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erklärt Susan Davidson, dass Rauschenbergs künstlerische Aufmerksamkeit in den 1980-er Jahren den visuellen Eigenschaften von Metall galt. Ob es sich um Assemblagen mit Fundobjekten aus Metall handelte oder um Experimente mit eigenen Fotografien, die er nach dem Siebdruckverfahren auf Aluminium, rostfreien Stahl, Bronze, Messing oder Kupfer übertrug ?
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series, Susan Davidson relates that Rauschenberg?s artistic attention in the 1980s turned toward an exploration of the visual properties of metal. Whether assembling found metal objects or experimenting with his own photographic images screen-printed onto aluminium, stainless steel, bronze, brass, or copper, Rauschenberg sought to capture the reflective, textural, sculptural, and thematic possibilities of the material. Rauschenberg?s first body of work in this new material was the
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Franz Erhard Walther, geboren 1939 in Fulda, studierte gemeinsam mit Gerhard Richter und Sigmar Polke in der Klasse von Karl Otto Götz an der Kunstakademie Düsseldorf. Walthers Interesse galt Gestaltungsprozessen, die sich aus dem Zusammenhang einer bestimmten Materialität ergaben.
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Born in Fulda in 1939, Franz Erhard Walther studied in the Art Academy of Düsseldorf with Gerhard Richter and Sigmar Polke in Karl Otto Götz’s class. Walther’s interest focused on design processes resulting from the context of a specific materiality. He was fascinated with paper, for example, which took on different forms when brought into contact with certain liquids. He came to experiment with textiles and made objects from nettle cloth, aimed at involving the viewer in an interactive manner by their use.
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David Smith's neue Kunst basierte auf unbelasteten linearen Metallskulpturen, einer Art "dreidimensionaler Kalligrafie". Er galt als klassischer Vertreter der amerikanischen Skulptur seines Jahrhunderts.
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. In 1933, David Smith became a sculptor and experimented with forms of welded iron. He discovered the iron sculptures of Julio González, and it is to González he owes his "technical liberation." For Smith, González was "the first master of the torch." Years later, David Smith considers Julio González as the creator of abstract iron sculpture. David Smith's new art is based on the unloaded linear metal sculptures, a kind of “three-dimensional calligraphy”. He was regarded as a classic representative of American sculpture of his century.
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Unter dem Gewicht des sozialistischen Realismus begann sie 1950 zunächst Malerei an der Akademie der bildenden Künste in Warschau zu studieren. Ihr Interesse galt jedoch schon früh der Skulptur. In den 1960er Jahren entwickelte sie die berühmten „Abakans".
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Born on June 20, 1930 in Falenty near Warsaw, Magdalena Abakanowicz grew up, like many Polish artists of her generation, in the shadows of and among the aftershocks of WWII. Her younger years were marked by the invasion of the Red Army and communistic repression. Under the burden of socialistic realism she first began to study painting in 1950 at the Academy of Visual Arts in Warsaw. But soon her interest in sculpture was awoken. In the 1960’s she developed the famous "Abakans". These soft giant objects woven from sisal hemp and installed freely in the room, broke with the tradition that, up to then, had used textiles for purely decorative purposes on flat surfaces and brought her international recognition.