-like reporter, uncovering museum politics in his art. This practice has famously led on occasion to museum officials cancelling his exhibitions. For example, his 1971 one-person show at the Solomon R. Guggenheim Museum, New York, was cancelled in response to his proposal to present the questionable real estate dealings of several New York companies.

Hans Haacke: Viewing Matters

Artwork by Hans Haacke.

Hans Haacke: Unfinished Business (Documentary Sources in Contemporary Art)

For the past fifteen years, Hans Haacke's work has been concerned with issues that are at the core of postmodern investigations - the nature of art as institution, the authorship of the artist, the social behavior of the art world, the network of cultural policies such as the role and function of the museum, the critic, and the public, and many other sociological problems.

This book is based on a major retrospective exhibition of Haacke's work, the first in an American museum. The works selected show the different ways in which he has addressed the social and political concerns affecting art production. By laying bare the explicit functioning and interconnectedness of systems of finance, social organization, and representations, Haacke demonstrates how these employ art and other forms of presentation and representation as formalized means of power and coercion. In this important respect, his work has set a precedent for that of many younger, social concerned artists.

A group of significant essays by Leo Steinberg, Fredric Jameson, Rosalyn Deutsche, and an introduction and overview by Brian Wallis place Haacke's work in a larger social and aesthetic context.

Hans Haacke was born in Cologne, Germany, in 1936 and, since 1967, has taught at the Cooper Union in New York. Earlier retrospective exhibitions of his work have been held at the Museum of Modern Art, Oxford, the Tate Gallery, London, and museums in Berlin and Bern. His work has also been included in many major international group exhibitions, including the Tokyo Biennal, the Venice Biennale, and Documenta. Brian Wallis is Adjunct Curator at The New Museum of Contemporary Art, New York, and editor of Art after Modernism: Rethinking Representation and of the magazine Wedge. Hans Haacke is copublished with The New Museum of Contemporary Art and distributed by The MIT Press.

Hans Haacke, wind and water sculpture (Tri-quarterly)

Verso. Dossier Pierre Buraglio. Actualité de l'éxotisme. L'Affaire Hans Haacke

Robert Barry, Victor Burgin, Hamish Fulton, Gilbert and George, Hans Haacke, John Hilliard, Kosuth-Charlesworth, David Tremlett, Lawrence Weiner: [a Scottish ... April 1976, 29 Market Street, Edinburgh

Notes & Comments: April 2000.: An article from: New Criterion

This digital document is an article from New Criterion, published by Foundation for Cultural Review on April 1, 2000. The length of the article is 1670 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Notes & Comments: April 2000.
Publication: New Criterion (Magazine/Journal)
Date: April 1, 2000
Publisher: Foundation for Cultural Review
Volume: 18 Issue: 8 Page: 1

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Mia san Mia. Hans Haacke.

Long known for bringing trenchant analyses of sociopolitical structures into the museum, Hans Haacke has in the past exposed corporations who use art sponsorship to booster their image and slum landlords who hide behind diversified corporations. In his first exhibition in Vienna, the title of which gives its name to this book, Haacke tackles Austria's emotionally laden understanding of its own history and national identity. A larger discourse on "the culture of memory" weaves its way through selected historical works of Haacke's, including his 1999 project for the Reichstag, as well as through the artist's own writings, available here for the first time.

Hans Haacke et Jochen Gerz a Berlin (Der Bevolkerung; Das Geld, die Liebe, der Tod, die Freiheit - Was zahlt am Ende) (expositions).: An article from: Etc. Montreal

This digital document is an article from Etc. Montreal, published by Revue d'Art Contemporain Etc. Inc. on December 1, 2000. The length of the article is 2620 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Hans Haacke et Jochen Gerz a Berlin (Der Bevolkerung; Das Geld, die Liebe, der Tod, die Freiheit - Was zahlt am Ende) (expositions).
Author: Maite Vissault
Publication: Etc. Montreal (Refereed)
Date: December 1, 2000
Publisher: Revue d'Art Contemporain Etc. Inc.
Issue: 52 Page: 28-32

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Hans Haacke: Four Recent Works of Art