Rosemarie Schwarzwälder

Rosemarie Schwarzwälder was born December 7, 1945, in Basel, Switzerland. She is a gallery owner, art dealer, and journalist. She owns the Galerie nächst St. Stephan in Vienna, Austria, which is known worldwide for its program and participation in international art fairs.[1][2] Schwarzwälder is interested in more than just presenting artists; she also engages in discussions about current trends in art and how they relate to ancient cultures.

Biography

Rosemarie Schwarzwälder attended the Neue Sprach- und Handelsschule (New College of Language and Commerce) in Basel, Switzerland, where she became fascinated with modern art through the Kunstmuseum Basel. After moving to Zurich, she worked at the Farner PR agency and was part of the team at the Galerie Daniel Keel. In 1970, she moved to Vienna, Austria, where she worked as a journalist for art magazines and the Austrian broadcasting cooperation. In 1978, she became the director of the Galerie nächst St. Stephan in Vienna, which was founded by the Catholic priest de:Otto Mauer, and she became the owner of the gallery in 1987.

Life and work

1978–1983

In the Galerie nächst St. Stephan, Rosemarie Schwarzwälder initially focused on project-related exhibitions, accompanied by discussions, readings, performances, and concerts (occasionally together with the Wiener Musikgalerie). Artists represented by the gallery included Vito Acconci (1978), Joseph Beuys (1979), Terry Fox (1979) and Mario Merz (1983).[3] During this time, de:Jochen Gerz created a portrait of her for his photo series Le Grand Amour.[4]

1984–1991

The exhibition “Zeichen, Fluten, Signale - neukonstruktiv und parallel” (Signs, Floods, Signals: Neo-Constructivist and Parallel) in 1984 marked a change in direction in the gallery program, which today includes Geometric abstraction, Minimal Art, and Conceptual Art.[5] From this point forward, Schwarzwälder began presenting the first solo shows in Austria by Imi Knoebel, Helmut Federle, Donald Judd, James Welling, and Dan Flavin. She also represents many Austrian artists, including de:Ernst Caramelle and de:Gerwald Rockenschaub. One of the crucial elements of Rosemarie Schwarzwälder’s approach to art education is enabling the comparison of different positions in abstract art. An example of this is the exhibition “Abstrakte Malerei am Beispiel von drei europäischen und drei amerikanischen Malern” in 1986.[6] In 1990, she collaborated with Helmut Federle on a project in which works by contemporary abstract artists were juxtaposed with artifacts from ancient cultures in Asia and South America. For this project, she also hosted a symposium with experts and artists.[7] During this time, the de:Erste Bank Österreich also asked her to establish and manage its international collection of abstract painting, Conceptual Art, and Minimal Art.

1992–the present

Rosemarie Schwarzwälder has continued to represent the same painters over the years while also expanding the gallery's program since 1992 to include works by younger artists and sculptures and installations. The exhibition “Kunst Stoff” (2004), for example, combined textile art works by international contemporary artists with traditional artisanal textiles from all around the world, and the exhibition “Word + Work” (2013) addressed the relationship between artworks and artists’ texts.[8]

Memberships

Awards

Publications

Rosemarie Schwarzwälder. Klares Programm, Galerie-Arbeit heute. Regensburg: Lindinger + Schmid, 1995. ISBN 3-929970-13-9

References

  1. ↑ List of art fairs: Art Basel, Art Cologne, Fiac Paris, Arco Madrid, Art Basel Miami Beach
  2. ↑ Artnet notes: 'With the exhibition Zeichen, Fluten, Signale - neukonstruktiv und parallel ( Signs, Waves, Signals—Reconstructive and Parallel), Rosemarie Schwarzwälder presented a program in 1984, which featured basic elements that have proven relevant in numerous solo and group exhibitions up to the present. International positions of abstraction and concept-based art in the areas of painting, sculpture, installations, photography, and video have maintained a continuous presence in the program of the gallery.' http://www.artnet.com/galleries/galerie-schwarzwaelder/
  3. ↑ Über Mario Merz, 28. Internationales Kunstgespräch der Galerie nächst St. Stephan Wien, 28. und 29. Oktober 1983. Ed. Galerie nächst St. Stephan, Vienna 1984
  4. ↑ Jochen Gerz. Le Grand Amour: (fictions). Dudweiler (Germany): AQ-Verlag, 1982
  5. ↑ Zeichen, Fluten, Signale – Neukonstruktiv und parallel. John Armleder, Helmut Federle, Brigitte Kowanz Franz Graf, Imi Knoebel, Peter Kogler, Matt Mullican, Heinrich Pichler, Gerwald Rockenschaub, Romana Scheffknecht, Dieter Tesch, Heimo Zobernig. Ed. Galerie nächst St. Stephan, Vienna, 1984
  6. ↑ Abstrakte Malerei am Beispiel von drei europäischen und drei amerikanischen Malern / Abstract Painting of America and Europe. Helmut Federle, Imi Knoebel, Gerhard Richter, Robert Mangold, Brice Marden, Robert Ryman. Ed. Galerie nächst St. Stephan. Klagenfurt: Ritter Verlag, 1988
  7. ↑ Kulturen – Verwandtschaften in Geist und Form. Josef Albers, Carl Andre, Joseph Beuys, Helmut Federle, Johannes Itten, Donald Judd, On Kawara, Paul Klee, Franz Kline, František Kupka, Wolfgang Laib, Sol LeWitt, Richard Long, Brice Marden, Agnes Martin, Henri Michaux, Rune Mields, Barnett Newman, Karl Prantl, David Rabinowitch, Mark Tobey, David Tremlett. Ed. Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 1991
  8. ↑ Word + Work. Wassiliy Kandinsky, Louise Bourgeois, Agnes Martin, Meret Oppenheim, Joseph Beuys, Donald Judd, Lee Ufan, Richard Tuttle, Helmut Federle, Ernst Caramelle, Alice Creischer, Liam Gillick, Andrea Fraser, Andreas Fogarasi. Ed. Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 2014

External links

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