Katja Strunz – Untitled (Two Pieces)

[av_heading heading=’Katja Strunz’ tag=’h3′ style=’blockquote modern-quote modern-centered’ size=” subheading_active=’subheading_below’ subheading_size=’15’ padding=’10’ color=” custom_font=” av-medium-font-size-title=” av-small-font-size-title=” av-mini-font-size-title=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” admin_preview_bg=”]
Untitled (Constructed Fragments series)

[av_image src=’http://dev-revere-auctions.pantheonsite.io/wp-content/uploads/2018/03/Katja-Strunz-duo-151×300.jpg’ attachment=’499′ attachment_size=’medium’ align=’center’ styling=” hover=” link=” target=” caption=” font_size=” appearance=” overlay_opacity=’0.4′ overlay_color=’#000000′ overlay_text_color=’#ffffff’ animation=’no-animation’ admin_preview_bg=”][/av_image]

[av_textblock size=” font_color=” color=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” admin_preview_bg=”]
Katja Strunz “Untitled” (from Constructed Fragments seres, 2005)

  • Lot 54
  • Dimensions 51 x 29 inches
  • Rosewood and Painted Wood

How to bid

International Market Square
275 Market Street
Minneapolis MN 55405

Katja Strunz is a force in the neo-Constructivist and Modernist movements. Her works, particularly from the Constructed Fragments series, now several years old, have come to define the aesthetic. These pieces often refer to those who have come before her in an intentionally heavy-handed manner. Her work is deeply influenced by Robert Smithson and some of her works clearly references him and even eco particular pieces of his.

She and her cohort have become the vanguard of the robust minimalist movement in Berlin. Her work is now well distributed by blue chip galleries and pursued by museums like MOMA and many others.

“ … you can watch how things change form as they get torn down and new things are built up. It’s always a question of how to store this organic history. I am interested in how to make history live, which is logically impossible. As a child, I remember visiting a museum of classical art and being upset to fnd that I could not feel the passage of time and its efects on the art. There is an impulse to preserve the art object, but when art stops transforming itself it all feels a bit like visiting a cemetery. I started looking for a kind of envisioning or visualization of time. Ones perception of time is not controllable, but it seems that within traumatic experiences or memories the past suddenly merges into the present.”

This series, Constructed Fragments gained global notoriety when Mario Testino photographed Keira Knightley for Vogue in front of a large wall installation of these angular and sharply modernist masterpieces. The two-page spread was dominated by a large wall of Fragments. The two offered today likely among them.